Woolley & Wallis Old Masters, British & European Paintings by ATGMEDIA

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Old Masters, British & European Paintings Wednesday 7th September 2016

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Old Masters, British & European Paintings

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Wednesday 7th September 2016 at 11.00am

Viewing Times Saturday 3rd September 10.00am – 1.00pm Monday 5th September 10.00am – 4.30pm Tuesday 6th September 10.00am – 4.00pm Wednesday 7th September 9.00am – 10.45am

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COLLECTION OF LOTS ALL lots will be moved from the saleroom back to Salt Lane on 8th and 9th September - collection of lots on these days and Saturday 10th MUST BE by prior arrangement on 01722 424500 or pictures may be in transit and unavailable. From 12th September 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

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Please note that requests for telephone bids cannot be accepted after 5pm on 6th September

Front cover: Lot 129 Back cover: Lot 254 This page: Lot 228A Overleaf: Lot 198

INDEX

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Miniatures

1-15

Prints

16-26

Watercolours

27-136

Oil Paintings

137-325

‡ This symbol indicates that an additional levy may apply

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

λ This symbol indicates that Cites regulations may apply. Please see the auction information page GLOSSARY OF TERMS Please refer to our Terms & Conditions, Section 21, for a glossary of terms used in the cataloguing of paintings

Sales Calendar 2016/17 December 13th 2016

Modern British & 20th Century Art – closing date October 22nd

March 2017

Old Masters, British & European Paintings

MINIATURES 1. English School 17th Century Miniature portrait of a gentleman, half length wearing armour, head and shoulders Oval, in a gilt frame 52 x 40mm £200-300 2. λ French School early 19th Century Miniature portrait of an officer, head and shoulders wearing the badge of an unknown order Oval, in a gilt frame 60 x 50mm £100-200 3. λ Follower of Richard Cosway Miniature portrait of a gentleman, bust length Oval in a gilt frame 43 x 33mm £100-150

4. λ English School 19th Century Miniature portrait of a lady, half length holding a dove Rectangular, in a gilt frame 160 x 120mm £800-1,200 5. λ Attributed to Floriano Pietrocola (Italian 1809-?) Miniature portrait of a gentleman of the Bolland family, head and shoulders in brown Inscribed verso Naples 1841 Oval, in a rectangular gilt frame 82 x 67mm £200-300

4 6. λ English School 19th Century Miniature portraits of a lady and a gentleman A pair, both head and shoulders Ovals, in red leather cases Each 70 x 60mm (2) £100-150

6 7. λ English School 19th Century Miniature portrait of Lady Fairfax Moresby, neé Williams Half length, seated 120 x 75mm Together with a tinted photograph of her husband Admiral of the Fleet Sir Fairfax Moresby (2) £100-150

7 8. λ English School 19th Century Miniature portraits of a boy and a girl, both head and shoulders In rectangular lacquer frames Each 68 x 54mm With a further pair of oval miniatures of children of the Atwood family, early 20th Century (4) £150-250

5 9. λ François Hippolyte Desbuisson, Hipolite (French c.1740-c.1822) Miniature portrait of a lady, head and shoulders in profile Signed and dated 176? Oval, in a wooden frame 65 x 53mm With a further miniature of George Cadoudal (1771-1804) signed indistinctly, titled and dated 179? verso, another of a gentleman wearing red and a circular landscape (4) £150-250 10. λ Continental School 19th Century Miniature portrait of a mother and child Oval, 100mm diameter £80-120

11. λ J** Wood (British 19th Century) Miniature portrait of a lady, half length, wearing black Signed, inscribed Blyth and dated Sept 1844 verso Rectangular, in a gilt frame 100 x 78mm Together with three further miniatures one of Sir Thomas More (4) £200-300 12. William Derby (1786-1847) Miniature portrait of James Corbet Taylor Signed Watercolour on paper, oval 160 x 135mm £100-150 12A. λ English School late 18th Century Miniature portrait of Captain James George Prosser of the Royal Marines, d. 25th February 1796 aged 39, head and shoulders in uniform Oval, in a rectangular rosewood frame 38 x 30mm With another of Mrs Wilmot, c.1840/50, in profile, oval, 84 x 63mm (2) £100-250

13. λ English School c.1900 Miniature portrait of a girl, head and shoulders wearing a coral necklace Oval, in a gold brooch frame, in a case 50 x 40mm £600-800

12A

14. λ Indian School 19th Century Miniature portraits of a gentleman and a lady A pair, both gouache, oval Each 63 x 50mm With two further oval miniature portraits (4 in two frames) £250-350 15. λ Indian School 19th Century Miniature portraits of Jahangir; Nur Jahan; Mumtaz Mahal and Shah Jahan 4, in two frames, all ovals Each one 63 x 42mm £200-300

PRINTS

16. After Sir Godfrey Kneller Portrait of James Butler, second Duke of Ormond Mezzotint by J. R. Smith 37 x 27.5cm; 14½ x 11in With two further mezzotints of Lord and Lady Villiers and The Duchess of Bolton and two engravings (5) £200-300

17. After Sir Joshua Reynolds P.R.A. The Duke of Bedford with his Brothers Lord John Russell, Lord William Russell and Miss Vernon Mezzotint by Valentine Green, published 1778 51 x 44cm; 20 x 17¼in £200-300

18. After Adriaen Van de Velde Farmhands and livestock Engraving by Frederick de Witt 18 x 27.5cm; 7 x 10¾in With another by a different hand (2) £100-200

19. After John Gould and Henry C. Richter Bird studies Two, both lithographs framed as a pair 47 x 34cm; 18½ x 3½in and similar (2) £150-250 20. After Elizabeth Gould Muscipeta Princeps Lithograph by C. Hullmandel 37 x 29.5cm; 14½ x 11½in £100-150

21. After George Brookshaw Plums; Raspberries Aquatints, Plate XXI and Plate IV Each 40.5 x 30.5cm; 16 x 12in (2) £150-250 22. Spy, Leslie Matthew Ward (1851-1922) A quantity of Vanity Fair portraits All lithographs (c.216 plus c.30 by other hands) £100-150

23. James Merigot (1760-1824) after A. Caldwell View of Enniskillin and Lake Erne, from Portora Free School in the County of Fermanagh, Ireland Inscribed on a label verso Aquatint, published by Colnaghi, Sala & Co., 1796 38 x 53cm; 15 x 21in £100-150 24. Warwick Reynolds (1880-1926) Tiger with peacock Signed Etching 24 x 45cm; 9½ x 17¾in (plate size) £150-250 25. Jean Baptiste Camille Corot (French 1796-1875) Souvenir D’Italie Etching 29.5 x 22cm; 11½ x 8½in £400-600 26. Charles Crombie (1885-1967) The rules of golf Eleven, all reproductions 21 x 26cm; 81/4 x 101/4in and similar (11) £200-300 25

WATERCOLOURS

30 27. After Raphaello Sanzio Cupid and the Three Graces Red chalk on paper 38 x 26cm; 15 x 10¼in A drawing of the fresco in a spandrel of the Loggia di Psiche, Villa Farnesina, Rome. £300-500 28. Italian School early 18th Century Mother and children in a landscape Conte and charcoal 33.5 x 24cm; 13 x 9½in £300-400

31A

29. Attributed to Domenico Maria Canuti Cherub hailing a seated prophet Pen, ink and watercolour, unframed 34 x 23.5cm; 13¼ x 9¼in £150-250

31. Manner of Giuseppe Bernardino Bison Figures in Italianate landscapes A pair, both gouache, oval Each 24 x 18.5cm; 9½ x 7¼in (2) £150-250

30. Captain John Durrant (fl.1790-1830) A Hovelling Boat, Dover Pen, ink and wash, mounted, unframed 16.75 x 11cm; 6½ x 4¼in With 5 further watercolours and drawings by the same hand including New Shoreham Church (6) Provenance: Thomas Lloyd (b.1826) of Cowesby Hall, Northallerton, Yorkshire and thence by descent until 1990 £300-400

31A. Italian School 18th Century Religious scenes Two, both pen, ink and wash, one on buff paper 36.5 x 26cm; 14½ x 10¼in and 44 x 28cm; 17¼ x 11in (2) £300-500

32. George Moutard Woodward (1760-1809) Laconic Conversation or Men of Letters!! Signed and titled Pen, ink and watercolour 24 x 17.5cm; 9½ x 6¾in £150-250 33. Thomas Rowlandson (1756-1827) Kingston Market Place Titled Pen, brown ink and watercolour 27 x 43cm; 10½ x 17in £600-800 34. Thomas Rowlandson (1756-1827) Village gossip Pen, ink and watercolour 13 x 21.5cm; 5 x 8in Provenance: Michael Bullivant, Winchester £500-800 35. John Nixon (c.1750-1818) Duke of Norfolk Signed and titled Watercolour 8 x 6cm; 3¼ x 2½in £100-150

36. John Downman, A.R.A. (1750-1824) Portrait of Charlotte Monro, three-quarter length, seated in profile, a landscape beyond Signed lower left and dated 1784 Watercolour and coloured chalks heightened with bodycolour, oval 19.5 x 15.5cm; 7¾ x 6¼in Provenance: By descent in the Monro family Charlotte Monro was the daughter of John Monro and his wife Elizabeth and the sister of the artist and patron Dr Thomas Monro. She died 20th January 1793 and is buried in Hadley Churchyard, Hertfordshire. £200-300 36

37 37. Alexander Cozens (1717-1786) A castle in a landscape Signed Grey wash on buff paper 10 x 18cm; 4 x 7in Provenance: Christie’s, 3.6.04, Lot 61 Spink-Leger, London, K3 11646 £800-1,200

38. George Perfect Harding (1779-1843) Portraits of a gentleman and a lady, three quarter length, standing A pair, both watercolour in pierced carved wood frames Each 31 x 22cm; 12 x 8¾in (2) £600-800

39. Adolphe (19th Century) Portrait of Alexander Godley, killed in Egypt 1801 Signed Watercolour over pencil, oval with a mount inscribed 28th Gloucester Regt., Egypt 36 x 27cm; 14 x 10½in £100-150

40. Pierre Joseph Lion (French 1729-1809) Portrait of General Carpenter (1713/14-1788) Signed indistinctly Pastel, oval 60 x 46cm; 23½ x 18in Provenance: Christie’s, London, 1995 Carpenter was a member of George III’s personal staff and became an equerry to him in 1760. He rose to the rank of General in 1783 £800-1,200

41. Johann Friedrich Dietler (Swiss 1804-1874) Portrait of a young gentleman wearing a green coat Signed and dated 1828 Watercolour, oval in an elaborate pierced frame and display box 14.5 x 11cm; 53/4 x 41/2in Provenance: Ellison Fine Art, London £300-500

42. Follower of John Raphael Smith Portrait of a gentleman and lady A pair, both pastel on grey paper, ovals Each 20.5 x 16cm; 8 x 6¼in (2) £150-250 43. George Perfect Harding (1779-1843) Portrait of Ann, Countess of Arran Signed with initials Watercolour 15 x 12cm; 6 x 4¾in £150-250

14 44. Henry Martens (fl.1828-1854) A Mounted trooper of the 16th Queen’s Lancers Signed with initials Watercolour, unframed 29 x 22cm; 11½ x 8¾in £200-300 45. Thomas Leeson Rowbotham (1782-1853) St. Luke’s Church, Brislington Brown washes over pencil heightened with stopping out 27.5 x 19.5cm; 11 x 7¾ in This drawing is likely to have been commissioned from Rowbotham by the great Bristol collector and anitiquary George Weare Braikenridge (1775-1856). £300-400

46. Attributed to Peter le Cave (act.1769-1816) A horse and cart on a stream, a church beyond Pen, ink and watercolour 16.5 x 21cm; 6½ x 8¼in With three further watercolours of rustic scenes by different hands (4) £200-300

47 47. Thomas Miles Richardson (1813-1890) Gatehouse of St. Mary’s Abbey, York Watercolour on buff paper, mounted, unframed 15 x 21.5cm; 6 x 8½in With 5 further unframed watercolours and drawings by the same hand including a view of Ravensworth Castle and one of the Lake District (6) £200-300

48 48. Samuel Jackson (1794-1869) View of a Bridge in a Mountainous Landscape Brown washes heightened with stopping out 19 x 28cm; 7½ x 11in Provenance: With the Gallery Downstairs, London, 1991 £200-300

15 49. John Varley O.W.S. (1778-1842) Travellers resting on a path near Capel Curig, mount Snowdon beyond Signed Watercolour 15 x 22cm; 6 x 8¾in £1,000-1,500 50. John Varley O.W.S. (1778-1842) Landscape, North Wales Watercolour heightened with stopping out 25 x 35cm; 10 x 14in. Provenance With Thos. Agnew & Sons, London pre 1952 £600-800 51. John Varley O.W.S. (1778-1842) Cattle by a pool, a castle beyond Signed Pen, ink and watercolour 9.5 x 14cm; 3¾ x 5½in Provenance: Michael Bullivant, Winchester £200-300

52. Cornelius Varley (1781-1873) Llanberis Church, North Wales Signed, inscribed Llanberis Church and dated 1802 Pencil 15.3 x 35.3cm; 6 x 13¾in This drawing originates from a sketchbook which Varley used on his 1802 tour to North Wales with his brother John and the architect Thomas Webster. The album was still intact at the time of Colnaghi’s 1973 exhibition and eleven of the sheets (but not the present one) are watermarked E & P 1796. £300-400

53. Frederick Arthur Bridgman (1847-1928) Egyptian landscapes 26, many stamped Atelier F.A. Bridgman, Nice 1954, some inscribed, titled and dated All pencil, set in four mounts 29 x 43cm; 11½ x 17in (mount window sizes) (4) £500-700

54. George Romney (1734-1802) Titiana’s Chariot in Midsummer Night’s Dream; Opening of the Ark; A deathbed scene and a group scene Four, all pencil, mounted, unframed 22 x 22cm; 8½ x 8½in and smaller (4) £400-600

55. English School early 19th Century A panorama of Taunton, Somerset including the Batts residence of G. A. Robinson, Glastonbury and the Mendip hills Inscribed below image Watercolour 23.5 x 93cm; 9½ x 36½in (image size) £120-180

56. English School 19th Century Yniscedcadwyn Iron Works, South Wales Titled and dated 1849 on a label verso 24.5 x 35cm; 9½ x 13¾in With another of sheep and cattle in a river valley framed as a pair (2) £150-250

57. English School 1866 87th Highlanders Embarking on board the Hy**alas for Dublin 1866 Titled on backing paper below image Watercolour 24.5 x 35cm; 9½ x 13¾in £150-250

58 58. After Joseph Mallord William Turner R.A. The Dort packet boat from Rotterdam becalmed; The Lake of Lucerne from the landing place A pair both signed with an unidentified monogram Both watercolour Each 32 x 46cm; 12½ x 18in (2) £300-500 59. James Baker Pyne (1800-1870) The Ribblehead Viaduct, Yorkshire Signed and numbered 434 Pencil and watercolour heightened with white and scratching out 17 x 25.5cm; 6¾ x 10in Provenance: Christie’s 1st July 2004, Lot 76 £200-300

59 60. Reverend William Gilpin (1724-1804) Landscape with distant mountain With studio blind stamp Pen, pencil and wash on buff paper 16 x 22.5cm; 6¼ x 9in Provenance: Christie’s, Second studio sale, 6th June, 1804 Sanders of Oxford, Lot 68 £120-180

60 61. Frederick James Aldridge (1850-1933) Dutch Pinks; Fishing boats A pair, both signed Both oil on board Each 14 x 23cm; 51/2 x 9in (2) Provenance: Michael Bullivant, Winchester £150-200

62. William Payne (1760-1830) At Ryde, Isle of Wight Inscribed upper right Ryde/ Isle of Wight with a sketch of Cowes from the road to Wooton Bridge verso Grey washes over pencil 9 x 15cm; 3½ x 5¾in Provenance: Michael Ingram This originated from an album of sketches by Payne which included a number of Isle of Wight views dated between 1810 and 1823 £200-300

63. William Lewin (c.1720-1795) Goshawk, No. 9 Watercolour with bodycolour 20 x 17cm; 8 x 6¾in Provenance: Covent Garden Gallery, London A drawing for The Birds of Great Britain Accurately Figured, published 1789-1795 £150-200

64. Charles Whymper (1853-1941) Golden Eagle; Partridge; Grouse Three, all signed, one with initials All watercolour 34 x 24cm; 13¼ x 9½in and two at 20.5 x 34cm; 8 x 13¼in (3) £300-400

65. ‡ Richard Jack R.A. (1866-1952) Illustrations of soldiers and militia 7, all signed and dated ‘92 All grisaille washes, mounted, unframed 24 x 20cm; 9½ x 8in (7) £50-100

66. Clarkson Stanfield R.A. (1793-1867) Ramsgate Signed and dated 1836 Watercolour over pencil with bodycolour 22.5 x 31cm; 9 x 12¼in Provenance: Sotheby’s 17th November, 1988, Lot 146 £400-600 68

67. George Pyne (1800-1884) Figure hanging out washing from an old house over a river Watercolour 8.5 x 11.5cm; 31/2 x 41/2in Provenance: Michael Bullivant, Winchester £200-300

68. John Frederick Tayler P.R.W.S. (1802-1889) The Huntsman’s Rest Signed with initials Watercolour over pencil 13 x 19.5cm; 5 x 7¾in Provenance: Michael Bullivant, Winchester £150-200

70. David Cox Snr. (1783-1859) Fisherman on the river Wharfe near Barden Tower, Yorkshire Signed Watercolour and black chalk 21 x 28cm; 8¼ x 11in Provenance: Edward V. Phillips £500-700

69. David Cox Snr. (1783-1859) Near Rowsley, Derbyshire Titled Black chalk, with chalk sketch verso 20 x 26.5cm; 7¾ x 10½in Provenance: William Ellis, 1845 Private collection, Canterbury Michael Bryan, 1998 With Martyn Gregory, 2005 This drawing dates from Cox’s trip to Derbyshire in May 1845 in the company of his friend and patron William Ellis. He frequently visited Haddon Hall from 1831 onwards and the area was a favourite sketching area. £300-400

71. Attributed to Anthony Vandyke Copley Fielding (1787-1855) Figures by a pond and a country inn in a wooded landscape Watercolour heightened with scratching out 12 x 19cm; 4¾ x 7½in £200-300 72. Alfred Gomersal Vickers (1810-1838) Hamburg Watercolour 24 x 37cm; 10 x 14½in £200-300

73. John Callow (1822-1878) Village scene Signed with initials Pencil on grey paper, unframed 27 x 38cm; 10½ x 15in With 7 various unframed watercolour by Beavis, Raven-Hill, Simpson and others (8) Provenance: The collection of Brigadier A.C. Sykes of Corton, Wiltshire and by descent £100-200 74. Wigerius Vitringa (Dutch 1657-1721) Fishing boats on a river Signed and dated 1703 Pen, ink and wash 12.5 x 17cm; 5 x 6¾in £300-500

75. Pieter Pietersz. Barbiers (1749-1842) Buildings in an open landscape, Holland Signed verso Watercolour 26 x 37cm; 10¼ x 14½in Provenance: Michael Bullivant, Winchester £200-300 76. John MacWhirter R.A. (1839-1911) Lake Como Signed Watercolour 17.5 x 24.5cm; 7 x 9½in £200-300 77. Newton Smith Limbird Fielding (1799-1856) Woodcock feeding by a Stream Signed with initials Watercolour over pencil heightened with gum arabic and scratching out 16 x 25cm; 6¼ x 9¾in Provenance: Michael Ingram With Guy Peppiatt Fine Art, 2007 Newton Fielding is the younger brother of Anthony Vandyke Copley Fielding (1787-1855) £300-400

21 78. Fritz B. Althaus (act.1881-1914) A river landscape Signed and dated 03 Watercolour 27 x 38cm; 10½ x 15in £200-300 79. English School 19th Century Lake Como point, Balbianello on the shore Watercolour 25.5 x 47cm; 10 x 18½in £150-250 80. Edward Dayes (1763-1804) Salisbury Cathedral Signed and dated 1793 on a label verso Watercolour 16.25 x 21.25cm; 6½ x 8½in Provenance: Fine Art Society, Oct. 1945 £2,000-3,000

81 81. Johann Baptist Stuntz (Swiss 1753-1836) Vue du Château de Reichenstein dans L’Évêché de Bâle Gouache 30 x 43cm; 12 x 17in £200-300

82 82. Henry John Kinnaird (1861-c.1920) View of Winchester Signed and titled Watercolour 26.5 x 19cm; 101/2 x 71/2in Provenance: Wykeham Gallery, Stockbridge £700-1,000

83 83. William Leighton Leitch R.I. (1804-1883) Marine studies A pair, both watercolour Each 5 x 10cm; 2 x 4in (2) £150-200 84. Garden Grant Smith (1860-1913) Figure in a wooded river landscape Signed, also dated indistinctly Watercolour with scratching out 21.5 x 31cm; 8½ x 12¼in £150-200

84 85. J. A. Blaine (19th Century) Knole Park Signed, titled and dated 11th Oct. 1854 Watercolour 33 x 50cm; 13 x 29½in £150-200

86. Attributed to William Adolphus Knell (1805-1875) Fishing boats off the Dutch coast Watercolour 6.5 x 9cm; 2½ x 3½in Provenance: Christie’s 30th September, 2004, Lot 48 £100-150 87. John Laporte (1761-1839) Figures approaching a church by boat Watercolour with bodycolour 41.5 x 35.5cm; 6¼ x 14in £300-400 88. English School 19th Century Boats by a pier Watercolour in an arched mount 25.5 x 44cm; 10 x 17¼in With two further watercolours of Streatley Mills and a view of Eigg and Rum by different hands (3) £200-300

23 89. Karl Ivanovich Kollmann (Russian 1788-1846) Three peasant women gathering herbs Dated 1842 Watercolour 23.5 x 19cm; 9¼ x 7½in Provenance: Christie’s, Imperial and PostRevolutionary Russian Art, October 6th, 1988, Lot 405 £800-1,200

90. Karl Ivanovich Kollmann (Russian 1788-1846) A woman and child visiting a peasant Watercolour over pencil 13.5 x 19cm; 5¼ x 7½in Provenance: Christie’s, Imperial and PostRevolutionary Russian Art, October 6th, 1988, Lot 406 £600-800

24 91. Joshua Dighton (1831-1908) Frederick Archer on Caledonia, winner of Two Year Old stakes and Landport stakes, Lewes, April, 1877 Watercolour with gum arabic 19 x 14cm; 7½ x 5½in £300-500

92. English School c.1830 Portrait of a young gentleman Pencil, oval 19 x 14cm; 7½ x 5½in Provenance: Thomas Agnew & Sons Ltd, London, DB2869 £200-300 91

92 93. ‡ Helen Farquhar (20th Century) Emmelline, No. 1 Signed and dated 1908 Watercolour 49.5 x 36cm; 19½ x 14in £400-600

94. After Giovanni Battista Salvi, il Sassoferrato The Madonna and Child embracing in an interior, a landscape with Saint Joseph beyond Watercolour 67 x 49.5cm; 26¼ x 19½in £200-300

95. Edward Henry Corbould (1815-1905) Wayside rest Signed and dated 1844 Watercolour 41 x 30cm; 16 x 12in £300-500

96. English School 19th Century A gamekeeper taking aim from his horse Watercolour 39 x 30cm; 15¾ x 11¾in £400-600

97. Francis George Coleridge (1840-1925) The Thames near Eton College Chapel; Looking across to Windsor Two, both signed and dated 1872 and 1869 Both watercolour, framed as a pair Each 32.5 x 47.5cm; 12¾ x 18¾in (2) £500-800 98. Francis George Coleridge (1840-1925) Haymaking on the Thames at Pangbourne Signed and dated 1874 Watercolour 21 x 49cm; 8¼ x 19¼in With another of the Lynch House, Kensworth by Edith D. Brinton (2) £200-300

99 99. Howard Gull Stormont (1844-1923) Eventide, a Surrey Common Signed and dated 1895 Watercolour 29.5 x 46cm; 11½ x 18in £150-250

100 100. F. Millet (early 20th Century) Sunset over a stream Signed Watercolour 34 x 50cm; 131/4 x 193/4in £200-300

26 101. Frances (Fanny) Herbert Neale née Nisbet An album of watercolours and prints with watercolours of flowers and insects by Fanny (c.33) most signed Frances Herbert Nisbet. Also including works signed E. O’N. N. (Evangeline O’Neale Neale) some dated (c.9), Anna Maria Lucas (c.4) and W. Jacobson (c.4) with c.27 small prints. All watercolour or gouache 36 x 26cm; 14 x 10¼in (album size) Together with the book Nelson’s First Love, Fanny’s Story by Patrick Delaforce (2) Provenance: Fanny Herbert Neale, 1864, Cheltenham Frances Neale was Lady Nelson’s grand-daughter, being the eldest daughter of Lady Nelson’s son Josiah Nisbet, from her first marriage to Josiah Nisbet, a doctor on the Island of Nevis in the Caribbean, where she grew up. £200-300 102. Scottish School 19/20th Century Loch Valtos, Laxy River, Isle of Lewes Signed with initials D.R.W. and dated 81 Watercolour 24 x 33cm; 19½ x 13in £100-150

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103. Edmund George Warren (1834-1909) View of the River Wharfe at The Strid near Bolton Abbey, Yorkshire Signed and dated 1876 Watercolour with gum arabic 44.5 x 65cm; 17½ x 25½in £200-300 104. Thomas Tudor (1785-1855) View from the Devil’s Bridge near Aberystwyth Inscribed From the Devils Bridge Pencil with grisaille washes with scratching out on grey paper 25 x 31cm; 9¾ x 12¼in Provenance: By descent from the artist until with Walker Galleries, 1961 This is a view taken from the Devils Bridge over the river Mynach in the Rheidol Gorge system. It stands twelve miles from Aberystwyth £200-300

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105 105. Helen Allingham (1848-1926) Geese and a girl by a rustic cottage Signed Watercolour 25 x 37cm; 10 x 14½in £2,000-3,000 106. Carl Friedrich Werner R.W.S., R.I. (German 1808-1894) A Billiard Room with a game in progress Signed and dated 1861 Watercolour 24 x 34cm; 9½ x 13½in Literature: Sport and the Artist, Vol. 1, Ball Games, Antique Collector’s Club, 1988 £500-800

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107 107. English School early 19th Century St. George’s Chapel, Windsor from the South East with a distant view of Eton college and the West End with Henry VIII Gateway Two, both watercolour Each 38.5 x 51cm; 15 x 20in (2) Provenance: Spink, London K3/7056 Rev. Julian Richards £1,500-2,500

108. William Hickling Burnett (c.1800-1860) Figure by a ruin in a landscape Watercolour 14.5 x 23cm; 6 x 9in £300-500

109. Follower of Abraham Louis Rodolphe Ducros Peasants by a Roman arch Watercolour 58.5 x 45cm; 23 x 17¾in £200-300 110. Follower of Antonio Joli Classical ruins Signed with a device lower left Gouache 35 x 47.5cm; 13¾ x 18¾in £200-300 111. Edward Dayes (1763-1804) A view of Glasgow Cathedral from the North East Signed and dated 1792 Watercolour 16 x 21.5cm; 6¼ x 8in Provenance: Christie’s, 23rd March 2005, Lot 47 £300-500

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112. George Buchanan Wollaston (1814-1899) Bosham Church, Nr. Chichester, Sussex Watercolour 25 x 35cm; 10 x 13¾in £200-300 113. English School 19th Century Clapham Old Town Signed with initials below mount Watercolour 23.5 x 34.5cm; 9¼ x 13½in £200-300 114. James Holland (1800-1870) The market place Rouen; A boat, Rouen Two, both inscribed and dated August 25th and August ‘26 Both pencil on buff paper, mounted, unframed 17 x 25cm; 6¾ x 9¾in and similar (2) £150-250

115. Thomas Charles Leeson Rowbotham (1823-1875) Figures by a country bridge; Figure by a cottage in winter A pair, both signed with initials, the first dated 1868 Both watercolour heightened with white Each 7 x 11cm; 2¾ x 4¼in (2) £200-300 116. Robert Ponsonby Staples (1853-1943) Cromer Church Signed, titled and dated 1899 Pencil on buff paper 31 x 24cm; 12 x 9½in Provenance: David Ker Fine Art, London, J220i £100-150

116

30 117. William Ayerst Ingram (1855-1913) Sailing boat in moonlight Signed Watercolour 44 x 80cm; 17¼ x 31½in £300-500 118. ‡ Pelham Jones (c.1890-c.1950) The Cutty Sark; Herzogin Cecilie; Olivebank Three, all signed and dated 1936 and 1933 All watercolour with bodycolour Each 34 x 53cm; 13½ x 21in (3) £600-800

117

119. Wilfred Knox (1884-1966) Venice from the lagoon A pair, both signed Both watercolour Each 36 x 52cm; 14 x 20½in (2) £200-300 120. Frederick James Aldridge (1850-1933) Katwjk Sands, Holland Signed and titled Watercolour 49 x 71cm; 19¼ x 28in £200-300

118

119

120

121

121. Joseph Richard Bagshawe (1870-1909) In the Dawn and fishing scenes Three, all signed All watercolour 23.5 x 35cm; 9¼ x 13¾in and smaller (3) £600-800 122. William Callow R.W.S. (1812-1908) French fishing boats in a storm Signed and inscribed indistinctly Watercolour over pencil with bodycolour, scratching out and gum arabic 18 x 30cm; 7 x 11¾in Provenance: Sotheby’s 14/07/04, Lot 47 £600-800

122

123. Harry Goodwin (1840-1925) Baveno, Lake Maggiore, Italy Signed, titled Baveno and dated April 1887 Watercolour 34 x 66cm; 13¼ x 26in £200-300

123

32 124. Robert Dudley (1826-1900) The painted bridge, Lucerne, Switzerland Signed and dated 1875 Watercolour 33.5 x 44.5cm; 13¼ x 17½in Provenance: Abbott & Holder, London £200-300 125. ‡ Neil Forster (b.1940) Study for Blues Trumpeter Signed and titled Pastel 29 x 35cm; 11½ x 13¾in £150-200

124

126. Leonardo Morello (Italian 19/20th Century) At play Signed Watercolour 48.5 x 66cm; 19 x 27in £150-200

125

127. Nicola Ortis (Italian 19th Century) Putti standing holding plaques A pair, both signed, one under mount Both watercolour Each 24 x 11.25cm; 9½ x 4½in £250-350

126

128. ‡ Rhys Jenkins (20th Century) El Zarub Signed Watercolour 31.5 x 19cm; 12¼ x 7½in £150-250

127

128

129

129. Archibald Thorburn (1860-1935) Cock pheasant in a woodland Signed and dated 1903 Watercolour with bodycolour 28 x 48.5cm; 11 x 19in Archibald Thorburn is the best known British ornithological painter and still sets the benchmark for paintings of birds. Although many other artists have followed Thorburn, he is cherished by collectors for the quality of his work but also because he was devoted to the protection of birds, he was vice-president of the RSPB and designed their Christmas card from 1899 to 1935, the year of his death. This watercolour of a cock pheasant is a vibrant work, the plumage displays Thorburnâ&#x20AC;&#x2122;s mastery of complex colour tones. ÂŁ12,000-18,000

130 130. George Percy Jacomb-Hood R.O.I., N.E.A.C. (1857-1929) Tent pegging (Skinner’s Horse) Signed, titled and dated 1912 Watercolour with bodycolour 26 x 21.5cm; 10¼ x 8½in Provenance: The Wingfield Sporting Gallery, London Painted while on tour in India with King George V, while a member of his staff £250-350

131 131. ‡ Col. Maurice Tulloch (1894-1974) Pig sticking, Kadir Heat Signed Watercolour with bodycolour 25 x 37cm; 10 x 14½in £200-300

132

132. William Prinsep (1794-1874) A bamboo clump; A Peepal tree A pair, both signed with initials and inscribed verso Both watercolour 14.5 x 11cm; 5¾ x 4½in and 12.5 x 11.5cm; 5 x 4½in (2) £400-600

35 133. Indian School 19th Century A lady and her maids in a bedroom Gouache, in a decorative border 21.5 x 15.5cm; 8½ x 6in With another of lovers on a terrace (2) £200-300 134. Indian School 19th Century A gentleman with a hawk; A lady with a flower Two, both gouache 17.5 x 8.5cm; 7 x 3¾in and similar With two further gouaches of a gentleman on a horse and a lady and gentleman on a camel (4) £200-300 135. Indian School 19th Century Lovers on a terrace Signed with initials Gouache, in a decorative border 21 x 14cm; 8¼ x 5½in £300-500

133

136. Japanese School late 19th Century A chapter from the Tale of Genji Watercolour with gold leaf 25 x 46cm; 10 x 18in £200-300

134

135

136

OIL PAINTINGS

137

137. Cuzco School 18/19th Century The young Virgin Mary spinning; Young Jesus pricked with a crown of thorns A pair, both oil on canvas laid on board Each 41 x 32.5cm; 16 x 12¾in (2) £500-800

138

138. Italian School 18/19th Century Madonna and child Oil on canvas, unframed 91 x 76cm; 36 x 30in £200-300

139. Continental School 18th Century The crucifixion, a triptych with side panels of saints playing the organ and the harp surrounded by cherubs playing musical instruments Oil on panel, in a wooden case with a gilt cross and crown surmount 64 x 42 x 11cm (closed); 45 x 33.5cm (centre image); 64 x 84.5cm (open) £500-800

139

140

140. Follower of Dirck Wyntrack Ducks in a landscape Oil on copper 27 x 40cm; 10½ x 15¾in £1,000-1,500

141. Follower of David Teniers A tavern scene Oil on panel 35 x 45cm; 14 x 17¾in £300-500

141

142. Follower of Nicolaes Berchem Sheep and cattle with a family before a ruin Oil on canvas 44 x 65cm; 17¼ x 25½in £300-400

142

143 143. English School 17th Century Portraits of a boy wearing blue and a girl wearing white with a blue sash and pearls A pair, both oil on canvas Each 76 x 63cm; 30 x 25in (2) £3,000-5,000 144. English School c.1700 Portrait of a lady in Elizabethan dress Oil on canvas 70 x 58.5cm; 27½ x 23in £800-1,200

144

145 145. Circle of Daniel Mytens Portraits of a gentleman and a lady wearing a ruff A pair, both oil on panel Each 48 x 41cm; 19 x 16in (2) ÂŁ4,000-6,000 146. English School 18th Century Portrait of a girl with her pet dog in a landscape Oil on canvas 61 x 48.5cm; 24 x 19in ÂŁ500-700

146

40 147. Manner of Sir Anthony Van Dyck Study of Saint Jerome Inscribed Oil on canvas 54 x 43cm; 21¼ x 17in £500-800 148. 18th Century follower of Jan Havicksz. Steen Lovers at a gate Bears signature Oil on canvas 42 x 33cm; 16½ x 13in £400-600

148

147

149. After Pieter Cornelisz. Van Slingeland A young lacemaker being offered poultry by a seller through the window Signed Oil on panel 36 x 28cm; 14 x 11in This is a 19th Century copy of the original in the Gemäldegalerie Alte Meister Dresden £600-800 150. Follower of Frans Snyders A brown bear being baited by dogs Oil on canvas 33 x 46cm; 13 x 18in £200-300

151. Follower of Peter Monamy The Evening Gun Oil on canvas 37 x 43cm; 14½ x 17in £300-400 152. Friesland School 16th Century Portrait of an elderly lady, seated, wearing a ruff Charged with a coat of arms Oil on panel 91 x 72cm; 36 x 28½in £4,000-6,000

149

150

151

152

42 153. Circle of Jean-Baptiste Oudry A spaniel and bird with fruiting vine and ornamental knife Oil on canvas laid on panel 58.5 x 68cm; 23 x 27in £2,000-3,000

153 154. Circle of Tobias Stranover Still life of fruit with a basket and bowl and a Parrot and Jay Oil on canvas 81 x 100cm; 32 x 39½in £2,500-3,500

154

155

156 155. Attributed to William Marlow (1740-1813) Pulteney Bridge, Bath Oil on panel 18 x 25cm; 7 x 10in For a similar view of the Pulteney Bridge by Marlow see the work in the Victoria Art gallery, Bath ÂŁ1,000-1,500

156. Follower of Giovanni Antonio Canal, called Canaletto Gondolas on the Grand Canal, Venice Oil on canvas 61 x 101cm; 24 x 40in ÂŁ1,000-1,500

157

157. Circle of William James View of the Thames, London, with the Savoy Palace, Savoy Church, Somerset House, and the spires of St. Mary-le-Strand and St. Clement Danes Oil on canvas 66 x 111cm; 26 x 43½in £3,000-5,000 158. Thomas Wyck (c.1616-1677) Merchants in a harbour Oil on canvas, unframed 52 x 61cm; 20½ x 24in £3,000-5,000

158

159 159. Jean-Baptiste Monnoyer (French 1635-1699) Still life of summer flowers in an urn Oil on canvas 91 x 78cm; 36 x 31in

Provenance: From the collection of Woolf (Babe) Barnato (1895-1948), financier and racing driver, one of the ‘Bentley Boys’ of the 1920s By descent to the present owner £4,000-6,000

160

161

160. Attributed to John Greenhill (c.1645-1676) Portrait of a lady, thought to be Elizabeth Wriothesley, Lady Percy, later the Countess of Northumberland Oil on canvas 61 x 51cm; 24 x 20in £1,500-2,500 161. Circle of Mary Beale Portrait of a Lady with ringlets, half length in a fruit swag painted cartouche Oil on canvas 76 x 63cm; 30 x 25in £1,500-2,500 162. French School 19th Century Portrait of a lady wearing white Oil on canvas in a Florentine carved wood frame 53.5 x 44.5cm; 21 x 17½in £700-1,000

162

163

163. Armand Lejeune (French 1865-?) Portraits of Marie Celestine and Jean Georges Fehleisen of Reutlingen Oil on canvas, oval Each 72 x 60cm; 28¼ x 23½in (2) Inscribed on stretcher with the names of the sitters and artist and that these are copies of the originals belonging to Docteur Ludewig. £800-1,200 164. Joseph Wright (American 1756-1793) Portrait of a lady, head and shoulders wearing a white lace bonnet Inscribed on an original label verso: Jo Wright Pinx. No 6 Titchfield Street, Oxford Market, London also dated 1780 on the stretcher Oil on canvas, oval 33 x 25cm; 13 x 10in Wright arrived in England in 1775, his mother, the pioneering American sculptress Patience Wright, having arrived in 1772. He studied at the Royal Academy for 6 years winning a silver medal in 1778. In 1781 Wright and his mother went to Paris where he painted Benjamin Franklin. In 1782 he returned to America where he became from 1793 the principal designer and draughtsman for American coinage. £400-600

164

48 165. Circle of Arthur Pond Portrait of a young man wearing a blue coat in a painted oval Oil on canvas 76 x 63.5cm; 30 x 25in £1,000-1,500 166. English School c.1800 Portrait of an officer, half length Oil on canvas 83 x 66cm; 32¾ x 26in £400-600 167. English School late 18th Century Portrait of a gentleman, head and shoulders Oil on canvas, in a carved wood frame 56 x 48cm; 22 x 19in £800-1,200

165

166

167

49 168. Follower of Thomas Hudson Portrait of Lady Robinson Oil on canvas in a carved wood frame 127 x 101cm; 50 x 40in £2,000-3,000 169. After Elisabeth Louise Vigée Le Brun Self portrait Oil on canvas 50.5 x 40.5cm; 20 x 16in £500-700 170. Follower of Pieter Barbiers (1749-1842) Figures by a building in a river landscape Oil on canvas in a Florentine frame 43 x 36cm; 17 x 14in £300-400

168

169

170

171 171. French School 18th Century Still life of flowers and fruit on a ledge in a landscape Oil on canvas 73.5 x 130cm; 29 x 51in ÂŁ2,500-3,500 172. Dutch School 18th Century Still life of flowers in a vase and pears on a ledge Bears signature 86 x 59cm; 34 x 23in ÂŁ400-600

172

173 173. Attributed to Adam Pynacker (Flemish c.1620-1673) The Annunciation to the Shepherds Oil on panel with panel maker’s seal verso, unframed 28 x 35cm; 11 x 13¾in For another example of this subject please see Sotheby’s New York, 22nd April 2015, Lot 15 £4,000-6,000 173A. Jürgen Ovens (German 1623-1678) Semele gazing into a mirror Oil on canvas 110 x 95.5cm; 43¼ x 37½in £4,000-6,000

173A

174 174. Sir Thomas Lawrence P.R.A. (1769-1830) Portrait of Mrs. Letitia Balfour (1745-1838), seated, wearing a bonnet Oil on canvas, 91 x 71cm; 36 x 28in Provenance: Sotheby’s, London, British Paintings 1500-1850, 12th March 1986, Lot 56 Maryanne Wilkins (Wilkins & Wilkins, art dealers), St. Christopher’s Pl., London, who sold to (10th December 1993) David Fuller, Oakmead Rd., London Private English Collection

The portrait dates to the second half of the 1790s. The canvas is stamped: J. Middleton, 81 St. Martin’s Lane. John Middleton was a major supplier of canvases etc. to Lawrence from at least 1790. Lawrence owed the substantial sum of £400 to Middleton in 1801 (Farington Diary). The sitter’s son, Blayney Townley Balfour was painted (unfinished) by Lawrence c.1810. (Catalogue of Paintings by K. Garlick, No. 769, Page 273). £4,000-6,000

175 175. Jakob Bogdani (Hungarian 1660-1724) Still life of grapes, peaches, pomegranate and flowers on a stone plinth in a landscape with a butterfly Signed Oil on canvas 76 x 63.5cm; 30 x 25in

Provenance: The Collection of Henry F. Pulitzer, The Pulitzer Gallery, 5 Kensington High Street, London W8 Private Collection ÂŁ25,000-35,000

54 176. Jean François Hue (French 1751-1823) Figures on a track and fishermen in a classical landscape Signed Oil on canvas 61 x 48cm; 24 x 19in £1,500-2,500 177. Continental School 19th Century Coastal Scene Oil on canvas 34 x 51cm; 13¼ x 20in £200-300 178. French School 18/19th Century Dionysus, ladies and a Satyr, with goats in a landscape Oil on canvas 29.5 x 35cm; 11¾ x 13¾in £300-500

176

177

178

179 179. Sir Henry Raeburn (1756-1823) Portrait of the Reverend James Lindsay of Pinkieburn (1711-1796), three-quarter length, seated Oil on canvas 91 x 71cm; 36 x 28in Thought to have been painted c.1787 Provenance: Ref. W. Lindsay Alexander, D D Christieâ&#x20AC;&#x2122;s 1914 Wallis The Ehrich Gallery, New York, 1919

Mrs John Washburn Minneapolis Institute of Art Literature: Listed in Life and Works of Sir Henry Raeburn, by James Greig, p.51 (London Connoisseur, 1911) Lindsay was licensed by the Presbytery of Edinburgh in 1732 and employed as tutor at Thirlstane Castle, Lauder. In 1736 he was ordained at Lauder church. In 1746 he was transferred to Dunborney and in 1750 to Lochwarben, moving to minister of Kirkliston, Linlithgowshire in 1765. ÂŁ6,000-8,000

180

181 180. Continental School 18th Century Portraits of a Lady and a Gentleman, both half length A pair, both oil on canvas 35 x 28.5cm; 13¾ x 11¼in (2) £600-800

182 181. English School c.1829-30 Portrait of an Officer of the 3rd (King’s Own) Light Dragoons, half length wearing uniform Oil on canvas 51 x 41cm; 20 x 16in £400-600

182. English School early 19th Century Portrait of a lady, thought to be Mrs Elizabeth Rumbold Head and shoulders, wearing a white dress Oil on canvas, in a painted oval 77 x 63cm; 30 x 25in £400-600

57 183. Manner of Paolo Veronese 18th Century Martyrdom of St. Sebastian and a trial scene by a clasical building A pair, both oil on canvas Each 75 x 100cm; 29½ x 39¼in (2) £2,500-3,500

183

184

185

186 184. Follower of Jan Breughel Tobias and the angel in a landscape Oil on copper 33 x 54cm; 13 x 21½in £800-1,200 185. Russian School 18/19th Century An Icon depicting St Constantin and St Elena, standing holding the cross oil on panel 60 x 46cm; 23½ x 18in With another icon of two saints, 40 x 32cm; 15¾ x 12½in (2) £300-500

187

186. Continental School 18th Century St. Catherine, full length, standing with a wheel by a tower Oil on panel 71 x 27.5cm; 28 x 11in £300-400 187. Continental School 18th Century A lady reclining with a lute Inscribed indistinctly verso Amy Rob***t Oil on copper 15 x 19cm; 6 x 7½in £100-200

188 188. William Duffield (1816-1863) Still lifes of fish and a lobster and dead game A pair, both signed and dated 1861 Both oil on canvas Each 30 x 53cm; 12 x 21in (2) ÂŁ2,000-3,000

189

190 189. Circle of Francis Wheatley R.A. A country fruit and vegetable seller; A town fish seller A pair, both oil on panel Each 32 x 25cm; 12½ x 10in (2) £800-1,200

191 190. English School 19th Century Portrait of two children Oil on canvas in a painted circle 58 x 55cm; 23 x 21½in £200-300

191. After John Russell (1745-1806) The Blind Beggar and his Grand-Daughter Oil on canvas 88 x 71cm; 34½ x 27½in A 19th Century copy of the original in the Bowes Museum, Co. Durham £300-500

192

193 192. Thomas Barker of Bath (1769-1847) Caught in a storm Signed with initials and dated 1837 Oil on canvas 50 x 67cm; 19¾ x 26¼in £1,000-1,500

194 193. Follower of Benjamin Barker of Bath Loading the donkey cart Oil on canvas 30.5 x 40.5cm; 12 x 16in £300-500

194. English School 19th Century A trip to the mill Oil on panel 20.5 x 26cm; 8 x 10in £150-250

62 195. Henry John Boddington (1811-1865) View of Windsor Castle; View of St. Alban’s Cathedral A pair, both oil on panel Each 30 x 40cm; 12 x 15¾in Provenance: Leger Galleries, London, March 1976 £1,500-2,500

196. Richard Hilditch (mid 19th Century) Cambridge Meadow, Richmond Signed, titled and dated 1855 on a label verso, possibly in another hand Oil on canvas laid on board 20 x 27cm; 8 x 10½in £200-300

197. Augustus S. Boult (act.1815-1853) The ploughman’s lunch Signed Oil on canvas 34.5 x 47cm; 13½ x 18½in £400-600

195

196

197

63 198. Thomas Sidney Cooper R.A. (1803-1902) In Canterbury Meadows Signed and dated 1890 Oil on panel 36 x 28cm; 14 x 11in £2,000-3,000

199. Follower of Thomas Sidney Cooper R.A. Cattle and sheep by a river Oil on panel 43 x 58cm; 17 x 23in £300-500

200. George G. Bullock (c.1810-1859) Mangles Gateway, Isle of Thanet Signed and titled on a label verso Oil on panel 19 x 22.5cm; 7½ x 9in £300-500

198

199

200

201

202

203 201. John Wilson Carmichael (1800-1868) Fishing boats in a calm Signed indistinctly Oil on canvas 43 x 61cm; 17 x 24in £2,500-3,500

202. John Wilson Carmichael (1800-1868) Shipping in a calm sea off the coast, a pier beyond Signed and dated 1859 Oil on canvas 34 x 49cm; 13½ x 19¼in £2,000-3,000

203. 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 £7,000-10,000

204

205

204. Edmund Bristow (1787-1876) Two boys fishing with their dog Signed and dated 1847 Oil on canvas 40.5 x 30.5cm; 16 x 12in £400-600

206

205. Henry Baldwin (19/20th Century) A sunny day by the river Signed Oil on board 30.5 x 23.5cm; 12 x 9¼in £200-300

206. George Morland (1763-1804) Travellers and mule in a winter landscape Signed Oil on canvas 41 x 33cm; 16 x 13in £400-600

207. Alfred Joseph Woolmer (1805-1892) A peasant in a town at dusk Signed Oil on canvas 44 x 38cm; 17½ x 15in £300-400 208. Attributed to George Morland (1763-1804) Shepherds and sheep Signed Oil on canvas 50 x 38cm; 19¾ x 15in £300-500

207

208

209 209. Samuel Walters (1811-1882) A barque at sea, possibly off the Skerries, Anglesea Inscribed on flag Wha*ni Owens Oil on canvas 93 x 115cm; 36½ x 45¼in £2,000-3,000 209A. Follower of George Morland A harvest break Bears signature Oil on canvas 48 x 56cm; 19 x 22in £300-400

209A

68 210. Eugène Verboeckhoven (1798-1881) The egg seller Signed Oil on panel 20 x 26cm; 8 x 10¼in £600-800 211. George Hepper (c.1840-c.1870) Huntsman on the moors Signed Oil on panel 15 x 22.5cm; 6 x 9in £200-300 212. English School 19th Century Interior scene in Elizabethan times Oil on panel, unframed 41 x 76cm; 16 x 30in £200-300 210

211

213 213. John Alfred Wheeler (1821-1903) A ghillie and stag by a loch Signed with initials Oil on board 15 x 21cm; 6 x 8¼in £150-250

212

214 214. American School 19th Century Portrait of a mother and son Signed P. Foy and dated 1866 Oil on canvas 43 x 66cm; 17 x 26in £300-400

69 215. Dutch School c.1700 Coming into harbour Oil on panel 26 x 36cm; 10 x 14in £600-800 216. Edward Williams (1782-1855) Figures crossing a stream Oil on panel 46 x 61cm; 18 x 24in £800-1,200 217. Circle of Patrick Nasmyth Cattle and rustics on a track by some cottages Oil on panel 46 x 62.5cm; 18 x 24½in £500-800 218. A. Witherspoon (19th Century) Ships at dusk Signed Oil on board 28 x 41cm; 11 x 16in £200-300

215

216

217

218

222

219

219. William Raymond Dommersen (Dutch 1850-1927) Zonnenbergh, Holland Signed, also signed with initials and titled verso Oil on canvas 51 x 76cm; 20 x 30in £400-600

220. Dutch School early 19th Century Shipping on the coast Oil on canvas 25 x 36.5cm; 10 x 14¼in £500-700

220

221. George Chambers (1830-c.1890) Shipping off Whitby Signed indistinctly Oil on canvas 29 x 42cm; 11½ x 16½in £500-700

222. English School 19th Century Coastal Scene with sailing ships off an Island Oil on canvas 38 x 60cm; 15 x 19¾in £300-500

221

223 223. Thomas Robertson (fl. 1861-1866) A gentleman on horseback with another hunter alongside Signed and dated 1850 Oil on canvas 70 x 90cm; 27½ x 35½in £1,000-1,500

224

224. Follower of Alfred de Dreux A lady on horseback Oil on board 60 x 50cm; 23½ x 19¾in £300-400

225. Edmund Bristow (1787-1876) A horse and groom in a stable Signed Oil on panel 15 x 19cm; 6 x 7½in £400-600

225

226 226. Charles Cattermole (1832-1900) Scenes from Don Quixote, Globe Edition Four, all inscribed on labels verso with the text from the book All oil on board Each 30.5 x 45.5cm; 12 x 18in (4) £1,000-1,500

227. Michaelangelo Meucci (Italian 1840-1909) Still lifes of hanging fruit A pair, both signed, inscribed Firenze and dated 1873 Both oil on board, oval Each 20.5 x 16cm; 8 x 6¼in (2) £1,000-1,500

227

228. William H. Hopkins (act.1853-1892) The first burst; Saving the deer A pair, both signed and titled verso Both oil on canvas Each 109 x 42cm; 43 x 16½in (2) Thought to be from Windsor Castle sale £500-800 228A. John Emms (1843-1912) Hounds and terrier in a stable Signed and dated 99 Oil on canvas 44 x 58cm; 17¼ x 23in £4,000-6,000

228

228A

74 229. John Emms (1843-1912) The gamekeeper and spaniels Signed Oil on canvas 51 x 41cm; 20 x 16in £3,000-5,000

229 230. John Emms (1843-1912) Feeding the donkeys Signed Oil on canvas 35.5 x 46cm; 14 x 18in £2,000-3,000

230

75 231. Charles Napier Hemy R.A. (1841-1917) Fisherman returning to port Signed with initials and dated 1913 Oil on canvas 75 x 49.5cm; 29½ x 19½in £2,000-3,000

231 232. 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 £800-1,200

232

233 233. R. W. Brown 19th Century Portraits of Mr. S. Hartley aged 33 and Mrs. J.S.A. Hartley aged 75 A pair, both signed, dated 1830 and inscribed with sitter’s names verso Both oil on canvas Each 76 x 63.5cm; 30 x 25in (2) £600-800

234

234. Daniel MacNee P.R.S.A. (1806-1886) Portrait of a lady, half length Signed and dated 1880 Oil on canvas 90 x 70cm; 35½ x 27½in £200-300

235

235. Arthur Miles (fl. 1851-1881) Portrait of Walter W. Ffennell as a boy, half length, wearing a red jacket and lace collar Signed and dated 1883 Oil on canvas 61 x 51cm; 24 x 20in £200-300

236. Circle of John Watson Gordon Portrait of a gentleman, head and shoulders Oil on canvas 76 x 63cm; 30 x 25in £300-400

236

237 237. Attributed to John Ferneley Jr. (1815-1862) A hunting scene Signed and dated indistinctly Oil on canvas 40 x 82cm; 15¾ x 32¼in £700-1,000

238. Charles Henry Schwanfelder (1774-1837) Pointers and spaniel in a moorland landscape Signed and dated 1815 Oil on panel 46 x 61cm; 18 x 24in £700-1,000

238

78 239. Richard H. Hilder (1813-1852) Figures in a punt on a river, a windmill beyond Oil on panel 35.5 x 45cm; 14 x 17¾in £500-700 240. English School late 18th Century Ruined castle with figures in the foreground Oil on canvas 28 x 35cm; 11 x 13¾in Provenance: E. Stacy-Marks, 5th February 1983 £200-300

239

240

241

242 241. English School 19th Century A country church with shepherd and sheep Oil on canvas 36 x 46cm; 14 x 18in £200-300

243 242. English School 19th Century Figures on a bridge in a river landscape Signed with a monogram J.H.B. Oil on canvas 41 x 61cm; 16 x 24in £200-300

243. Follower of William Shayer A harvest scene Bears signature Oil on canvas 71 x 91cm; 28 x 36in £300-400

244

245

246 244. 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 £500-800

247 245. W. Penny (19th Century) Feeding the rabbits Signed and dated 1880 Oil on canvas 61 x 51cm; 24 x 20in £400-600

246. Continental School 19th Century The Young Napoleon at School Oil on canvas 85 x 66cm; 33½ x 26in £200-300

247. Follower of Jan Steen The spilt milk Oil on panel 20 x 26cm; 8 x 10¼in £200-300

80 248. James Bell Anderson (1886-1938) Portrait of a woman, seated, the artist reflected in the mirror Signed and dated 1921 Oil on canvas 102 x 127cm; 40 x 50in Provenance: Lauraine Diggins Fine Art, Melbourne, Australia £1,500-2,000 249. Karl Heffner (German 1849-1925) Sunset after rain Signed, dated 1876 and inscribed Munchen Oil on canvas 36 x 69cm; 14 x 27in £300-400 250. Auguste Ballin (French 1842-1885) The Thames at Blackfriars Signed Oil on panel 18 x 30cm; 7 x 11¾in £300-500

248

251. John Phillip (1817-1867) A seamstress Oil on panel 20.5 x 17cm; 8 x 6¾in £200-300

249

252. Rafaele Frigerio (Italian 1875-1948) Portraits of elderly pipe smokers A pair, both signed Both oil on canvas Each 44 x 30cm; 17 x 12in £300-500

250

253. Alfred Montague (1832-1883) A street in Rouen Oil on board 34 x 22cm; 13¼ x 8½in With two further street scenes by a different hand (3) £150-250 251

252

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257

254. Thomas Rose Miles (act.1869-1888) Evening above bridge, Whitby Signed, also signed and titled verso Oil on canvas 61 x 91cm; 24 x 36in £800-1,200

256. William Frederick Roden (19th Century) Castles in the air Signed and dated 1876, also signed, titled and dated verso Oil on canvas, rectangular in an oval mounted frame 42 x 36.5cm; 16½ x 14½in £200-300

255. Scottish School early 19th Century Portrait of a gentleman, head and shoulders Oil on canvas 76 x 63cm; 30 x 25in £300-400

257. English School 19th Century Portrait of a gentleman, head and shoulders Oil on canvas 76 x 63.5cm; 30 x 25in £200-400

258 258. Circle of Thomas Weaver The interior of a stable with a groom tending horses Oil on panel 50 x 64cm; 19½ x 25in £600-800

259 259. English School 19th Century The Watermill Oil on canvas 63 x 76cm; 25 x 30in £300-500

260. English School 19th Century Cattle in a woodland Oil on canvas 42 x 50cm; 16½ x 19¾in £300-500

260

261 261. English School 19th Century A village scene with figures gathered by a house Oil on canvas 35.5 x 45.5cm; 14 x 18in £200-300 262. Attributed to Walter Heath Williams Children by a cottage and pond Signed Williams Snr verso Oil on panel 26 x 36cm; 10 x 14in £150-250

262

263

264 263. George Gascoyne (1862-1933) Autumn Labour Signed and dated 1900 also signed, titled and inscribed Blackchild Court, Sittingbourne, Kent verso Oil on canvas 93 x 138cm; 36½ x 56¼in Exhibited: London, Royal Academy, 1900, no. 238. £3,000-5,000

265 264. English School 19th Century Fishing boats on the shore Bears signature Oil on canvas 51 x 76cm; 20 x 30in £400-600

265. John Syer (1846-1913) Harvest scene in a river landscape Signed and dated 1896 Oil on canvas 61 x 107cm; 24 x 42in £400-600

84 266. Cuthbert Bradley (1861-1943) The Blankney Hunt Set of four, all signed, dated 1919 and inscribed with the names of key hounds and horses All oil on canvas Each 43 x 54cm; 17 x 21in With two small books about the Blankney Hunt and Foxhounds (6) £250-350

266

267. George Paice (1854-1925) Silver Top Signed and dated 91 Oil on canvas 35.5 x 46cm; 14 x 18in With another of horses watering by F. A. Clark (2) £300-500

267

268. A.E.D.G. Stirling-Brown (19/20th Century) Horses in their paddocks A pair, both signed and dated 1913 Both oil on canvas Each 43.5 x 53.5cm; 17 x 21in (2) £400-600

268

85 269. John Robertson Reid (1851-1926) Fishermen and boys by a slipway Signed Oil on canvas 61 x 92cm; 24 x 36in £1,500-2,500 270. Arthur Hopkins (1848-1930) On the quay Signed Oil on panel 16 x 39.5cm; 6¼ x 15½in £200-300 271. W. Carter (19th Century) View of London from the Thames Signed and dated ‘84 Oil on canvas 51 x 75cm; 20 x 29½in £300-500

269

272. Attributed to John Henderson (1860-1924) Harvest from the sea, Ayrshire Coast Signed, also signed and titled on a label verso Oil on canvas 50 x 76cm; 19¾ x 30in £200-300

270

271

272

86 273. Josiah Clinton Jones (1848-1936) Pastoral landscape Signed Oil on canvas 50 x 48cm; 19¾ x 19in £400-600 274. William Henry Fisk (1872-1884) Cattle watering in a river landscape Signed and dated 1872 Oil on canvas 41 x 61cm; 16 x 24in £200-300

273

274 275. Cedric Gray (19/20th Century) Cattle in the shallows Signed and dated 86 Oil on canvas 31 x 60cm; 12¼ x 23½in £200-300

275 276. English School 19th Century Figures in a river landscape Signed indistinctly W.R.Coo*/* Oil on canvas 46 x 81cm; 18 x 32in £300-400

276

277. Jacob Jacobs (1812-1879) Shipping off a Dutch City, possibly Antwerp Extensively inscribed in a partially illegible hand on the reverse indicating that the picture was dedicated to the artist’s pupil, Robert Seppings, in 1864 at Antwerp Oil on paper, partially attached to card 20 x 31cm; 8 x 12in Provenance: Bell Fine Art, Winchester, April 1999 £200-300

277

87 278. Jean Louis Forain (French 1852-1931) Behind the scenes Signed with an initial Oil on canvas 60.5 x 73.5cm; 24 x 29in Provenance: De-accessioned from Los Angeles County Museum of Art Purchased at auction in Los Angeles By family descent £1,000-1,500 279. No lot

278 280. Carl Henrik Koch Moller (Danish 1845-1920) Meadow piece with sorrel, ferns and moss covered stone Signed, inscribed Skjelskør and dated 22 September 1880 Oil on canvas 54.5 x 79cm; 21 x 31in £400-600

280

281

282 282. English School 19th Century Sheepdogs in a landscape Signed indistinctly Oil on canvas 49 x 74cm; 19¼ x 29in £300-500

283 281. Eugènie M. Valter (19/20th Century) Study of a retriever and a cat Signed and dated 1880 Oil on board 38 x 46cm; 15 x 18in Provenance: Rutland Gallery, London £200-300

284

283. Charles William Wyllie (1853-1923) Study of a swallow over the sea at sunset Signed with a monogram Oil on canvas 16.5 x 23cm; 6½ x 9in Provenance: Hartnoll & Eyre, Duke Street, London Giles Eyre of Landford, served with the artist in India in the 1940s £200-300

285

284. Continental School 19th Century Study of a monk Oil on canvas 23.5 x 18.5cm; 9¼ x 7¼in £200-300 285. Joseph Mellor (1850-1885) Percy Beck, junction with the Tees near Barnard Castle; Brook in the Glen near Shipley A pair, both signed, also signed and titled verso Both oil on canvas Each 46 x 36cm; 18 x 14in (2) £300-500 286. A. Sera (c.1893) Portrait of a scientist Signed and dated 1893 Oil on canvas 96 x 73cm; 38 x 29in £200-300

286

287 287. Maud Earl (1864-1943) Spaniel puppies at play Signed Oil on canvas 45.5 x 76cm; 18 x 30in £4,000-6,000 288. ‡ Nina Colmore (1889-1973) The Roundway Harriers Signed with initials, dated 1921 and inscribed Honesty, Hecuba, Harmless, Hopeful, also titled and inscribed verso Peterborough 1920 the winning two couple of Harrier Bitches, owner Col. Lord Roundway CMG, DSO, MVO Oil on canvas 64 x 77cm; 25 x 30½in Provenance: A copy of the letter from Henry Robinson who ran the Roundway Harriers, referring to the painting by Colmore. Robinson was a leading authority on Hound pedigrees. £1,500-2,500

288

90 289. Henry William Banks Davis (1833-1914) Cattle in a meadow Signed and dated 1870 Oil on canvas 79 x 150cm; 31 x 59in £500-800 290. Arthur John Black (1855-1936) Waves breaking on the shore Signed and dated 1888 Oil on canvas 37 x 77cm; 14½ x 30¼in £500-700 289

291. Karl Eugene Felix (Austrian 1837-1906) Breaking waves Signed Oil on canvas 41 x 82cm; 16 x 32in £200-300 292. Thomas Whittle (act.1856-1897) Cattle on a loch at sunset Signed and dated 1864 Oil on canvas 35 x 55.5cm; 13¾ x 22in £150-250

290

293. Joel Owen (act.1891-1931) Cottage by a loch Signed and dated 1925 Oil on canvas 51 x 76cm; 20 x 30in £150-200

291

292

293

294

295

296

294. Thomas Ivester Lloyd (1873-1942) A horse and a dalmation in a stable Signed Oil on canvas 43 x 53cm; 17 x 21in £600-800

295. Samuel Spode (act.1825-1858) A bay hunter and a gentleman Signed and dated 1847 Oil on canvas 64 x 76cm; 25 x 30in Provenance: Walter Long £1,000-1,500

296. Thomas Ivester Lloyd (1873-1942) A grey in a stable and a bay hunter in a stable A pair, both signed Both oil on canvas Each 41 x 51cm; 16 x 20in (2) £800-1,200

297

298

299

300

297. ‡ Constant Artz (Dutch 1870-1951) Duck and chicks on the river Signed Oil on panel 38 x 49.5cm; 15 x 19½in £600-800

299. ‡ Harry Britton (Canadian 1878-1958) Fishing boats in a harbour Signed Oil on canvas laid on board 18.5 x 26.25cm; 7¼ x 10¼in £300-400

298. ‡ Enrico Gargiulo (Italian 1881-1948) Capri Signed and titled Oil on panel 26.5 x 41cm; 10½ x 15½in £250-350

300. ‡ William Didier-Pouget (French 1864-1959) River landscape in summer Signed Oil on canvas 46 x 55cm; 18 x 21¾in £500-800

301 301. André Perrachon (French 1827-1909) Still life of roses on a forest floor Signed Oil on canvas 33 x 46cm; 13 x 18in £2,500-3,500 302. Talbot Hughes (1869-1942) Amongst the roses Signed and dated 97 Oil on canvas 50 x 61cm; 20 x 24in £2,000-3,000

302

303

304

305

306 303. Samuel Bateman (19/20th Century) A passing storm near Shiplake on the Thames Signed and dated 1894 Oil on canvas 60.5 x 108cm; 24 x 42½in £600-800

304. Oscar Ricciardi (Italian 1864-1935) Castellammare Signed Oil on board 35.5 x 23cm; 14 x 9in Provenance: George Davidson, Glasgow £200-300

307 305. James Heron (1873-1919) View over a Scottish loch Signed Oil on canvas 31 x 61cm; 12¼ x 24in £300-400

306. John McIntyre (act.1896-1904) View of Derwent Water and Skiddaw from the grounds of the Lodore Swiss Hotel Signed Oil on board 28 x 45cm; 11 x 17¾in £200-300

307. Theodore Hines (fl. 1880-1890) Silver Birch and bracken by a lake Signed and dated 1899 Oil on canvas 61 x 41cm; 24 x 16in £300-500

95 308. Samuel Spode (act.1825-1858) The Hunter Dusky Bob in a loose box Signed and dated 1847 Oil on canvas 64 x 76cm; 25 x 30in Provenance: Walter Long £700-1,000 309. Henry Frederick Lucas-Lucas (1848-1943) Gitana Signed, titled and dated 1890, also signed, titled and dated verso Oil on panel 23 x 30cm; 9 x 12in £300-500

310. A. Partridge (19th Century) Lardydardy Signed and dated 1878, also inscribed on a label A fine hunter won some races for Walter Hune Long Oil on canvas 45.5 x 61cm; 18 x 24in £200-300 311. Manner of Jacob Spohler Huntsman in a winter landscape; Frozen river scene Two, both oil on panel 24 x 28cm; 9½ x 11in and 20.5 x 25cm; 8 x 10in (2) £200-300 308

309

310

311

96 312. Keeley Halswelle (1832-1891) A backwater Signed and dated 1882 Oil on canvas 35 x 61cm; 13¾ x 24in £500-700 313. Christian Snijders (1881-1943) Winter river landscape Signed Oil on panel 29 x 42cm; 11½ x 16½in £100-150 314. Pierre-Emmanuel Damoye (French 1847-1916) Rural landscape with a cottage near a sluice Signed and dated 91 Oil on panel 21 x 15cm; 8¼ x 6in £300-500

312

315. English School c.1900 Fir trees by a pool Signed indistinctly Oil on board 44 x 38cm; 17¼ x 15in £200-300 316. August Karl Martin Splitgerber (1844-1918) An alpine retreat Signed, also titled indistinctly and signed on the stretcher verso Oil on canvas 30 x 23cm; 12 x 9in £400-600 313

314

315

316

318

317

319 317. ‡ Armand Henrion (French 1875-1958) A surprised clown Signed Oil on panel 17.5 x 14cm; 7 x 5½in £1,000-1,500

320 318. Richard Hall (1857-1942) Portrait of a lady in an interior Signed and dated 1910 Oil on board 59 x 72cm; 23¼ x 28½in £400-600

319. F. Clairval (19/20th Century) Still life of chrysanthemums in a bowl Signed Oil on canvas 55 x 79cm; 21½ x 31in £300-500

320. Maynard Browne (c.1840-c.1900) Mother and daughter in a garden Oil on canvas 62 x 49cm; 24½ x 19¼in £300-400

321 321. Niels Hans Christiansen (Danish 1850-1922) Ducks on a river Signed Oil on canvas 61 x 91cm; 24 x 36in £200-300

322 322. Niels Hans Christiansen (Danish 1850-1922) Winter landscape; River landscape; Sheep and silver birch Three, all signed All oil on board Two at 23 x 30cm; 9 x 11¾in and one smaller (3) £200-300

323. M. Argeles (19/20th Century) River landscapes with ladies boating A pair, both signed and dated 1901 Oil on canvas Each 51 x 76cm; 20 x 30in (2) £300-500

323 324. ‡ Adrian Hoffman (20th Century) Still life of roses, tulips and summer flowers in a vase, on a ledge Signed Oil on canvas 120 x 94cm; 47 x 37in £200-300

324

325

325. Istvan Rombay (Hungarian 1888-1974) Elderly couple in a park Signed Oil on canvas 69 x 43cm; 27 x 17in £300-500

INDEX OF ARTISTS A Adolphe 39 Aldridge, Frederick James 61, 120 105 Allingham, Helen Althaus, Fritz B 78 214 American School Anderson, James Bell 248 323 Argeles, M Artz, Constant 297 B Bagshawe, Joseph R 121 205 Baldwin, Henry Ballin, Auguste 250 170 Barbiers, Foll of Pieter Barbiers, Pieter P 75 193 Barker of Bath, Foll of Benjamin Barker of Bath, Thomas 192 303 Bateman, Samuel Beale, Circle of Mary 161 142 Berchem, Foll of Nicolaes Biard, Francois Auguste 203 31 Bison, Manner of G B Black, Arthur John 290 Blaine, J A 85 195 Boddington, Henry John Bogdani, Jacob 175 Boult, Augustus 197 266 Bradley, Cuthbert Breughel, Foll of Jan 184 53 Bridgman, Frederick A Bristow, Edmund 204, 225 Britton, Harry 299 21 Brookshaw, After George Brown, R W 233 Browne, Maynard 320 Brun, After E L Vigee Le 169 Bullock, George G 200 108 Burnett, William Hickling C Caldwell, After A. 23 Callow, John 73 Callow, William 122 156 Canal, Foll of Giovanni A Canuti, Attrib. to D M 29 201, 202 Carmichael, John Wilson Carter, W 271 Cattermole Charles 226 Cave, Attrib to Peter Le 46 Chambers, George 221 321, 322 Christiansen, Niels Hans Clairval, F 319 Coleridge, Francis George 97, 98 Colmore, Nina 288 Continental School 10, 139, 177, 180, 186, 187, 284 199 Cooper, Foll of Thomas Cooper, Thomas 198 Corbould, Edward Henry 95 Corot, Jean Baptiste C 25 Cosway, Foll of Richard 3 Cox, David 69, 70 Cozens, Alexander 37 Crombie, Charles 26 Crowe, Eyre 244 Cuzco School 137 D Damoye, Pierre-Emmanuel 314 Davis, Henry William Banks 289 Dayes, Edward 80, 111 Derby, William 12

Desbuisson, Francois D 9 300 Didier-Pouget, William Dietler, Johann Friedrich 41 91 Dighton, Joshua Dommersen, William Raymond 219 36 Downman, John Dreux, Foll of Alfred de 224 109 Ducros, Foll of Abraham L R Dudley, Robert 124 188 Duffield, William Durrant Capt. John 30 172, 215, 220 Dutch School Dyck, Manner of Sir A van 147 E Earl, Maud 287 229, 230 Emms, John English School 1, 4, 6, 7, 8, 13, 55, 56, 57, 79, 88, 92, 96, 107, 113, 143, 144, 146, 166, 167, 181, 182, 190, 194, 212, 222, 240, 241, 242, 257, 259, 260, 261, 264, 276, 282, 315 F 93 Farquhar, Helen Felix, Karl Eugene 291 Ferneley, Attrib to John 237 71 Fielding, Attrib to A v Copley Fielding, Newton S L 77 274 Fisk, William Henry Forain, Jean Louis 278 Forster, Neil 125 French School 2, 162, 171, 178, 152 Friesland School 252 Frigerio, Rafaele G Gargiulo, Enrico 298 Gascoyne, George 263 Gilpin, Rev. William 60 123 Goodwin, Harry Gordon, Circle of John W 236 20 Gould, After Elizabeth Gould, After John 19 Gray, Cedric 275 Green, Valentine 17 Greenhill, Attrib to John 160 279 Guinard, Gaston H Hall, Richard 318 Halswelle, Keeley 312 Harding, George P 38, 43 Heffner, Karl 249 Hemy, Charles Napier 231 Henderson, Attrib to John 272 Henrion, Armand 317 Hepper, George 211 Heron, James 305 Hilder, Richard 239 Hilditch, Richard 196 Hines, Theodore 307 Hoffman, Adrian 324 Holland, James 114 Hopkins, Arthur 270 Hopkins, William H 228 Hudson, Foll of Thomas 168 Hue, Jean Francois 176 Hughes, Talbot 302 I Indian School 14, 15, 133, 134, 135 Ingram, William Ayers 117 Italian School 28, 138

J Jack, Richard Jackson, Samuel Jacobs, Jacob Jacomb-Hood, George P James, Circle of William Japanese School Jenkins, Rhys Joli, Foll of Antonio Jones, Josiah Clinton Jones, Pelham K Kinnaird, Henry John Knell, William Adolphus Knox, Wilfred Kollmann, Karl Ivanovich L Laporte, John Lawrence, Sir Thomas Leader, Benjamin Williams Leitch, William Leighton Lejeune, Armand Lewin, William Lion, Pierre Joseph Lloyd, Thomas Ivester Lucas-Lucas, Henry F M MacNee, Daniel MacWhirter, John Marlow, Attrib to William Martens, Henry McIntyre, John Mellor, Joseph Merigot, James Meucci, Michaelangelo Miles, Arthur Miles, Thomas Rose Millet, F. Moller, Carl Henrik K Monamy, Foll of Peter Monnoyer, Jean-Baptiste Montague, Alfred Morello, Leonardo Morland, Attrib to G Morland, George Mytens, Circle of Daniel N Nasmyth, Circle of Patrick Neale/Nisbet, Frances H Nixon, John O Ortis, Nicola Oudry, Circle of J-B Owen, Joel P Paice, George Partridge, A Payne, William Penny, W Perrachon, Andre Phillip, John Pietrocola, Attrib to F Pond, Circle of Arthur Prinsep William Pynacker, Attrib to Adam Pyne, George Pyne, James Baker R Raeburn, Sir Henry Reid, John Robertson

65 48 277 130 157 136 128 110 273 118 82 86 119 89, 90 87 174 232 83 163 63 40 294, 296 308 234 76 155 44 306 285 23 227 235 254 100 280 151 159 253 126 208 206 145 217 101 35 127 153 293 267 310 62 245 301 251 5 165 132 173 67 59 179 269

100

INDEX OF ARTISTS Reynolds, After Sir J Reynolds, Warwick Ricciardi, Oscar Richardson, Thomas Miles Richter, After Henry C Robertson, Thomas Roden, William Frederick Rombay, Istvan Rombay Romney, George Rowbotham, Thomas L Rowlandson, Thomas Russell, After John Russian School S Salvi, After Giovanni B Sanzio, After Raphaello Schwanfelder, Charles H Scottish School Sera, A. Shayer, Foll of William Slingeland, After Pieter D van Smith, Foll of John R Smith, Garden Grant Smith, John Snijders, Christian

17 24 304 47 19 223 256 325 54 45, 115 33, 34 190 185 94 27 238 102, 255 286 243 149 42 84 16 313

Snyders, Foll of Frans 150 Splitgerber, August K M 316 Spode, Samuel 295, 308 Spohler, Manner of Jacob 311 Spy 22 Stanfield, Clarkson 66 116 Staples, Robert Ponsonby Steen, Foll of Jan H 148 247 Steen, Foll of Jan H Stirling-Brown, A E D G 268 99 Stormont, Howard Gull Stranovius, Circle of T 154 81 Stuntz, Johann B Syer, John 265 T 68 Tayler, John Frederick Teniers, Foll of David 141 Thorburn, Archibald 129 Tudor, Thomas 104 131 Tulloch, Col Maurice Turner, After Joseph M W 58 V Valter, Eugenie M 281 52 Varley, Cornelius Varley, John 49, 50, 51

Verboeckhoven, Eugene Veronese, Manner of Paolo Vickers, Alfred Gomersal Vitringa, Wigerius W Walters, Samuel Ward, Leslie M. Warren, Edmund George Weaver, Circle of Thomas Werner, Carl Friedrich Wheatley, Circle of Francis Whittle, Thomas Whymper, Charles Williams, Circle of Walter H Williams, Edward Witherspoon, A Witt, After Fred. De Wollaston, George B Wood, J Woodward, George M Woolmer, Alfred Joseph Wright, Joseph Wyck, Thomas Wyllie, Charles William Wyntrack, Foll of Dirck

210 183 72 74 209 22 103 258 106 189 292 64 262 216 218 18 112 11 32 207 164 158 283 140

English & European Ceramics & Glass Tuesday 13th September 2016

A selection of English, German and Venetian glass spanning several centuries, from a number of private collections included in the sale.

ENQUIRIES Clare Durham | Tel: +44 (0) 1722 424507 cd@woolleyandwallis.co.uk

Tribal Art & Antiquities Tuesday 20th September 2016

An Inyai cave piece Aripa fragment Korewori River, Papua New Guinea wood with remains of pigment, 40cm, on a stand. Provenance: ex Mike Auliso, San Francisco Estimate: Â£4,000-5,000

ENQUIRIES Will Hobbs | Tel: +44 (0) 1722 339752 wh@woolleyandwallis.co.uk

Furniture, Works of Art & Clocks Wednesday 5th October 2016

Ugo Zannoni (Italian 1836-1919) A white marble figure, ‘Her Favourite Pets’, signed and dated ‘1875’, 107.8cm high. Estimate: £8,000-12,000

ENQUIRIES Mark Richards | Tel: +44 (0) 1722 411854 mr@woolleyandwallis.co.uk

Design Tuesday 18th October 2016 Entries close 24th August

A rare Vistosi glass bird designed by Allesandro Pianon. Estimate: ÂŁ500-1,000 ENQUIRIES Michael Jeffery | Tel: +44 (0) 1722 424505 mj@woolleyandwallis.co.uk

Modern British & 20th Century Art Tuesday 13th December 2016 Entries close 21st October

Julius Olsson RA (1864-1942) Moonlit waves on the shore with The Longships Lighthouse, Cornwall Signed, oil on canvas, 128 x 177cm. Estimate: Â£4,000-6,000

ENQUIRIES Victor Fauvelle | Tel: +44 (0) 1722 424503 | vf@woolleyandwallis.co.uk Jo Butler | Tel: +44 (0) 1722 424592 | jb@woolleyandwallis.co.uk

Auction Information OPENING HOURS Monday to Friday 9am to 5.30pm and 10am to 1pm on Saturdays. Viewing All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. Bidding in the Room To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk. You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us. Commission Bidding If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. Telephone Bidding It is usually possible to bid on the telephone by prior arrangement with the office.

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Payment and clearance Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

Artist’s Resale Right / Droit De Suite ‡ 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.

The following methods of payment may be made: bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €15,000. We are no longer able to accept card payments of over £1,000 where the cardholder is not present.

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

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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.

Where practical, payment can be made and purchases collected during the auction. Please note that furniture and clock lots will normally remain in our salerooms for three working days following each sale, after which they will be removed to our store and arrangements for collection must be made in advance with the office. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid. VAT Lots marked with an asterisk (*) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.ukcites.gov.uk

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 Packing and Shipping Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping 01582 493 099 info@albanshipping.co.uk www.albanshipping.co.uk Mailboxes 01264 360 333 info@mbeandover.co.uk www.mbe.co.uk/andover Pack & Send 0845 465 0564 sales@packsend.co.uk www.packsend.co.uk Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

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

Valuations are a core part of our business and are usually carried out by a senior specialist or director. Accuracy, speed and above all confidentiality are paramount. INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

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

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

Contact Christine Johnson 01722 424509 FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500.

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

DIRECTIONS TO OLD SARUM

T) C

WILTON & WARMINSTER

CENTRAL CAR PARK

SALISBURY S OUT H

F IS

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N SCOTS L CHIPPER

Woolley & Wallis 2 Danebury Court

MR HA ND WY

LW AY W ES T

A 3 6(

EET STR TLE

D SR SE VI DE

WILTO NR DA

R HU

CAS

A3 60

The Portway

A36 CH UR CH ILL WA YN OR TH D

W AY E

AD RO EY

AMESBURY & MARLBOROUGH

A36(T) CH URC HIL L

E LS

HL AS

CASTLE RD A345

LONDON, ANDOVER & WINCHESTER

T WIN S BED

LN SALT

WINCH ESTER ST

NEW

LL R OAD

CANA

Furniture, Works of Art, Clocks & Tribal Art. 2 Danebury Court, Old Sarum Park, Salisbury, Wilts SP4 6EB

NEW ST RE

DIRECTIONS FROM WOOLLEY & CASTLE WALLISSTREET CASTLE STREET DIRECTIONS FROM WOOLLEY & WALLIS TO SALT LANE TO SALT LANE

T ST ANN S

( T)

ROA

ROLLES

Woolley Wallis WOOLLEY & &W ALLIS Salt Salt Lane Lane

A338 BOURNMOUTH & RINGWOOD OW

NT ON

RO AD

Woolley WOOLLEY & & Wallis WALLIS Salisbury Salisbury Salerooms Salerooms

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Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No.2998482 VAT No: 631 9832 29

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Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU Woolley & Wallis Carter House 6 – 10 Salt Lane SP1 1EE

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Design & Production by

Woolley & Wallis Absentee Bid Form Old Masters, British & European Paintings Wednesday 7th September 2016 PW070916

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 Paintings 13th December 2016 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk English & European Ceramics & Glass 13th September 2016 Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk Tribal Art & Antiquities 20th September 2016 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk Furniture, Works of Art & Clocks 5th October 2016 Mark Richards +44 (0) 1722 411854 • mr@woolleyandwallis.co.uk 20th Century Design 18th October 2016 Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk Arms & Armour, Medals & Coins and Militaria 19th October 2016 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk Silver 25th October 2016 – The Arthur Holder Collection of Silver & Vertu (Part 1) 26th October 2016 – Fine Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk Jewellery 27th October 2016 Jonathan Edwards +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Asian Art 15th & 16th November 2016 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk

• Entries can usually be accepted up to six 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