Woolley & Wallis Auctioneers

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS

TUESDAY 5TH & WEDNESDAY 6TH SEPTEMBER 2023

SPECIALIST DEPARTMENTS

Please dial +44 (0)1722 followed by the number listed below

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS

TUESDAY 5TH & WEDNESDAY 6TH SEPTEMBER 2023

11.00AM

at our City Centre Salerooms, SP1 3SU

VIEWING AT OUR OLD SARUM GALLERIES

Unit 1B, Castle Gate Business Park

Old Sarum, Salisbury SP4 6QX

VIEWING

Saturday 2nd September 10.00am – 1.00pm

Monday 4th September 10.00am – 4.00pm

Tuesday 5th September 9.00am – 4.00pm (sale starts at 11.00am)

Wednesday 6th September By appointment

DAY 1: Lots 1-245

DAY 2: Lots 246-529

DIRECTIONS TO THE OLD SARUM GALLERIES

PAINTINGS

Victor Fauvelle +44 (0)1722 446961

vf@woolleyandwallis.co.uk

Ed Beer +44 (0)1722 446962

eb@woolleyandwallis.co.uk

Sarah Bennie +44 (0)1722 446970 sbe@woolleyandwallis.co.uk

THE VIEWING OF THIS SALE WILL TAKE PLACE AT OUR OLD SARUM GALLERIES

Unit 1B, Castle Gate Business Park

Old Sarum, Salisbury SP4 6QX

Client Parking Available

Saturday 2nd September

– 1.00pm

Monday 4th September 10.00am – 4.00pm

Tuesday 5th September 9.00am – 4.00pm (sale starts at 11.00am)

Wednesday 6th September By appointment

DAY 1: Lots 1-245

DAY 2: Lots 246-529

THE AUCTION ON 5TH & 6TH SEPTEMBER WILL TAKE PLACE AT OUR CITY CENTRE SALEROOMS

51-61 Castle Street, Salisbury SP1 3SU

BUYER’S PREMIUM

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices.

TELEPHONE BIDDING

Requests for telephone bidding cannot be accepted after 5pm on Monday 4th September.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Φ This symbol indicates that an additional levy may apply for this lot –please see our Terms & Conditions, Section 21, for details.

COLLECTION OF LOTS

Collections will be from Unit 1B, Castle Gate Business Park, Old Sarum, Salisbury, SP4 6QX. Please call 01722 424500 to make an appointment. Please instruct carriers accordingly.

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.

LIVE ONLINE BIDDING - FREE OF CHARGE

bid.woolleyandwallis.co.uk

Please register by 5pm on Monday 4th September.

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Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU

Tel: +44 (0)1722 424500 • www.woolleyandwallis.co.uk

1 RUSSIAN SCHOOL

Miniature of a saint in monk’s habit holding a book

Oil on copper

64 x 52mm

Unframed

£200-300

PORTRAIT MINIATURES

2 λ

ENGLISH SCHOOL

Early 18th Century

Portrait miniature of a gentleman, traditionally identified as a member of the Richardson family, wearing a blue coat and long wig

Oval, in a gilt metal frame

41 x 32mm

Provenance:

Wigs on the Green, where purchased by the present private collector

£200-300

3 λ

ENGLISH SCHOOL

18th Century

Portrait miniature of John Bolton (d.1813), wearing a red coat and with powdered hair

Oval, in a gilt metal frame

42 x 33mm

£100-200

4 λ

CIRCLE OF FREDERICK BUCK

Portrait miniature of James McCumming in uniform

Oval, in a gilt metal frame, with hair back

59 x 45mm

£200-300

5 λ

CIRCLE OF FREDERICK BUCK

Portrait miniature of Bruce McCumming in uniform

Oval, in a gilt metal frame, the glazed reverse revealing a lock of hair over a hair back

61 x 51mm

£200-300

6 λ

ENGLISH SCHOOL

c.1800

Portrait miniature of John McCumming in uniform

Oval, in a gilt metal frame, the glazed reverse with a lock of hair over a mother-of-pearl back within a blue glass border

69 x 56mm

£200-300

7 λ

ENGLISH SCHOOL

18th Century

Portrait miniature of a gentleman wearing a blue coat and powdered wig

Oval, in a gilt metal frame

33 x 28mm

£100-200

8

ATTRIBUTED TO SAMUEL COLLINS

1735-1768

Portrait miniature of a lady wearing a red velvet hat with a feather, and a blue dress

On enamel, oval, in a white metal frame with five ostrich feathers engraved to reverse 40 x 31mm

£120-180

9 λ

EDWARD BURCH

1730-1814

Portrait miniature of a boy in a blue jacket

Oval, in gilt metal frame and blue glass back 62 x 48mm

£150-250

10 λ

ANDREW PLIMER

1763-1837

Portrait miniature of Miss C.B. Wynne wearing a white dress and bandeau

Inscribed C B Wynne/painted/by/Plimer in / London/May 1794 (to backing paper)

Oval, in a wooden frame

76 x 61mm

Provenance:

Sotheby’s, London, 25 March 1974, lot 136

£700-1,000

11 λ

ANDREW PLIMER

1763-1837

Portrait miniature of Admiral Sir Edward Hamilton, 1st Baronet (1772-1851), in uniform

Oval, in a gilt metal frame set within a rectangular gilt-painted wooden frame 77 x 62mm

Provenance: Christie’s, London, 8 June 1971, lot 24; Private Collection

£600-800

12 λ

ANDREW PLIMER

1763-1837

Portrait miniature of a child, wearing a white dress and bonnet

Oval, in a gilt metal frame

72 x 60mm

Provenance:

Sotheby’s, London, 13 June 1982, lot 176; Private Collection

£400-600

13 λ

MANNER OF JOHN BARRY

Portrait miniature of a lady wearing a white dress and pearl necklace

Oval, in a gold frame with glazed reverse

61 x 51mm

£200-300

14 λ

ENGLISH SCHOOL

18th Century

Portrait miniature of a lady wearing a white dress and black headband

Oval in a gilt metal frame, the glazed reverse revealing locks of hair over a mother-of-pearl back

59 x 50mm

£100-150

15 λ

CIRCLE OF RICHARD CROSSE

Portrait miniature of a lady wearing a pink dress and with pearls in her hair

Oval, in a gilt metal frame with mother-of-pearl back

38 x 31mm

£150-250

16 λ

ENGLISH SCHOOL

18th Century

Portrait miniature of a gentleman in a blue coat

Oval, in a gilt metal frame

72 x 52mm

£100-200

17 λ

ENGLISH SCHOOL

18th Century

Portrait miniature of a gentleman wearing a blue coat and powdered wig

Oval, in a gilt metal frame, the glazed reverse with gilt metal initials over hair back

51 x 37mm

£150-250

18 λ

ENGLISH SCHOOL

Late 18th Century

Portrait miniature of a gentleman wearing a blue coat, a calm sea with a ship beyond

Oval, in a gilt-painted wooden frame

76 x 61mm

Provenance: By descent to the present owner

£300-500

19

CHARLES

1794-1853

TAYLER

Portrait miniature of Miss Poynter wearing a white dress seated in a landscape

Inscribed By Chas Foot Tayler/ 7 Oxford Row Bath From a picture painted by him in 1849 (to reverse)

Oval, in a rectangular red leather case 100 x 81mm

Literature:

Daphne Foskett, Miniatures Dictionary and Guide (Antique Collectors Club, 1987), pp.260-261, p.272 (illustrated)

£600-800

22

RA

1794-1860

Portrait miniature of a lady wearing a red dress, pearl necklace and earrings

Rectangular, in a gilt metal scroll decorated frame 98 x 71mm

£250-350

23

1771-1831

Portrait miniature of Sir Richard Burton (1773-1855), wearing a blue coat and seated at a table holding a book; Portrait of Lady Elizabeth Burton (née Crofts) (1782-1865), wearing a green dress and lace headdress

A pair, both rectangular, in ebonised wooden frames, 1829 Each 96 x 76mm (2)

Sir Richard and Lady Burton lived at Sackett Hill House, Broadstairs. George IV stayed at the house, and Sir Richard served as the Silver Stick, and participated in the coronations of both George IV and William IV.

£600-800

20

1794-1853

Portrait miniature of a gentleman wearing a brown coat with blue collar Oval, in a rectangular gilt-painted wooden frame 89 x 61mm

Provenance: By descent to the present owner

£300-500

21

1794-1853

Portrait miniature of a lady wearing a white dress and blue shawl

Signed, inscribed and dated Painted by C.F.Tayler/ 3 Oxford Row Bath 1826 (to backing paper)

Oval, in a rectangular gilt-painted wooden frame 87 x 62mm

Provenance: By descent to the present owner

£200-300

λ

FOOT

λ CHARLES FOOT TAYLER

λ CHARLES FOOT TAYLER

λ SIR WILLIAM CHARLES ROSS

λ WALTER STEPHENS LETHBRIDGE

RICHARD COSWAY RA

1742-1821

Portrait miniature of The Hon. William Legge, later 4th Earl of Dartmouth (1784-1853)

Pencil and watercolour, heightened with white on paper, oval, in a gilt metal frame with an opaline glass back 102 x 86mm

Provenance:

Lady Chilton’s Collection (according to label); Bruton Knowles, 24 September 1993, lot 774; Where purchased by the present private collector

£1,000-1,500

1742-1821

Portrait miniature of George Osborne, 6th Duke of Leeds (1775-1838), wearing a black coat

Signed, inscribed and dated Rdus Cosway/R.A./Primarius

Pictor/Sereniffimi Walliæ/Principi/ Pininxit/1801 (to backing card)

Oval in a gilt metal case 78 x 62mm

Provenance:

Christie’s, London, 17 March 1975, lot 72;

Private Collection

£2,000-3,000

1750-1829

Portrait miniature of a gentleman wearing a blue coat and with powdered hair

Oval, in a gilt metal frame with plaited hair back 76 x 61mm

Provenance:

Sotheby’s, London, 19 December 1977, lot 59; Private Collection

£1,500-2,500

25 λ RICHARD COSWAY RA

26 λ

GEORGE ENGLEHEART

27

λ ENGLISH SCHOOL

18th Century

Portrait miniature of a gentleman wearing a black coat, his powdered hair en queue; Portrait miniature of a lady wearing a white dress and bonnet

Two, both oval, framed as one in a gilt metal frame

71 x 55mm

£120-180

28 λ

ENGLISH SCHOOL

c.1800

Portrait miniature of a gentleman wearing a blue coat

Oval, in a gilt metal frame, the reverse with a seed pearl initial over blue glass, hair decoration and mother-of-pearl back 72 x 57mm

£120-180

29 λ ALEXANDER GALLAWAY

Scottish act.1794-1812

Portrait miniature of gentleman in a blue coat and white stock

Oval, in gilt metal frame and blue glass back 73 x 59mm

£200-300

30

CONTINENTAL SCHOOL

19th Century

Portrait miniature of a gentleman in uniform

Oval, in a gilt metal frame with glazed reverse 32 x 26mm

£150-250

31 λ CORNELIUS BEVIS DURHAM

1809-1884

Portrait miniature of a British army officer, wearing regimental uniform

Signed with initials CD (centre left)

Oval, in a gilt metal frame, the glazed reverse with a lock of hair over a silk back 65 x 51mm

Provenance:

Robert Lane Bayne-Powell (1910-1994); His executor’s sale, Sotheby’s, London, 11 October 1994, lot 185

£200-300

32 λ NICOLAS-FRANÇOIS DUN

French 1764-1832

Portrait miniature of an officer in uniform

Signed Dun (centre right)

Oval, in a gilt metal frame 61 x 49mm

£600-800

33 λ E. TAYLER

act.1802-1830

Portrait miniature of a gentleman wearing a green coat

Oval, in a gilt metal frame, the glazed reverse revealing a card with a coat of arms

68 x 55mm

£150-250

34

ADAM BUCK

Irish 1759-1833

Portrait miniature of Dr John Hinde, Fellow of Magdalen College Oxford and Rector of Findon, Sussex, wearing a black coat

Signed and dated Adam Buck 1824 (lower left)

Watercolour with red, white and black chalk on paper, rectangular, in a gilt painted wooden frame 125 x 114mm

£200-300

35 λ ENGLISH

SCHOOL

Early 19th Century

Portrait miniature of a gentleman wearing a black coat and yellow waistcoat

Oval, in a leather case

56 x 48mm

£100-200

λ

36 FRENCH SCHOOL

19th Century

Portrait miniature of Emma Blanchet of Vevey (1815-1879), wearing a green dress

On canvas laid on board, oval, in a rectangular giltwood frame 106 x 85mm

£200-300

37 λ

BIANCA BONI

Italian Early 19th Century

Portrait miniature of a lady dressed in black

Signed Bianca Boni (centre right)

Oval in a gilt metal frame, the glazed reverse revealing a silk back 54 x 43mm

£200-300

38 λ

PIERRE ADOLPHE HALL

Swedish 1739-1793

Portrait miniature of a lady, wearing a white dress and blue feathered hat, a landscape beyond

Signed and dated hall/1775 (centre left)

Circular, in a square ebonised wooden frame 72mm diameter

Provenance: Sotheby’s, London, 25 November 1974, lot 77

£1,500-2,500

39

19th Century

Portrait miniature of a lady in a white dress

Signed Lami (centre right)

Oval, in a gilt metal frame, the glazed reverse over a silk back 34 x 25mm

£200-300

40

JEAN PIERRE DROUIN

French 1782-1861

Portrait miniature of a gentleman wearing a black coat

Signed Drouin (centre right)

Oval, in a rectangular ebonised frame 50 x 41mm

£300-500

41

CIRCLE OF JEAN-BAPTISTE JACQUES AUGUSTIN

Portrait miniature of a gentleman, wearing a black coat with a medal around his neck

Oval, in a gilt metal frame 62 x 49mm

Provenance:

Sotheby’s, London, 25 November 1974, lot 79 (as Augustin)

£400-600

42 λ ENGLISH SCHOOL

c.1840

Portrait miniature of a young girl wearing a blue dress

Oval, in a rectangular red leather case 62 x 51mm

£150-250

43 λ

ENGLISH SCHOOL

19th Century

Portrait miniature of a young lady wearing a blue dress and ringlets in her hair

Rectangular in a gilt-painted wooden frame 95 x 71mm

Provenance:

By descent to the present owner

£200-300

44 λ AMALIA KÜSSNER

American 1876-1933

Portrait miniature of Blanche Tyler wearing a black dress and lace collar

Signed and dated Amalia Küssner 95 (centre right)

Oval in a gilt metal frame, the reverse with a glazed window revealing a silk back 84 x 67mm

£150-250

λ G. E. LAMI

λ

λ

PRINTS

45 ALBRECHT DÜRER

German 1471-1528

The Flight into Egypt

Woodcut, from the Latin edition of 'The Life of the Virgin', with a fleur-de-lys watermark and Latin text verso 29.2 x 20.5cm; 11½ x 8in (image)

Provenance:

Sotheby’s, London, Old Master, Modern & Contemporary Prints, 6 December 2001, lot 88, where purchased by the present private collector

£800-1,200

ALBRECHT DÜRER

German 1471-1528

The Glorification of the Virgin Woodcut, from the Latin edition of 'The Life of the Virgin', with Latin text below 38 x 21.1cm; 15 x 8¼in (sheet)

Provenance:

Sotheby’s, London, Old Master, Modern & Contemporary Prints, 6 December 2001, lot 88, where purchased by the present private collector

£800-1,200

47

AFTER HENDRICK GOLTZIUS

Christ before Pilate; The Crowning with Thorns; Christ Carrying the Cross; The Resurrection

Four, each etching, from ‘The Passion of Christ’

Each 19.8 x 13cm; 7¾ x 5in (image) (4)

£200-300

48

GIOVANNI BATTISTA PIRANESI

Italian 1720-1778

Cross section showing the Egyptian decoration of the Caffè degli Inglesi (Wilton-Ely 874); Cross section showing the Egyptian decoration of the Caffè degli Inglesi (Wilton-Ely 875); Design for a chimneypiece with Egyptian theme, featuring a scarab beetle above the mantlepiece and seated figures at each jamb (Wilton-Ely 871); Design for chimneypiece with Egyptian design, sphinxes, hieroglyphs and bulls (Wilton-Ely 872); Design for a chimneypiece with Egyptian figures playing a harp-style instrument, hieroglyphs and sphinxes (Wilton-Ely 867); Design for a chimneypiece with hieroglyph tablets, two sphinxes on the mantelpiece and standing figures on each jamb (Wilton-Ely 864)

Six, each etching, from Diverse Maniere d’adornare i cammini…

Largest 25.1 x 39cm; 10 x 15¼in; Smallest 24.1 x 28.1cm; 9½ x 11in (plate) (6)

£800-1,200

49

JAMES BASIRE

1730-1802

The Encampment of the English Forces near Portsmouth

Engraving, 1778

48.4 x 177cm; 19 x 69¾in (image)

Provenance:

A private collection, Oxfordshire

The present work depicts The Battle of the Solent between French and English forces. Although a victory for the English, the action is chiefly remembered today for the loss of one of Henry VIII’s largest vessels, the Mary Rose, as shown here in the centre.

£200-300

50

JAMES BASIRE

1730-1802

AFTER EDWARD EDWARDS

1738-1806

Le Champ de Drap D’Or (The Field of the Cloth of Gold)

Engraving

63.1 x 115.2cm; 23¾ x 45¼in (sheet)

Provenance:

A private collection, Oxfordshire

£200-300

51

JAMES HEATH

1757-1834

AFTER JOHN SINGLETON COPLEY

1738-1815

The Death of Major Pierson

Engraving and etching

57.5 x 78.3cm; 22¾ x 30¾in (image)

£200-300

52

ENGLISH SCHOOL

Early 19th Century

Portrait of Bennilong; a Native of New Holland

Engraving

16.7 x 12.2cm; 6½ x 4¾in (image) Bennelong (c.1764-1813) was an aborigine kidnapped by Governor Arthur Phillip in 1789 and forced to learn English, following orders from King George III to open relations with the locals. He was brought to England in 1792 and was said to have had an audience with the King, although there is no evidence. He returned to Australia in 1795.

£100-150

JOHN FABER THE YOUNGER

c.1684-1756 AFTER WILLEM VERELST

c.1680-after 1756

Tomo Chachi Mico, or King of Yamacran, and Tooanahowi, his Nephew, son to the Mico of the Etchitas Mezzotint

36 x 25cm; 14¼ x 9¾in (sheet)

Tomochachi was a Native American who was taken to England in 1734 by the directors of the newly-founded colony of Georgia. He was presented to King George II and had an interview with the Archbishop of Canterbury.

£2,000-3,000

54

EDWARD FISHER

1722-1781/2

AFTER SIR JOSHUA REYNOLDS

1723-1792

Portrait of The Right Honble Lady Elizabeth Lee

Mezzotint

50.8 x 35.8cm; 20 x 14in (plate)

Together with James McArdell (Irish 1729-1765) after Thomas Hudson (1701-1779); Portrait of Mary, Duchess of Ancaster; Mezzotint; 50.7 x 35.6cm; 20 x 14in (sheet); and James Wilson (act.1760-1780) after Catherine Read (1723-1778); Portrait of Miss Jones; Mezzotint; 35.5 x 24.9cm; 14 x 9¾in (plate) (3)

Provenance: Private Collection, Salisbury

£200-300

55

RICHARD HOUSTON

c.1721-1775

Mrs Brooks; Morning (after Philippe Mercier)

Two, both mezzotint 33 x 22.4cm; 13 x 8¾in; 35.5 x 25.3cm; 14 x 10in (plate) (2)

£100-150

56

PIERRE LOMBART

French 1612/3-1681

AFTER SIR ANTHONY VAN DYCK

Flemish 1599-1641

Portrait of Dorothy Sidney, Countess of Sunderland; Portrait of Penelope, Lady Herbert; Portrait of Rachel, Countess of Middlesex; Portrait of Lucia, Countess of Carlisle; Portrait of Anna, Countess of Morton; Portrait of Anna, Countess of Bedford; Portrait of Elizabeth, Countess of Devonshire; Portrait of Margaret, Countess of Carlisle

Eight, each engraving, from The Countesses series Largest 32.7 x 23.9cm; 12¾ x 9½in; Smallest 31.8 x 23.6cm; 12½ x 9¼in (8)

£200-400

57

RICHARD EARLOM

1743-1822

AFTER MARIO NUZZI CALLED MARIO DEI FIORI Italian 1603-1673

A Concert of Birds

Mezzotint

41.9 x 57.3cm; 16½ x 22½in (plate)

Provenance:

Private Collection, Salisbury

£200-300

58

JAMES WATSON

c.1730-1790

AFTER SIR JOSHUA REYNOLDS

1723-1792

Portrait of Samuel Johnson

Mezzotint

51.1 x 40.3cm; 20 x 15¾in

Unframed

£200-300

59

WILLIAM WOOLLETT

1735-1785

A View of the House and Part of the Garden of Sir Francis Dashwood Bart at West Wycomb; A View of the Canal and of the Gothick Tower in the Garden of his Grace the Duke of Argyl at Whitton; A View of the House and part of the Garden of his Grace the Duke of Argyl at Whitton

Three, each etching

Largest 37.7 x 54.7cm; 14¾ x 21½in; Smallest 37 x 54cm; 14½ x 21¼in (plate) (3)

Provenance:

Private Collection, Salisbury

£200-300

60 GEORGE HUTCHINS BELLASIS

1778-1822

Views of Saint Helena, comprising St. Helena, taken from Sea; The Roads, St. Helena; Scene taken from the Castle Terrace; Plantation House, the Country Residence of the Governor; The Friar Rock in Friars Valley; and The Column Lot, Friary Land, Sandy Bay

Six, each aquatint with hand-colouring by Robert Havell (1769-1832), after Bellasis, each plate with accompanying text, and with title, dedication to the Duke of Wellington, introduction and list of subscribers, bound in brown wrappers and within a black folio, printed by John Tyler, London, 1815

34.4 x 49.9cm; 13½ x 19¾in

This series of aquatints are the earliest views of St Helena recorded in Abbey, executed by Bellasis during an eight months residence on the island, and published shortly before the arrival of Napoleon.

£600-800

61 WILLIAM WARD

1766-1826

AFTER THOMAS WEAVER

1774-1843

Portrait of Thomas William Coke Esq M.P. for Norfolk, inspecting some of his South-down sheep with Mr. Walker and the Holkham shepherds

Mezzotint with hand-colouring laid on canvas

52.2 x 72.3cm; 20½ x 28½in

Provenance: A private collection, Oxfordshire

£100-150

62 CHARLES FRANÇOIS GABRIEL LEVACHEZ

French act.1789-1828

AFTER CARLE VERNET

1758-1836

Dogs Dancing - La Danse des Chiens

Coloured aquatint and etching

38.1 x 59.7cm; 15 x 23½in

Together with David Weiss (1775-1846) after George Morland (1763-1804); St. James’s Park; A Tea Garden; Two, both stipple with hand-colouring; Each 33.6 x 42.8cm; 13¼ x 16¾in (image); and after Édouard Detaille (French 1848-1912); Scots Guards drilling in Rotten Row; Coloured print; 43.2 x 56.5cm; 17 x 22¼in (image) (4)

Provenance:

A private collection, Oxfordshire

£100-150

64

63 CECIL ALDIN

1870-1935

The Fallowfield Hunt, comprising The Hunt Breakfast at the Three Pigeons; Breaking Cover; Full Cry; A Check; The Death; and The Hunt Supper

Six, each signed Cecil Aldin (in pencil to margin) Each coloured lithograph heightened with gum arabic Largest 38.2 x 61.4cm; 15 x 24¼in; Smallest 37.3 x 61.3cm; 14¾ x 21¼in (image) (6)

£400-600

64 CECIL ALDIN

1870-1935

I’m Not Allowed on This Sofa

Signed and numbered 78/100 Cecil Aldin (in pencil to margin)

Etching

20.5 x 31.6cm; 8 x 12½in (plate)

£400-600

65 Φ CHARLES JOHNSON PAYNE (SNAFFLES)

1884-1967

Once Upon A Time

Signed Snaffles (in pencil to margin) and with Snaffle bits blindstamp Coloured print

21.5 x 27.5cm; 8½ x 10¾in (image)

£150-250

DRAWINGS & WATERCOLOURS

66 ATTRIBUTED TO GUILIO CAMPI

Italian 1508-1573

A centaur holding a putto

Inscribed Michelangelo (lower left) Parmigianino (lower centre) and Fra Sebastiano (lower right) Pen and brown ink, and brown wash heightened with white on pink prepared paper 29.1 x 20.2cm; 11½ x 8in

Provenance:

Archibald George Blomefield Russell (1879-1955) (L.2770a); Christie’s, London, Old Master Drawings, 10 July 2001, lot 28, where purchased by the present private collector £2,500-3,500

GIOVANNI FRANCESCO BARBIERI, IL GUERCINO

Italian 1591-1666

Study of a flying putto

Signed and dated by Sir John Charles Robinson J C Robinson/1859 (in ink to verso) and further inscribed From the Bouverie Collection/Guercino/No 510 (to verso)

Red chalk

20.5 x 17.1cm; 8 x 6¾in

Provenance:

By descent from the artist to the Gennari family, Casa Gennari, Bologna; Probably, Francesco Forni, Bologna; John Bouverie, Northampton (c.1723-1750) (L.325; stamp lower left);

By descent to his sister, Anne Bouverie (d.1757), Betchworth, Surrey;

By descent to her husband, John Hervey (d.1764), Betchworth, Surrey (no mark, see Lugt Supplement 2858c);

By descent to his son, Christopher Hervey (d.1786), London and Betchworth, Surrey;

By descent to his aunt (John Bouverie’s surviving sister), Elizabeth Bouverie (d.1798), Teston, Kent;

By bequest to Sir Charles Middleton, later 1st Baron Barham (1726-1813), Teston, Kent; By descent to his son-in-law, Sir Gerard Noel, 2nd Baron Barham (1759-1838);

By descent to his son, Sir Charles Noel, 3rd Baron Barham, later 1st Earl of Gainsborough (1781-1866), Exton Park, Oakham (no mark, see Lugt Supplement 2858c); His sale, Christie’s, London, 20 July 1859; Sir John Charles Robinson (1824-1913) (L.1433; lower left); Sotheby’s, London, Old Master Drawings, 12 March 1963, lot 35; Private Collection, Wiltshire

The present work is consistent in style and technique with Guercino’s studies for putti in red chalk of c.1635-1645. A similar example is in the Morgan Library and Museum (no.IV, 168b), the pose of which has much in common with our work. The Morgan example has been dated to 1636-38. From the same moment, is a lost Guercino altarpiece for Carpi of c.1637, now known through a copy in the Pinacoteca di Spoleto. Professor David Stone has noted the similarities between one of the putti in this work and our sheet, including the treatment of the right arm and belly, as well as the facial features. Although Stone does not feel our work is a preparatory study for the Carpi altarpiece, the comparison helps establish the attribution of the drawing and demonstrates the consistency of Guercino’s types and ideas in this period.

We are grateful to Professor David Stone for his assistance cataloguing the present work on the basis of photographs. A copy of his full report is available on request.

£4,000-6,000

68

ITALIAN SCHOOL

16th Century/17th Century

Study of three heads

Red chalk

16.8 x 23.8cm; 6½ x 9¼in

Provenance: The Collection of Robin and Rupert Hambro

£400-600

THIS LOT IS OFFERED WITHOUT RESERVE

69

ATTRIBUTED

TO

GAETANO GANDOLFI

Italian 1734-1802

A satyr

Indistinctly inscribed by a later hand (lower right)

Red chalk

40.7 x 23.2cm; 16 x 9¼in £600-800

70

CONTINENTAL SCHOOL

c.1800

Portrait of an Artist at a window

Pen and ink with wash, heightened with white 22.7 x 17cm; 9 x 6¾in

Provenance: The Collection of Robin and Rupert Hambro

£100-150

THIS LOT IS OFFERED WITHOUT RESERVE

71

ATTRIBUTED TO BIAGIO DALLE LAME, CALLED BIAGIO PUPINI

Italian act.1511-1551

Saint Paul preaching to the Athenians Black chalk, pen and brown ink, and brown wash heightened with white on green prepared paper 27 x 40.8cm; 10¾ x 16in

Provenance:

John and Alice Steiner; Christie’s, London, Old Master Drawings, 10 July 2001, lot 23, where purchased by the present private collector

Exhibited: New Haven, Yale University Art; Santa Barbara, Santa Barbara Museum of Art; Springfield, Springfield Museum of Fine Arts; and Williamsburg, Muscarelle Museum of Art, Old Master Drawings From the Collection of John and Alice Steiner, 1986-1987, no.25 £1,500-2,500

72

CIRCLE OF SINIBALDO SCORZA

Study of a sleeping dog

Pen and brown ink

10.6 x 14.9cm; 4¼ x 5¾in

Provenance: Private Collection, Salisbury

£150-250

73 VENETIAN SCHOOL

18th Century

Study of a dog lying down Pen and brown ink on blue paper 7.6 x 17.2cm; 3 x 6¾in

Provenance: Thos Agnew & Sons, London; Private collection, Salisbury £100-150

74 FRENCH SCHOOL

18th Century

Putti dancing

Gouache on vellum

16.3 x 28.5cm; 6½ x 11¼in

Provenance: The Collection of Robin and Rupert Hambro

£200-300

THIS LOT IS OFFERED WITHOUT RESERVE

75 FRENCH SCHOOL

18th Century

Study of a reclining nude with a putto Inscribed Clodion 1780 (to backing paper) Red chalk

16 x 21.3cm; 6¼ x 8½in

Provenance: Private Collection, Salisbury

£100-150

76 FRENCH SCHOOL

18th Century

Study of lady wearing a feathered hat and a sword and scabbard, and holding a baton

Pencil, and pen and brown ink

22.8 x 13.7cm; 9 x 5½in

Provenance: Private Collection, Salisbury

£100-150

77

77

GERRIT ADRIAENSZ. DE HEER

Dutch 1606-1670

A bagpiper playing for villagers before the ruins of an inn

Indistinctly signed ** Heer (to rock, lower centre)

Pen and brown ink on vellum

45.1 x 37.1cm; 17¾ x 14½in

Provenance:

Ronald Searle (1920-2011) (his stamp to backing sheet); Christie’s. London, Old Master Drawings, 10 July 2001, lot 167, where purchased by the present private collector

£2,000-3,000

78

PETER TILLEMANS

Flemish c.1684-1734

Distant view of Salisbury Cathedral

Pencil, black chalk and watercolour, heightened with white

18.9 x 26.8cm; 7½ x 10½in

Provenance:

Christie’s, London, 24 March 1987, lot 19; Colin Hunter; His Sale, Sotheby’s, London, Early English drawings and watercolours from the collection of Colin Hunter, 11 July 1991, lot 44; Hanson Holloway’s Ross, Banbury, The James Anthony and Myrtle Hall Collection, 27 June 2022, lot 238

£500-800

79

CIRCLE OF JOHN NIXON

View of a pleasure garden

Pencil and watercolour

17.4 x 25.1cm; 6¾ x 10in

Provenance: Sotheby’s, London 11 July 1991, lot 93; The Collection of Robin and Rupert Hambro

£300-500

THIS LOT IS OFFERED WITHOUT RESERVE

80

ENGLISH SCHOOL

1792

View of the English College at Douai, France

Signed with initials and dated IH 1792 (lower right)

Pen and ink, and watercolour

41.5 x 55.6cm;

16¼ x 21¾in

Provenance: Private Collection, Salisbury

£100-150

81

FRENCH SCHOOL

Early 19th Century Father and child in a farmyard

Signed with initial, inscribed and dated R Lyon 1819 (lower right)

Pen and ink with grey wash, within grey framing lines

16.1 x 23.4cm; 6¼ x 9¼in

Provenance: Private Collection, Salisbury

£200-300

82

GEORGE ROMNEY

1734-1802

Study for Fortune Telling (recto); River landscape with figures on the bank (verso)

Pencil (recto); pencil, black chalk and grey wash (verso), with watermark of fleur-de-lys surmounted by a crown

35.5 x 36.9cm; 14 x 14½in

This is one of a number of drawings known for Romney’s Fortune Telling. However, there is only a fragment of the unfinished oil extant, depicting Emma Hamilton, now in the Tate, London (no. N00312) (see A. Kidson, George Romney: A Complete Catalogue of his Paintings (New Haven and London, 2015), p.680, no.1491). We are grateful to Alex Kidson for confirming the attribution of the present work on the basis of photographs.

£800-1,200

83

ATTRIBUTED TO EDWARD

FRANCIS BURNEY

1760-1848

Socrates reproving Alcibiades, within a feigned architectural border

Inscribed Socrates reprooving Alcibiades (lower centre)

Pen and black ink, with grey wash on folded laid paper

21.5 x 29.6cm;

8½ x 11¾in (sheet)

Unframed

£150-250

84

ITALIAN SCHOOL

c.1800

Landscape with figures on a road by a classical archway

Pen and black ink with grey wash

28.5 x 41.9cm;

11¼ x 16½in

Provenance: Private Collection, Salisbury

£200-300

85

JOSEPH MALLORD WILLIAM TURNER RA

1775-1851

‘The Grey Castle’, a study of the Castle of Beilstein on the Moselle Pencil and watercolour 15.4 x 23cm; 6 x 9in

Provenance: John Ruskin (1819-1900); Lytham Hall, Lancashire; Spink & Son, London; Where purchased by John Marshall (1911-1995), March 1966; And by descent to the present private collector, Wiltshire

According to John Marshall’s notes, the authenticity was confirmed in 1966 by Martin Butlin, Evelyn Joll, Edward Croft-Murray, and Graham Reynolds, and by Andrew Wilton in 1983.

£5,000-8,000

(framed)

86

JOHN CONSTABLE RA

1776-1837

The Keep, Colchester Castle, from the North East Pencil

9.4 x 11.7cm; 3¾ x 4½in

Provenance:

Agnew’s, London, 1943; Where purchased by Howard Bliss (1894-1977); By whom given to John Marshall (1911-1995); And by descent to the present private collector, Wiltshire

Literature:

‘A Sketch of Colchester Castle by John Constable, R.A.’, in The Essex Review (no.208, vol.LII, October 1943), pp.181-184, illustrated p.182

Exhibited:

London, Agnew’s, 70th Annual Exhibition, 1943

The present work is closely related to a sketch of Colchester Castle on page 66 of the 1813 intact sketchbook, now in the permanent collection of the Victoria and Albert Museum, London (no.317-1888; Graham Reynolds, The Early Paintings and Drawings of John Constable, Yale University Press, 1996, no. 13.17, p.66). Constable executed the V&A’s work whilst staying in Colchester with William Mason (1768-1840), a solicitor and relation by marriage. Graham Reynolds saw the present work in 1973 and dated it to 1813. The sheet of the present work is, however, very slightly larger than the sheets of the V&A’s sketchbook, which perhaps indicates that either it was a one-off drawing on a loose sheet, or that our work was originally part of a different sketchbook, which would have been detached and gifted, possibly to William Mason himself. The figure in the lower right could in fact be a depiction of Mason. Although the present sketch is closely related to Constable’s work of 1813, it could alternatively have been executed the following year, when Constable was known to have stayed with Revd W. W. Driffield at Feering, near Colchester. Constable and Driffield toured the south of Essex together, although the exact spots they visited are unknown. We are grateful to Anne Lyles for her assistance cataloguing the present work.

£3,000-5,000

86 (framed)

87

DAVID COX SEN. RWS

1783-1859

Landscape with figures in highland dress Pencil and watercolour, heightened with bodycolour

15.5 x 24.1cm; 6 x 9½in

Provenance: Sotheby’s, London, 16 July 1992, lot 130, where purchased by W.J. Finch; By descent to the previous owner; By whom sold, Christie’s, London, British Art on Paper including Victorian Watercolours from the Albert Dawson Collection, 3 June 2004, lot 120 £1,000-1,500

88

DAVID COX SEN. RWS

1783-1859

Fishermen near a three-mast ship in an estuary, Chichester beyond Signed David Cox (lower left) Watercolour and gouache

22.5 x 34cm; 8¾ x 13¼in

Provenance: Sotheby’s, London, Early British Drawings, Watercolours and Portrait Miniatures, 4 December 2008, lot 149; Maurice Edward Dear, Southampton £1,000-1,500

HUGH WILLIAM

WILLIAMS

1773-1829

View of Castle Campbell, ‘The Castle of Gloom’, with cattle and figures in the foreground

Pencil and watercolour

66.5 x 89.3cm; 26¼ x 35¼in

Provenance: The Fine Art Society, London, July 1989

£1,000-1,500 90

HUGH WILLIAM

WILLIAMS

1773-1829

Herefordshire landscape with figures on a riverbank and Goodrich Castle beyond Pencil and watercolour

65.2 x 88.4cm; 25¾ x 34¾in

Provenance: The Fine Art Society, July 1989

£1,000-1,500

‘GRECIAN’

‘GRECIAN’

91 HUGH WILLIAM ‘GRECIAN’ WILLIAMS

1773-1829

View of Spedlins Tower, Dumfriesshire, with figures fishing in the foreground

Pen and ink, and watercolour heightened with white

29.4 x 46.7cm; 11½ x 18½in

Provenance:

The Fine Art Society, London, July 1989

£800-1,200

92 HUGH WILLIAM ‘GRECIAN’ WILLIAMS

1773-1829

Dunstafnage Castle, near Oban, Argyllshire

Pencil and watercolour

34 x 48.3cm; 13¼ x 19in

Provenance:

The Fine Art Society, London, July 1989

£600-800

93 HUGH WILLIAM ‘GRECIAN’ WILLIAMS

1773-1829

The Frater Building, Dunfermline Abbey

Signed and dated Williams 1804 (lower centre)

Pencil and watercolour

27.9 x 38.4cm; 11 x 15in

Provenance:

The Fine Art Society, London, July 1989

£400-600

94 HUGH WILLIAM ‘GRECIAN’ WILLIAMS

1773-1829

Kilchurn Castle, Aberdeenshire

Pencil and watercolour heightened with white 38 x 58cm; 15 x 22¾in

Provenance:

The Fine Art Society, London, July 1989

£600-800

95 HUGH WILLIAM ‘GRECIAN’ WILLIAMS

1773-1829

Highland landscape with a castle in the distance

Signed H W Williams (lower right)

Pen and ink, and watercolour

31.4 x 47.2cm; 12¼ x 18½in

Provenance:

The Fine Art Society, London, July 1989

£500-700

96 HUGH WILLIAM ‘GRECIAN’ WILLIAMS

1773-1829

Highland landscape with a ruined keep on the shores of a loch

Pencil and watercolour

41.9 x 57.2cm; 16½ x 22½in

Provenance:

The Fine Art Society, London, July 1989

£300-500

97 ROBERT ADAM

Scottish 1728-1792

Figures in a canyon above a river

Signed and dated R Adam delin’ 1787 (to original mount attached to the reverse)

Pencil and watercolour

14.4 x 23.5cm; 5¾ x 9¼in

Provenance:

The Fine Art Society, London £400-600

98

DUNCAN GRAY

Late 18th/Early 19th Century Mountainous river landscape with figures on a road and an artist sketching

Signed Duncan Gray (lower right)

Pencil and watercolour within black framing lines

12.4 x 18.5cm; 4¾ x 7¼in £120-180

99 HENEAGE FINCH, 4TH EARL OF AYLESFORD

1751-1812

Figure with a bullock and hay wagon, Packington; Thatched farm buildings, Packington; Landscape in Bagots Park

Three, the first inscribed at Packington, the last inscribed in Bagots Park Aug (both lower left to mount)

Each pen and brown ink with brown and grey wash

Largest 25.9 x 40.3cm; 10¼ x 15¾in; Smallest 11.2 x 21.2cm; 4½ x 8¼in (3)

Provenance:

Two with Martin Gregory, London £200-300

100

SAMUEL

1783-1852

PROUT OWS

Village street scene with figures conversing

Signed S Prout (centre right)

Pencil and watercolour

heightened with bodycolour

33 x 44.3cm; 13 x 17½in

Provenance: Colnaghi, London

£200-300

102

JOHN

THIRTLE

1777-1839

101

JOHN VARLEY

1778-1842

OWS

Ruddlan Castle, near Rhyl, North Wales

Signed and dated J.VARLEY/1805 (lower left)

Pencil and watercolour

16.2 x 26.2cm; 6¼ x 10¼in

Provenance: Agnew’s, London

£150-250

River landscape with a figure tending to nets and eel traps in the foreground with a warehouse beyond Pencil and watercolour

21.5 x 29.1cm; 8½ x 11½in

Provenance: Sotheby’s, London, British Early Paintings, Drawings and Watercolours, 30 November 2000, lot 313; Martin Gregory, London

£150-250

103

HOLMES EDWIN CORNELIUS WINTER

1851-1935

Old Shop at Loddon, Norfolk

Signed with pseudonym, dated and inscribed W.Rowland/1871/Nr Loddon (lower left)

Watercolour

24 x 21cm; 9½ x 8¼in

Provenance: John Marshall (1911-1995); And by descent to the present private collector, Wiltshire £50-100

104

THOMAS UWINS RA, RWS

1782-1857

Study of a Neapolitan woman spinning wool, with her child in a crib

Signed, dated and inscribed T Uwins/Naples 1827 (lower left)

Pencil

39.6 x 25.7cm; 15½ x 10in

Provenance:

Baskett and Day, London, where purchased c.1970; And by descent;

Property of William Wilkins CBE

£200-300

105

JAMES WARD RA

1769-1859

Study of a farmer drinking from a tankard

Signed with initials JW.RA. (lower left)

Black and white chalk

26.2 x 14.8cm; 10¼ x 5¾in

Provenance: Sotheby’s, London, British Drawings and Watercolours, 26 November 1998, lot 6; Agnew’s, London

£200-300

106

PAUL SANDBY

1731-1809

Study of a reclining figure

Pencil and grey wash 9.7 x 17.9cm; 3¾ x 7in

Provenance: Baskett and Day, London, where purchased c.1970; And by descent;

Property of William Wilkins CBE

£200-300

107

PETER DE WINT OWS

1784-1849

Still life with pitcher, bottle, bread, knife and a plate

Pencil and watercolour

23.4 x 35.1cm; 9¼ x 13¾in

£600-800

108

HENRY BERNARD CHALON

1770-1849

Portrait of Lion, the Duke of York’s Poodle Inscribed The Duke of York’s Dog/Lion a Poodle/all over/ Brown/no white (along upper edge)

Pencil

12.2 x 18.3cm; 4¾ x 7¼in

Provenance: Covent Garden Gallery, London; The Collection of Robin and Rupert Hambro

£200-300

109

THOMAS BARKER OF BATH

1769-1847

Study of two horses and an ostler

Pen and ink

10.1 x 15.5cm; 4 x 6in

Provenance: The Manning Galleries, London; Where purchased by the previous private collector, April 1971; And by family descent

£100-150

110

AFTER SIR HENRY RAEBURN

Portrait of Mrs Irvine

J. Boswell

Pastel

70.8 x 58cm; 27¾ x 23in

£300-500

111

AFTER

Portrait of Mrs John Yorke (née Wright) (d.1883), half-length, wearing a white dress and pearl necklace

Watercolour 25.6 x 20.3cm; 10 x 8in

£150-250

112

ATTRIBUTED TO THOMAS HEAPHY 1775-1835

Portrait of a gentleman, traditionally identified as Thomas Lane Freer (1801-1879), wearing a fur-lined coat

Pencil and watercolour

29.8 x 24.7cm; 11¾ x 9¾in

£120-180

113

WILLIAM CARPENTER 1818-1899

Portrait of an officer in uniform

Signed and dated W Carpenter 1849 (lower left)

Coloured chalks

26.4 x 34.8cm; 10½ x 13¾in

£200-300

SIR THOMAS LAWRENCE

114

DANIEL GARDNER

1750-1805

Portrait of Harriet Mostyn Owen (née Cumming) (1786-1865), wearing a white dress and turban, holding a jar and seated in a landscape by a fountain

Gouache and pastel on paper laid on canvas, oval 53 x 46cm; 20¾ x 18in

Literature:

Neil Jeffares, "Daniel Gardner", Dictionary of pastellists before 1800, online edition, no. J.338.15117

£800-1,200

115

WILLIAM MAJOR JAMES

Early 19th Century

AFTER SIR JOSHUA REYNOLDS

1723-1792

Portrait of Charles James Fox (1749-1806), three-quarter length, wearing a blue coat and standing in an interior

Watercolour

22.7 x 17.2cm; 9 x 6¾in

After the original at Holkham Hall, Norfolk.

£200-300

116

ENGLISH SCHOOL

c.1750

Portrait of a lady, full length Black and white chalk

30.3 x 18.8cm; 12 x 7½in

Provenance:

The Collection of Robin and Rupert Hambro

£150-250

THIS LOT IS OFFERED WITHOUT RESERVE

117

GEORGE ARTHUR FRIPP RWS

1813-1896

At Southend, Essex

Signed, dated and inscribed G A Fripp/1851/ At Southend Essex (lower left)

Pencil and watercolour with scratching out

33.6 x 48.8cm; 13¼ x 19¼in

Provenance:

Christie’s, London, British Art on Paper, 18 November 2004, lot 79

£500-800

118

WYCLIFFE EGGINTON RCI, RCA

1875-1951

Near Peckforton Castle

Signed W Egginton (lower right)

Pencil and watercolour

56.8 x 89.9cm; 22¼ x 35½in

£150-250

119

SIR ERNEST ALBERT WATERLOW RA, ROI

1850-1919

Landscape with a shepherd and his flock passing a pond; Wooded dune landscape with sea beyond;

A pair, both signed EAWaterlow (lower left) Both pencil and watercolour

Each 38 x 54.6cm; 15 x 21½in (2)

£300-500

120

CHARLES BENTLEY OWS

1806-1854

Portsmouth Harbour with fishing boats in choppy waters

Signed indistinctly C Bley (lower left) and bears a further signature C Bentley (lower left)

Watercolour heightened with white and scratching out

51.9 x 73.6cm; 20½ x 29in

£300-500

121

HENRY MOORE RA, RWS

1831-1895

The Turn of the Tide

Signed and dated Henry Moore 1882 (lower right)

Watercolour with scratching out

39 x 69.6cm; 15¼ x 27½in

£400-600

122

THOMAS BUSH HARDY RBA

1842-1897

On The East Coast

Signed, dated and inscribed On the East Coast/ T.B.Hardy 1896 (lower left)

Watercolour heightened with bodycolour

16.4 x 50.5cm; 6½ x 20in

£300-500

123

RICHARD WANE

1852-1904

Gulls flying over choppy coastal waters

Signed R Wane (lower left)

Watercolour

58.1 x 88.4cm; 23 x 34¾in

£200-300

126

WALTER STUART LLOYD

1858-1926

View of Dartmouth Harbour with Dartmouth Castle

Signed and dated Stuart Lloyd 1906 (lower right)

Watercolour heightened with bodycolour

29.7 x 65cm; 11¾ x 25½in

£200-300

124

JOHN HENRY MOLE

1814-1886

The Shrimper

Signed and dated J H Mole 1866 (lower right)

Watercolour heightened with bodycolour

34.8 x 63.2cm; 13¾ x 24¾in

Provenance: Sotheby’s, London, Watercolours and Drawings from the Michael Appleby Collection, 29 November 2000, lot 76

£400-600

125

JOHN HENRY MOLE

1814-1886

The Jaws of Borrowdale near Keswick

Signed I H Mole (lower left)

Pencil and watercolour heightened with white 34.7 x 52.8cm; 13¾ x 20¾in

£200-300

127

WALTER STUART LLOYD

1858-1926

View of Conwy Castle across the river

Signed and dated Stuart Lloyd 1906 (lower left)

Watercolour heightened with bodycolour

30 x 64.8cm; 11¾ x 25½in

£200-300

128

EDWARD LEAR

1812-1888

View of the Nile at Es Shelaal, Egypt

Inscribed and dated Es Shelaal/4-4.45 pm/28 Jany 1867 (lower left), numbered 249 (lower right), and further inscribed with colour notes throughout Pencil, pen and brown ink, and watercolour, heightened with white 29.2 x 54.2cm; 11½ x 21¼in

Provenance:

Mr and Mrs Charles Beecher Hogan, Woodbridge Connecticut, by 1960; By descent to Peter Russell Spokes; By descent to Ann Spoke Symonds, Oxford

Exhibited:

Connecticut, Yale University Art Gallery, Paintings, Drawings and Sculpture Collected by Yale Alumni, May-June 1960, no.180

This work dates from Edward Lear’s second trip to the Nile in 1867. At the beginning of January he travelled south from Cairo, meeting his Canadian cousin Archie Jones, at Luxor. On the morning of the 27th January he sketched at Aswan before making his way to Es Shelaal, where he executed the present work. He was still at Es Shelaal on the 29th and by the 30th was at the first cataract at Philae.

£2,000-3,000

129

FRANK M. CHASE

1843-1898

View of the Bacino San Marco with workers unloading a boat

Signed F M Chase (lower left)

Watercolour heightened with bodycolour 22 x 33.8cm; 8¾ x 13¼in

£150-250

130

WILLIE STEPHENSON

1857-1938

Figure on a terrace, Capri

Signed W.STEPHENSON (lower left) Watercolour 39 x 61.8cm; 15¼ x 24¼in £100-150

131

HENRY JOHN SYLVESTER STANNARD RBA, FRSA

1870-1951

Near Kimbolton, Bedfordshire; Near Keysoe, Bedfordshire

A pair, the former signed Sylvester Stannard (lower left)

Both watercolour heightened with white

Each 24 x 34.1cm; 9½ x 13½in (2)

£800-1,200

132

HENRY JOHN SYLVESTER STANNARD RBA, FRSA

1870-1951

Landscape with ducks on the river and figures harvesting the field beyond

Signed Sylvester Stannard (lower left)

Watercolour 23.7 x 33.6cm; 9¼ x 13¼in

Exhibited:

Cradley, The Lower Nupend Gallery, The Call of the Running Tide, May-June 1980, no.38

£200-300

133

MILDRED ANNE BUTLER RA, RWS

1858-1941

View of a garden with poppies near a greenhouse

Signed M.A.Butler (lower right)

Watercolour and bodycolour

26 x 18.2cm; 10¼ x 7¼in

£1,000-1,500

134

RICHARD PETER RICHARDS

1840-1877

Landscape at dusk, with cows and sheep beside a river

Signed R P RICHARDS (lower left)

Gouache

37.8 x 57.5cm; 15 x 22¾in

£200-300

135

ARTHUR CLAUDE STRACHAN

Scottish 1865-1938

The puppy

Signed CLAUDE STRACHAN (lower left)

Watercolour heightened with bodycolour

16.7 x 24.9cm; 6½ x 9¾in

Provenance:

Priory Gallery, Gloucestershire, October 1986, where purchased by the present private collector

£300-500

136

WILLIAM GILES BAXTER

1856-1888

The months of the year

Twelve, each signed W. G. Baxter

Each pen and ink

Largest 11.8 x 21.7cm; 4¾ x 8¾in; Smallest 9.8 x 21.3cm; 3¾ x 8½in (12)

£300-500

137

ENGLISH SCHOOL

19th Century

Studies of Charles Dickens characters, comprising Newman Noggs (Nicholas Nickleby); Mrs Crummles (Nicholas Nickleby); Sairey Gamp (Martin Chuzzlewit); Dick Swiveller (The Old Curiosity Shop); Toots (Dombey and Son) and Trotty Veck (The Chimes)

Six, each signed with initials AGK and inscribed with title, and five inscribed with quotation

Each pen and ink and watercolour

Each 18.2 x 11.3cm; 7¼ x 4½in (6)

Provenance: Christie’s, South Kensington, British and Continental Watercolours, 29 June 2005, lot 212

£100-200

138

ENGLISH SCHOOL

Mid-19th Century

Studies of figures and dogs

Pencil

13.9 x 17.4cm; 5½ x 6¾in

Provenance: Private Collection, Salisbury

£100-150

139

WILLIAM HOLMAN

HUNT OM

1827-1910

Portrait of Arthur Henry Giles, aged twelve, bust-length

Signed W.H. HUNT (lower right, on sitter’s sleeve)

Pen and brown ink

18 x 14.3cm; 7 x 5¾in

Together with a framed copy of correspondence from the sitter regarding the present work (2)

Provenance:

Anna Sarah Giles, mother of the sitter, 1852;

Arthur Henry Giles, the sitter, Weston-super-Mare, by 1907; Private Collection, West Midlands; Christie’s, London, 14 March 1978, lot 175, where purchased by Maas (£198);

T. Clark, July 1978;

Agnew’s, London, 1989;

From whom purchased by the previous owner, August 1994; Christie’s, London, British Art on Paper, 5 June 2007, lot 97

139

Literature:

Judith Bronkhurst, William Holman Hunt: A Catalogue Raisonné of Paintings and Drawings executed up to his Departure for the Near East on 13 January 1854, PhD dissertation (Courtauld Institute of Art, University of London, 1987), no. D87, pp. 435-6, pl. 215;

Judith Bronkhurst, William Holman Hunt: A Catalogue Raisonné (New Haven and London, 2006), vol.II, p. 214, no. L26

Exhibited:

Liverpool, Walker Art Gallery, Collective Exhibition of the Art of W. Holman Hunt, O.M., D.C.L., 1907, no.85, lent by A.H. Giles;

Glasgow, Kelvingrove Art Gallery, Exhibition of Pictures and Drawings by W. Holman Hunt, O.M., D.C.L., 1907, no.65; London, Agnew’s, Images of Victorian Life: An Exhibition of Paintings, Drawings and Sculpture, 1990, no.73, illustrated There was once an old label on the backboard of the present work which gave the following information: ‘Arthur Henry Giles Aetit XII Drawn by Holman Hunt in the drawing-room of Mrs Coombes [sic], wife of the Supt., Clarendon Press, Oxford, on a Sunday afternoon in 1852, Millais, & Collins also present’. Hunt first met Mr and Mrs Combe in the autumn of 1851 when he was painting at Worcester Park Farm in the company of Charles Alston Hunt and John Everett Millais. Mrs Coombe asked Hunt to sign the present work and told the sitter to give it to his mother ‘as the person who drew it will some day be famous’.

£2,000-3,000

CHARLES WHYMPER

1853-1941

A partridge with its young Signed C.Whymper (lower centre)

Gouache, en grisaille

22.6 x 22.6cm; 9 x 9in, framed as a roundel

Provenance: Anthony Woodd, Edinburgh

£200-300

141

WILLIAM HUGGINS

1820-1884

Chickens in a landscape

Signed and indistinctly dated W Huggins/18*3 (lower right)

Pencil and pastel

11.4 x 15.5cm; 4½ x 6in

Provenance:

Arthur Ackermann & Peter Johnson, London

£250-450

142

MARY ELIZABETH DUFFIELD

1819-1914

Study of a rose; Study of forget-me-nots

Two, both signed M E Duffield (lower right) Both pencil and watercolour

19.2 x 14.2cm; 7½ x 5½in; 17.4 x 25.6cm; 6¾ x 10in, one mounted with an arched top

Together with Nannie Dalziel (Late 19th Century); Study of hydrangeas; Study of pansies; Study of sweet peas; Three, each signed and inscribed Painted from nature/Nannie Dalziel (lower right); Each watercolour; Largest 32 x 19.3cm; 12½ x 7½in; Smallest 28 x 21cm; 11 x 8¼in, one mounted as an oval; and English School 19th Century; Floral study; Inscribed indistinctly throughout; Pencil; 11 x 16.9cm; 4¼ x 6¾in (6)

£150-250

143

WILLIAM VERNER LONGE

1857-1924

The last fence of the 1903 Grand National Signed W.V.Longe (centre right), and inscribed and dated The Grand National 1903/The Last Fence/“Drumcree” “Drumree” “Manifesto” “Ambush ii.” “Kirkland” “Detail” (along lower edge)

Watercolour heightened with bodycolour

40.2 x 57.7cm; 15¾ x 22¾in

£100-200

144

144

LOUISA BERESFORD, MARCHIONESS OF WATERFORD 1818-1891

The Holy Family

Pencil and watercolour 15 x 22.6cm; 6 x 9in £800-1,200

145 Φ

ROBERTO RAIMONDI Italian 1877-1961

Winding wool

Signed R.Raimondi (lower right)

Pencil and watercolour

56.5 x 39.3cm; 22¼ x 15½in

Provenance:

Lacewing Fine Art

£600-800

146

ENGLISH SCHOOL

c.1800

Fan design with a view of St Michael’s Mount and two vignettes of peasants

Gouache

13.4 x 25.5cm; 5¼ x 10in

Together with a tooled leather display stand (2)

£200-300

147 THOMAS CHARLES LEESON ROWBOTHAM NWS

1823-1875

A shepherd and his flock at Stonehenge

Signed and indistinctly dated Rowbotham 18** (lower right)

Watercolour heightened with white 41.6 x 61.4cm; 16¼ x 24¼in

£200-400

148

ENGLISH

SCHOOL

19th Century

Views of Farleigh Hungerford, Somerset, comprising View of Farleigh Chapel; View of one of the Farleigh Towers; Mummies at Farleigh Chapel; Church of St Leonard, Farleigh Hungerford; Chancel of Farleigh Chapel with tombs; Interior of Farleigh Church; Chancel of Farleigh Church with an altar; Interior of Farleigh Chapel with a font; Cottage in Somerset; Cottage in Farleigh Wood; Farleigh Lodge

Eleven, ten inscribed with title to mount

Each watercolour

Largest 23.2 x 19.1cm; 9¼ x 7½in; Smallest 15.5 x 20.8cm; 6 x 8¼in

Unframed

Together with Joseph Lambert (act.1821-1822) after Samuel Prout (1783-1852); Farley Castle, Somersetshire; Etching; 22.9 x 27.2cm; 9 x 10¾in Unframed (12)

£200-300

149

149

JAMES LAWSON STEWART

1841-1929

The High Bridge, Lincoln

Signed with monogram (lower left)

Pencil and watercolour 35.3 x 25.1cm; 14 x 10in

Provenance: Graham Bentley, March 1996

£200-300

150

150

GEORGE HAYDOCK DODGSON

1811-1880

Regent’s Dock Viaduct on the London and Blackwall Railway

Pencil and watercolour with scratching out 26.1 x 42.6cm; 10¼ x 16¾in

Provenance:

Sotheby’s, London, Old Master PaintingsEuropean Works of Art - British PaintingsBritish Watercolours, 28 May 1998, lot 530; Henry Potts, Chillingham

£200-300

151

1881-1951

Continental street scene with figures outside a grocery

Signed Noel.H.Leaver A.R.C.A (lower right)

Watercolour 25.6 x 35.7cm; 10 x 14in

£200-300

152 Φ

FRANK WATSON WOOD

1862-1953

Morning calm at Plymouth, with HMS Falmouth

Signed and dated FRANK WOOD 1912 (lower right) and inscribed HMS FALMOUTH (lower left) and MORNING CALM PLYMOUTH (lower centre)

Watercolour heightened with white 26 x 76.2cm; 10¼ x 30in

£300-500

153

1862-1953

HMS Collingwood entering Plymouth Harbour

Signed and dated FRANK WOOD 1913 (lower right)

Watercolour heightened with white 18.3 x 52.8cm; 7¼ x 20¾in

£300-500

Φ FRANK WATSON WOOD

NOEL HARRY LEAVER

154

HERCULES BRABAZON BRABAZON

1821-1906

Portrait of a knight in armour

Signed with initials

HBB (lower left)

Watercolour

24.7 x 18.5cm; 9¾ x 7¼in

Provenance: Lawrence’s, Crewkerne, 23 March 1997

£200-300

155

HERCULES BRABAZON BRABAZON

1821-1906

AFTER JOHN CONSTABLE

1776-1837

A windmill

Signed with initials HBB (lower left)

Pencil and watercolour

18.7 x 11.2cm; 7¼ x 4½in

Provenance: Phillips, London, Watercolours and Portrait

Miniatures, 8 February 2000, lot 131

£300-500

154

155

157 156

156

ROBERT WALKER MACBETH RA

Scottish 1848-1910

Study of a young woman with outstretched arm; Study of a young woman with her arm above her head

Two, the latter signed with initials, dated and inscribed P L 11/Dec 1903/RM (lower left)

Both charcoal

52.9 x 39.9cm; 20¾ x 15¾in; 50.2 x 30.8cm; 19¾ x 12¼in (2)

Provenance:

The latter with J S Maas & Co, London

£200-300

157

WILLIAM JAMES YULE

1867-1900

The Singer

With the artist’s blindstamp (lower right)

Pencil

19.7 x 15.2cm; 7¾ x 6in

Exhibited:

London, Pyms Gallery, Spring Exhibition, 1983, no.130

£100-150

158

MICHEL FRONTI

French 1862-1935

Reclining female nude

Signed M Fonti (lower right)

Pastel on paper laid on canvas

55.7 x 46.4cm; 22 x 18¼in

£1,000-1,500

159

CONTINENTAL SCHOOL

19th Century

Portrait of a lady with flowers in her hair and a white head scarf

Pastel

42.4 x 28cm; 16¾ x 11in

£150-250

160

MARIQUITA JENNY MOBERLY

1855-1937

Portrait of a lady, wearing a white dress and a necklace of flowers

Signed with monogram and dated 1886 (centre right)

Pencil and watercolour

26.4 x 22.5cm; 10½ x 8¾in, framed as an oval

£100-150

161

CONTINENTAL SCHOOL

Late 19th Century

Portrait of an oriental lady wearing a headscarf and gold necklace

Signed with monogram and dated 87 (lower left)

Pastel

58.7 x 49.2cm; 23 x 19¼in

£100-150

158

162

ENGLISH SCHOOL

1809

Portrait of a Chinese man, wearing a green coat and striped shirt

Indistinctly signed and dated 1809 (lower centre)

Watercolour within black framing lines, oval 21 x 18.5cm; 8¼ x 7¼in

Provenance: Private Collection, Salisbury

£80-120

163

PERSIAN SCHOOL

Portrait of a prince, seated on a terrace, with a hookah pipe

Watercolour, bodycolour and gilt paint, oval 20.7 x 15.4cm; 8¼ x 6in

Provenance: Private Collection, Salisbury

£100-150

164

ENGLISH SCHOOL

1877

Study of a Chinese Soldier seen from behind Signed with monogram, inscribed and dated RG/Chinese soldier/Haitien/4.5.77. (lower right)

Pencil and watercolour

19.1 x 10.3cm; 7½ x 4in

Provenance: Martyn Gregory, London

£150-250

165

DECCAN SCHOOL

Lady bathing with the help of her attendant (recto); A nobleman smoking a hookah, with a lady and two attendants (verso)

Indistinctly inscribed (lower centre to recto) and with black stamp (lower right to recto)

Gouache heightened with gilt paint

35.8 x 22.2cm; 14 x 8¾in

Provenance: Formerly the property of the late Marguerite Littman (1930-2020)

£200-300

166

COMPANY SCHOOL

View of the Taj Mahal, Agra

Inscribed and dated The Taj at Agra. July. 1853 (lower centre)

Pen and ink, and watercolour

26.2 x 43.5cm; 10¼ x 17¼in

£100-200

167

167

Acrobats balancing on each other’s heads

Gouache

26.5 x 42.2cm; 10½ x 16½in

Provenance:

Formerly the property of the late Marguerite Littman (1930-2020)

£300-500

168

Acrobats climbing a pole

Gouache

43.6 x 28.1cm; 17¼ x 11in

Provenance:

Formerly the property of the late Marguerite Littman (1930-2020)

£300-500

168

169

169

INDIAN

Landscape with a tiger hunt; Landscape with a bear hunt

A pair, both gouache and gilt paint on silk

23.1 x 31.2cm; 9 x 12¼in; 24.3 x 30.8cm; 9½ x 12¼in (2)

£200-300

COMPANY SCHOOL

COMPANY SCHOOL

SCHOOL

LOTS 170-237

PROPERTY OF A FORMER

MUSEUM KEEPER

170 SPANISH SCHOOL

c.1600

A leaf from an illuminated manuscript depicting a knight in armour

Gouache

39.7 x 29.8cm; 15¾ x 11¾in

Unframed

Provenance: Property of a former museum keeper, collected between the 1930s and 1970s

£300-500

172 ITALIAN SCHOOL

17th Century Study for a grotesque

Pen and brown ink

11.6 x 9.6cm; 4½ x 3¾in

Unframed

Provenance:

171 MANNER OF HANS HOLBEIN II

Portrait of Thomas Cranmer (1489-1556)

Oil on panel

31.2 x 27cm; 12¼ x 10½in

Provenance: Property of a former museum keeper, collected between the 1930s and 1970s

£200-300

Giuseppe Vallardi (1784-1863) (L.1223);

Property of a former museum keeper, collected between the 1930s and 1970s

£120-180

173

CIRCLE OF GIOVANNI ANTONIO CANAL, CALLED CANALETTO

Study of a portico on a canal

Pen and brown ink

27.4 x 16.3cm; 10¾ x 6½in

Unframed

Provenance:

Leverton Harris (1864-1926) (according to inscription verso); Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

175 ITALIAN SCHOOL

18th Century

Figures outside a church

Inscribed Marieschi (to verso)

Pen and black ink and grey wash

34.1 x 44.4cm; 13½ x 17½in

Unframed

Together with Circle of the Bibiena Family; Interior of a Palace; Pen and black ink and blue wash; 20.3 x 26.1cm; 8 x 10¼in;

Unframed; Italian School c.1800; View of a temple; Indistinctly inscribed (along lower edge); Pen and brown ink with brown wash; 19.8 x 28.4cm; 7¾ x 11¼in;

Unframed; Italian School 19th Century; View of a castle’s basement (recto); Studies

174

CIRCLE OF THE BIBIENA FAMILY

The interior of a Baroque palace

Pen and brown ink, with brown wash, within brown framing lines

21.7 x 9.5cm; 8½ x 3¾in

Provenance: R.Lamponi (L.1760); Probably Roger Maurice Grillon (1881-1938) (L.4403) (indistinct collector’s mark); Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

176

GIUSEPPE GIORGI

of peasants (verso); Pen and brown ink, with grey wash (recto); Pen and brown ink (verso); 22.5 x 31cm; 8¾ x 12¼in; Unframed; Italian School 19th Century; Under the archways, with a courtyard beyond; Pen and black ink with grey wash; 15 x 23.2cm; 6 x 9¼in; Unframed; and English School 19th Century; Study of a castle’s battlements; Indistinctly inscribed 1st sketch of the B***/Castle (upper right); Pen and ink with watercolour; 11 x 15.3cm; 4¼ x 6in; Unframed (7)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£150-250

Italian 19th Century

Stage design for Aureliano in Palmira

Signed Giuseppe Giorgi inv: ed esegni (lower left) and inscribed Vestibolo delle Carceri/Scena esequita nel Ducale Teatro di Parma per l’Opera Aureliano in Palmira (lower centre)

Pen and black ink with grey wash

38.1 x 47.7cm; 15 x 18¾in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£200-300

177

ATTRIBUTED TO SIR JAMES THORNHILL

1675/76-1734

Putti bringing in a king to land, possibly a design for a tapestry

Pen and ink, with grey wash

35.5 x 49.6cm; 14 x 19½in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£400-600

178

SOUTH GERMAN SCHOOL

c.1700

Design for a cornice with putti and busts amidst Baroque decoration

Pen and brown ink, and watercolour, within brown ink

framing lines

21.6 x 30.1cm; 8½ x 11¾in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

179

CIRCLE OF ANTONIO VERRIO

Design for a ceiling panel with Apollo

Pen and black ink, with grey wash, squared for transfer

32.3 x 24.9cm; 12¾ x 9¾in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£200-300

180

GIUSEPPE GALLIARI

Italian 1752-1817

Stage design with a vaulted colonnade and statues

Pencil, pen and brown ink, and brown wash

22.5 x 31.7cm; 8¾ x 12½in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s £100-150

181

LOUIS LAGUERRE

French 1663-1721

Design for a staircase decoration with Aeneas and his family fleeing Troy, possibly for the staircase at Frogmore House, Windsor

Pen and brown ink, and grey wash heightened with white on blue paper

25 x 30.5cm; 9¾ x 12in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s Louis Laguerre was probably commissioned to paint the staircase decoration at Frogmore House by the Duke of Northumberland, c.1709-1716. Aeneas fleeing Troy is one of three scenes from the Aeneid, and although there are differences between the present study and the final work, it is notable that in the other two scenes, Laguerre adhered closely to the engravings of Francis Cleyn. In this scene, however, he clearly wished to develop a new composition. £300-500

182

CIRCLE OF ISAAC DE MOUCHERON

Design for a wall decoration, with figures in a colonnade and a statue of Flora on an elaborate pedestal

Inscribed indistinctly (lower centre)

Pen and ink, and watercolour

23.6 x 23.4cm; 9¼ x 9¼in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s £300-500

183

184

184

EDWARD LEAR

1812-1888

View of Nuneham Elms, Stratton, Hampshire

Inscribed and dated Stratton Augt 14 1877 (lower left)

Watercolour

16.5 x 23.8cm; 6½ x 9¼in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£500-800

183

JOSEPH GOUPY

c.1689-1769

Anglers by a cascade

Gouache

54.7 x 69cm; 21½ x 27¼in

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£1,200-1,800

185

185

WILLIAM BLAKE

1757-1827

The Empress Maud in Bed

Pencil, 1819, page 25 from the Blake Varley sketchbook 15.7 x 20.2cm; 6¼ x 8in

186

Provenance:

John Varley; William Mulready;

By whom sold Christie’s 28-30 April 1864, lot 86, where purchased by Kempton; H. Buxton Forman;

By whom given in 1870 to William Bell Scott;

Left at Penkill Castle, home of Miss Alice Boyd;

By descent to her niece, Miss Eleanor Margaret Courtney-Boyd, 1897;

By descent to her niece, Miss Evelyn May Courtney-Boyd, 1946;

From whom purchased by M. D. E. Clayton-Stamm;

By whom sold, Christie’s, London, Important English Drawings and Watercolours, 15 June 1971, lot. 163; Colnaghi, London;

Property of a former museum keeper, collected between the 1930s and 1970s

Exhibited:

London, The Tate Gallery, William Blake, March - May 1978, no.285

Literature:

David Bindman, Blake as an Artist (Phaidon, 1977), p.202

Martin Butlin, William Blake, exh. cat. (Tate Gallery, 1978), p.136, no.285;

Martin Butlin, The Paintings and Drawings of William Blake (Yale University Press, 1981), vol.1, p.498, no.692.25

The present work originally formed part of the Blake-Varley Sketchbook. This book contained works by both William Blake and John Varley (1778-1842). The drawings by Blake are mostly portrayals of supposed manifestations of historical people, the so-called ‘Visionary Heads’, made at the behest of Varley, who was an amateur astrologer. In addition to the present work, there were two further depictions of the Empress Maud (1102-1167). Usually known as Matilda, she was the daughter of Henry I of England, and married Emperor Henry V. After her husband’s death she returned to England and was recognised by her father as his successor, but this was opposed by her cousin Stephen.

£800-1,200

JOSEPH MALLORD WILLIAM TURNER RA

1775-1851

Brighton fishing vessel at sea

Watercolour heightened with white 13.5 x 20.9cm; 5¼ x 8¼in

Provenance:

William Blake of Newhouse; And by family descent until 1962;

Property of a former museum keeper, collected between the 1930s and 1970s

Exhibited:

London, Tate Gallery and Royal Academy, Turner 1775-1851, November 1974-March 1975, no.36

Literature:

Turner 1775-1851, exh. cat (Tate Gallery and Royal Academy of Arts, 1974), pp.41-42, no.36

The present work is part of a series of coastal scenes, mostly depicting fishermen and their boats, executed in watercolour and white bodycolour. They date from c.1798 and most are in the Turner Bequest. One of these works (Turner Bequest XXXIII-K) , shows the same boat depicted here, and has BRI…TON inscribed on the transom, so presumably the group were made during a visit to Brighton.

There is a later inscription on the reverse which says that Turner drew the work whilst giving a lesson to William Blake. Turner did have a pupil named William Blake, but it is more likely that Blake was allowed to keep the present work when shown it later.

£3,000-5,000

186

187

187

PETER LE CAVE

act.1790-1810

Study of a boy eating from a bowl

Pencil

22.6 x 12.4cm; 9 x 5in

Unframed

Together with Dutch School 17th Century; Study of a peasant; Pencil and brown wash; 21 x 18.1cm; 8¼ x 7¼in; Unframed; French School 18th Century; Two putti in a clam shell; Pencil and black chalk; 13.4 x 19.4cm; 5¼ x 7¾in; Unframed; and French School c.1800; Study of a grotto; red chalk; 32.1 x 23cm; 12½ x 9in; Unframed (4)

Provenance:

Le Cave with Mendelssohn, Tottenham Court Road, 1936; Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

188

188

CIRCLE

OF ALESANDRO LONGHI

Portrait study of a gentleman wearing glasses, and with a compass, ruler and books

Black chalk within black ink framing lines

Bears a signature llessan Longhi Pinx (lower left)

13.1 x 9.2cm; 5¼ x 3½in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

189

CHARLES ABRAHAM CHASSELAT

French 1782-1843

A knight prostrating himself before a king; A king and other figures before Hades; An interior with a family before a fire and a woman and child leaving

Three, the first signed Chasselat (lower left), the others signed M.Shasselat in et del (lower left)

Each pen and ink with wash within black ink framing lines

Largest 17.1 x 12.7cm; 6¾ x 5in; Smallest 13.9 x 10.1cm; 5½ x 4in

Unframed and mounted as one (3)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

190

ANTONIO MARIA ZANETTI

Italian 1706-1778

Varie Pitture a Fresco de’ Principali Maestri Veneziani

Engraved title, portrait after Zanetti, 24 numbered etched plates, and 7 leaves of letterpress text

Each sheet approx. 51.3 x 37.2cm; 20¼ x 14¾in, unbound

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£500-800

191

ITALIAN SCHOOL

c.1800

Drunken Hercules; Bacchus and Ariadne; Venus and Adonis; Venus

Four, each watercolour and bodycolour, three within a painted border, one with arched top

Largest 27.8 x 20.6cm; 11 x 8in;

Smallest 22.5 x 15.1cm; 8¾ x 6in

Unframed (4)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£300-500

192

AFTER GEORGE DAWE

1781-1829

Illustrations of the Life of a Nobleman, comprising The Inheritance; The First Party; The Night House; The Betting Booth; The Gambling House; The Usurer; The Mess Room; The Duel; and The Sick Room

Nine, each aquatint, loose in original pink wrapper, printed for Thomas Tegg, 1842

Each approx 31.9 x 25.9cm; 12½ x 10¼in

Unframed (9)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£200-300

195

A COLLECTION OF MOSTLY 19TH CENTURY PRINTS

Including works by or after Bartolomeo Pinelli (Italian 1781-1835), Gaspar Smitz (1635-1707), Sebastiano Ricci (1659-1734), and Andrea Casali (1700-1784)

193

JOANNES VOLPATO

1733-1803

AFTER LUDOVICUS TESEO TAURINENSIS

1732-1803

The Architectural Panels of Raphael’s Vatican Loggia

Eight, each engraving on joined sheets

Each approx. 134.5 x 53.5cm; 53 x 21in (sheet)

Unframed (8)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£600-800

194

A COLLECTION OF PRINTS OF MOSTLY GREEK, ITALIAN AND EGYPTIAN INTEREST

Including works depicting Italian decorative schemes, Ancient Greek pottery, and Ancient Egyptian culture

Unframed (approx. 50)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

Unframed (approx. 25)

Provenance: Property of a former museum keeper, collected between the 1930s and 1970s

£80-120

196

KARL FRIEDRICH SCHINKEL

German 1781-1841

Ringstadten Castle (from Undine); The Hallway (from König Yngurd); The Inside of the Tower with the Gate of Death (from König Yngurd); Design for the final scene (from Olimpie); View of the city of Jerusalem and the castle of Sion (from Athalia); The Temple of Apollo (from Alceste); Decoration for the third act (from Die Vestalin); The Temple of Vesta (from Die Vestalin)

Eight, each aquatint, six with hand-colouring Largest 42.8 x 57.1cm; 16½ x 22½in; Smallest 41 x 56.6cm; 16¼ x 22¼in (sheet)

Unframed (8)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s £400-600

197

A COLLECTION OF ITALIAN PRINTS

Twelve, including Giuseppe Galli Bibiena (Italian 1696-1757); View of a Royal Palace, and View of a Royal Garden with Balustrades; After Giovanni Battista Piranesi (Italian 1720-1778); Ruins of Ancient Rome, and A View of St. Martins Church; Antonio Basoli (Italian 1774-1843); Interno dell Citta di Babilonoa, Citta di Tebe in Beozia and Fabbriche Sottteranee dell’India, and three other views of Rome and two maps

Largest 52.3 x 61.9cm; 20½ x 24½in; Smallest 33.9 x 48cm; 13¼ x 19in

Unframed (12)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s £80-120

198

A COLLECTION OF PRINTS MOSTLY DEPICTING ARCHITECTURAL AND GENRE SUBJECTS

Including Cornelius Johnston (Mid 18th-century); A section of the quadrangle design’d for the British Musaeum; Engraving; 44 x 80.1cm; 17¼ x 31½in; Unframed; Bartolomeo Nerici after Giovanni Antonio Santi; Prospetto del Anfiteatro costruito nella Citta di Lucca; Etching; 44.9 x 58.1cm; 17¾ x 22¾in; Unframed; and twenty-two further unframed prints (24)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£80-120

199

A COLLECTION OF 18TH AND 19TH-CENTURY PRINTS, DRAWINGS, AND WATERCOLOURS OF MUSICAL AND THEATRICAL SUBJECTS

Including John Smith (1652-1743) after Domenico Tempesti (Italian c.1655-1737); Frontispiece for Sonate da camera by Nicolo Cosimi; Mezzotint; 24.3 x 33.6cm; 9½ x 13¼in (sheet); Unframed; Georgiana Keate (1771-1850); Edwin in the Character of Caleb; Signed and dated Georgiana Keate 1786 (lower right); Pen and ink with watercolour; 24.7 x 17.2cm; 9¾ x 6¾in; Unframed; George Cruikshank (1792-1878); The Opera Boxes During the time of the Great Exhibition; Etching; 21.9 x 26.5cm; 8½ x 10½in (sheet); Unframed; Thomas Rowlandson (1756-1827); Dr Syntax at Covent Garden Theatre; Aquatint with hand-colouring; 10.7 x 18.1cm; 4¼ x 7in (sheet); Unframed; a playbill for Paganini’s Ninth Concert; 33.3 x 21.2cm; 13 x 8¼in (Unframed); and twenty-one further unframed works (26)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£80-120

200

JOHN VANDERBANK

1694-1739

Gaetano Berenstadt, Francesca Cuzzoni and Senesino performing Handel’s Flavio

Engraving

18.8 x 26.5cm; 7½ x 10½in (sheet)

Unframed

Together with Thomas Cook (c.1744-1818) after William Hogarth (1697-1764); The Bench; Etching and engraving; 21.2 x 24.5cm; 8¼ x 9¾in; Unframed (2)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£80-120

201

JOHN HAYTER

1800-c.1891

Adelaide Kemble

(1815-1879) as Norma

Signed and dated John Hayter 1846 (lower right)

Black, white and blue chalk

31.5 x 24cm; 12½ x 9½in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£150-250

202

JOSEPH GOUPY

c.1689-1769

Thou tunefull scarecrow & thou warbling bird… Etching

31.5 x 19.7cm; 12½ x 7¾in (image)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

The present work is a satire on the popularity of masquerades and the decline of Italian opera in London with caricatures of the singers Francesca Cuzzoni, the tall, thin “scarecrow” Farinelli and the impresario John James Heidegger.

£80-120

203

ALEXANDER VAN HAECKEN

1701-1757

AFTER CHARLES LUCY

1692-c.1736

Portrait of Gioacchino Conti Gizziello

Mezzotint

43 x 28.8cm; 17 x 11¼in

Unframed

Together with Elisha Kirkall (c.1682-1742) after Joseph Goupy (1689-1769); Portrait of Francesco Bernardi; Mezzotint; 32.5 x 23.1cm; 12¾ x 9in; Unframed; William Dickinson (1746-1823) after Thomas Beach (1738-1806); Portrait of Giusto Ferdinando Tenducci; Mezzotint; 42 x 31cm; 16½ x 12¼in; Unframed; John Faber the Younger (c.1684-1756) after George Knapton (1698-1778); Portrait of Giovanni Carestini; Mezzotint; 37 x 27cm; 14½ x 10½in; Unframed; and twenty-four further unframed printed portraits of musical, theatrical and artistic figures (28)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£150-250

206

A COLLECTION OF BOOKPLATES, MOSTLY 18TH CENTURY

Including Horace Walpole (1717-1797); Joseph Smith

Consul at Venice (c.1682-1770); Frederick North, 5th Earl of Guildford (1766-1827); Rev Carrington Garrick (d.1787) and the Parthenon Club

Twenty three, each engraving

Largest 17.7 x 12.8cm; 7 x 5in; Smallest 6 x 4.4cm; 2¼ x 1¾in

Unframed (23)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s £100-150

204

ENGLISH SCHOOL

18th Century

Portrait of a gentleman, possibly John James Heidegger (1666-1749)

Inscribed Heidegger (to verso)

Pastel

34.7 x 27.5cm; 13¾ x 10¾in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

205

A COLLECTION OF TWENTY-ONE ADMISSION TICKETS, MOSTLY 18TH CENTURY

Including eight after Francesco Bartolozzi (1727-1815); and others after Julius Caesar Ibbetson (1759-1817), Nathaniel Dance RA (1735-1811), and James Barry (1741-1806)

One pen and black ink, with grey wash, the others engraving

Largest 32.5 x 25.4cm; 12¾ x 10in; Smallest 9.1 x 6.2cm; 3½ x 2½in

Unframed (21)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£200-300

208

CIRCLE OF JOHN FREDERICK LEWIS

Study of a young man asleep; Study of a mother and two children in a niche; Study of a market; Study of a woman at a well; Study of figures under the arches; Study of a woman asleep; Study of a man in a tall hat

Seven, four charcoal, two pencil, one coloured chalks

Largest 29.3 x 46.3cm; 11½ x 18¼in; Smallest 21.6 x 27.3cm; 8½ x 10¾in

Unframed

Together with Lady Augusta Sarah Cadogan (1811-1882); Portrait of HRH Duchess of Cambridge; Signed and dated A S Cadogan/1846; Watercolour heightened with white; 31.1 x 21.5cm; 12¼ x 8½in; Unframed; and Follower of Thomas Lawrence; Portrait study of a lady; Pencil and red chalk; 16.1 x 13.8cm; 6¼ x 5½in; Unframed (9)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£150-250

207 JOHN VARLEY OWS

1778-1842

View of London Bridge

Inscribed with colour notes along lower edge

Charcoal and wash

8.7 x 17.3cm; 3½ x 6¾in

Unframed

Together with Patrick Nasmyth (1787-1831); Landscape under stormy skies; Signed Pk Nasmyth (lower left) and indistinctly inscribed (lower right); Gouache; 10.9 x 16.1cm; 4¼ x 6¼in; Unframed; Anthony Vandyke Copley Fielding; Landscape with a windmill; Watercolour; 4.9 x 10.1cm; 2 x 4in; Unframed; F. Norrie, Richmond Hill and Petersham Meadow; Watercolour heightened with bodycolour; 18.2 x 26.7cm; 7¼ x 10½in; Unframed; and eight further unframed British works on paper (12)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£200-300

209 CIRCLE OF PAUL SANDBY

Studies of fishermen

Indistinctly inscribed and dated M** Worsley/August 1810 (lower left)

Pen and brown ink and grey wash

18.8 x 24.6cm; 7½ x 9¾in

Unframed

Together with Follower of Angelica Kauffman; Study for a medal depicting Victory; Pencil, pen and brown ink, and grey wash; 8.9 x 11.5cm; 3½ x 4½in;

Unframed; Follower of Henry Fuseli; The Witch of Endor; Pen and brown ink and grey wash; 12.2 x 13.4cm; 4¾ x 5¼in; Unframed; and English School Late 18th Century; Study of two figures; Indistinctly inscribed (lower right); Pencil and grey wash; 19.5 x 15.4cm; 7¾ x 6in; Unframed (4)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£150-250

210

GEORGE

1792-1878

Richmond Park

Signed Geo Cruikshank (lower left) and inscribed Richmond Park (lower centre)

Pencil and watercolour

11.3 x 18.5cm;

4½ x 7¼in

Unframed

Together with After William Havell; Above Richmond Bridge; Richmond Hill from near Gay’s Summer House, Petersham; Two, both pencil and watercolour;

12.2 x 19.3cm;

4¾ x 7½in;

18.6 x 25.2cm;

7¼ x 10in; Unframed (3)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£300-500

212

1811-1880

View of Fonthill

Abbey, Wiltshire

Pencil and watercolour

34.7 x 51.1cm; 13¾ x 20in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£150-250

View of Akers Farm, Marsh Gate, Richmond

Signed, dated and inscribed Akers Farm, Marsh Gate/Richmond/Avg. 12. 1833/Surrey/E W Cooke (lower right)

Pen and brown ink, and watercolour

23.3 x 33.5cm; 9½ x 13¼in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£250-350

213

Riders outside the Castle of Udolpho (recto); Study of a cascade (verso)

Inscribed udolpho (lower centre to recto)

Pen and black ink, and watercolour (recto); Pen and black ink, with watercolour heightened with white (verso)

19.5 x 30.2cm; 7¾ x 12in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£200-300

CRUIKSHANK

EDWARD WILLIAM COOKE RA

CIRCLE OF PAUL SANDBY

211 CIRCLE OF JOHN GLOVER

214 ALFRED ELMORE RA

1815-1881

Figures outside a church

Pencil and watercolour

21.9 x 14.4cm; 8½ x 5¾in

Unframed

Together with Alexander Monro (1802-1844); The Cloisters, Magdalen College, Oxford, Pen and brown ink; 42.5 x 31.3cm; 16¾ x 12½; Unframed; John Chisholm Gooden (1835-1865); Distant View of Rye; Pencil and watercolour; 28 x 38.2cm; 11 x 15in; Unframed; and twenty further unframed drawings and watercolours (23)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£120-180

215 CIRCLE OF RICHARD PARKES

BONINGTON

Landscape with figures on the road in the Jura Mountains; Mountainous landscape with a figure by a stream

Two, both watercolour

20.1 x 26cm; 8 x 10¼in; 17.4 x 25.5cm; 6¾ x 10in

Unframed (2)

Provenance:

‘Jura’ possibly in the collection of Joseph West, a friend of Bonnington;

From whom purchased by C. W. Wass, 1874 (all according to label);

Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

216 ATTRIBUTED TO GEORGE KNAPTON

1698-1778

Richmond Green, South West Corner, at Twilight

Inscribed For George Knapton Esq/att John Knapton Esq/Richmond Green/A view of Richmond Green by twylight (to verso)

Pen and ink and watercolour

18.1 x 14.9cm; 7¼ x 5¾in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£80-120

217

ENGLISH SCHOOL

1820

View of the west side of the cloisters of Magdalen College, Oxford; View of the north side of the cloisters of Magdalen College Oxford

Two, the former inscribed and dated West Side of the Cloisters at/Magdalen College Oxford/ Augt 8th 1820 (lower left), the latter inscribed and dated North side of the Cloisters at/Magdalen College, Oxford/Augt 8th 1820 (lower right)

Both pencil and black chalk

44.3 x 34.4cm; 17½ x 13½in; 48.8 x 34.4cm; 19¼ x 13½in

Unframed

Together with Isaac Taylor (1730-1807) after Daniel Harris (act.1791-1799); The Original

Entrance to the Cloisters at Magdalen College; Engraving, from The Oxford Almanack, 1789; 61.7 x 59.1cm; 24¼ x 23¼in; Unframed (3)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£80-120

217

218

ENGLISH SCHOOL

19th Century

View of Magdalen College, Oxford from the river

Pen and brown ink, and watercolour

40 x 58.7cm; 15¾ x 23in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£150-250

219

SAMUEL PROUT OWS

1783-1852

View of the Zwinger, Dresden

Pencil on blue paper

36.5 x 28cm; 14¼ x 11in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

220

JAN KIP

Dutch 1652/3-1722

AFTER LEONARD KNYFF

Dutch 1650-1722

New Parke in Surry the Seat of the Rt Honble the Earle of Rochester

Etching

36.2 x 50.4cm; 14¼ x 19¾in (sheet)

Unframed

Together with Jean Baptiste Chatelain (French 1710-1758) after Marco Ricci (Italian 1676-1730); A Prospect of the Royal House at Richmond; Etching; 46.2 x 57.5cm; 18¼ x 22¾in; Unframed; James Basire (1730-1802).

View of Richmond Palace fronting the river Thames, as built by Henry VII; Engraving; 39.4 x 57cm; 15½ x 22½in (sheet); Unframed; Peter Paul Benazech (c.1730-1783) after P. Brookes (act.1747-1750); A View of Sion House and the Parts Adjacent; Etching; 35.6 x 53.7cm; 14 x 21¼in; Unframed; and Francis Vivares (1709-1780) after Jolly, A View from Richmond Hill down the River; A View from Richmond Hill up the River; A pair, both etching; 29 x 44.6cm; 11½ x 17½in; 37.9 x 52.5cm; 15 x 20¾in (sheet) Unframed (6)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£150-250

221 AFTER AUGUSTIN HECKEL

German 1690-1770

A View from Richmond Hill up the River; A Front View of the Earl of Harrington’s House at Petersham in Surry; A View of the Earl of Harrington’s House towards the Garden at Petersham in Surry; The House of Moses Hart Esq between Twickenham & Isleworth

Four, each etching

Largest 36.7 x 54cm; 14½ x 21¼in; Smallest 34.5 x 48.5cm; 13½ x 19in

Unframed (4)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

222

RICHARD BERNARD GODFREY

c.1728-1795

AFTER DAVID VINCKBOONS

Flemish 1576-1632

View of the Thames at Richmond

Etching

32.4 x 45.7cm; 12¾ x 18in

Unframed

Together with a collection of 18th and 19th Century Prints depicting Richmond, including Nathaniel Parr (act.1739-1767) after W. Staftoe; A View of Henry VII Old Palace at Richmond; Etching; 21.1 x 26.7cm; 8¼ x 10½in; Unframed; Claude Dubosc (French 1682-1745) after Gravelot (French 1699-1773); View of the Hermitage in the Royal Garden at Richmond; Etching; 35.8 x 25.9cm; 14 x 10¼in (sheet); Unframed; and ten further Richmond related unframed prints (13)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£120-180

223

FRANCOIS-THOMAS-LOUIS FRANCIA

French 1772-1839

In Richmond Park

Signed with monogram and dated 1809 (lower right)

Charcoal heightened with white

31.2 x 53.1cm; 12¼ x 21in

Unframed

Together with Circle of Samuel Hieronymus Grimm; View of a manor house; Pen and ink, with watercolour heightened with

white; 22.1 x 39.6cm; 8¾ x 15½in; Unframed (2)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

Literature:

Francia in Iolo Williams, Early English Watercolours (London, The Connoisseur, 1952), p.104 (as dated 1807)

£150-250

224

JOSEPH CONSTANTINE STADLER act.1780-1819

AFTER JOSEPH FARINGTON 1747-1821

Richmond; From Richmond Hill up the River; From Richmond Hill down the River; View of Richmond Hill from Twickenham; The Late Mr Garrick’s Villa

Five, each etching and aquatint with hand-colouring Largest 30.1 x 43cm; 11¾ x 17in; Smallest 30.2 x 39.4cm; 12 x 15½in (sheet)

Unframed (5)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£120-180

225 RICHARD COOPER JUNIOR

c.1740–c.1814

Kew Palace; In Richmond Gardens; At Kew Green

Three, each signed and inscribed Kew Palace - now taken down/Ric Cooper Jr; In Richmond Gardens - /Ric Cooper Jr; and at Kew Green RCooper J (respectively)

Each pencil

Largest 25.7 x 36.5cm; 10 x 14¼in; Smallest 25.6 x 36.4cm; 10 x 14¼in

Unframed

Together with six further unframed drawings and watercolours relating to Richmond (9)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£120-180

226 AFTER WILLIAM WESTALL

1781-1850

Richmond; Richmond; Richmond from Petersham Fields; View from Richmond Hill; View from Richmond Hill; Richmond Hill; Richmond Looking from the Bridge; and Richmond Hill from Petersham

Eight, each lithograph, two with handcolouring Largest 32.1 x 42.3cm; 12¾ x 16¾in; Smallest 30.7 x 38cm; 12 x 15in

Unframed (8)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£150-250

227 SIMON DE KOSTER

Dutch 1767-1831

A series of views of Richmond Park

Eleven, each lithograph Each approx. 31 x 41cm; 12¼ x 16¼in (sheet)

Unframed (11)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£150-250

228

CORNELIUS VARLEY

1781-1873

View of Richmond from the river; View of Richmond Bridge

Two, the former signed with initials and inscribed Richmond C.V. (lower right), the latter inscribed Richmond (lower right)

Both pencil

29.1 x 46.7cm; 11½ x 18¾in;

29.7 x 48.3cm; 11¾ x 19in

Unframed (2)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£150-250

229

AFTER ANTHONY VANDYKE COPLEY FIELDING

1787-1855

View from Richmond Hill

Aquatint with hand colouring

36.9 x 47.9cm; 14½ x 18¾in (sheet)

Unframed

Together with Charles Heath (1785-1848) after Thomas Hofland (1777-1843); A View from Richmond Hill; Etching; 42.7 x 59.7cm; 16¾ x 23½in; Unframed; and Robert Havell Snr (1769-1832) after William Havell (1782-1857); A View from Richmond Hill; Coloured aquatint with hand colouring; 33 x 45.5cm; 13 x 18in;

Unframed (3)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£80-120

230

A COLLECTION OF 18TH, 19TH AND 20TH CENTURY PRINTS DEPICTING RICHMOND

Including William Elliot (1727-1766) after Samuel Wale (c.1721-1786); Sion House, view’d from Richmond Gardens; Etching and engraving; 12.2 x 20cm; 4¾ x 7¾in (sheet); Unframed; Andrew Watson Turnbull (1874-1957); The Tow Path; Etching; 29.4 x 46.6cm; 11½ x 18¼in; Unframed; and twenty-six further unframed prints (28)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£120-180

231 Φ JOHN STANTON WARD RA

1917-2007

Bandsman Vane

Signed and inscribed Dear Teddy I couldn’t resist sending you this to thank you for the splendid evening last Thursday. It was such a generous & helpful idea to have such an exhibition - and so beautifully mounted./Bandsman/Vane/ Looking forward very/much to seeing you at/Stour music/Very best wishes/yours ever/John Ward (throughout), and further inscribed with artist’s address and dated Sunday/15th June (upper right)

Pen and brown ink, and watercolour

39.3 x 19.8cm; 15½ x 7¾in

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£80-120

232 Φ ADRIAN BURY

1891-1991

Syon House; The Summer House, Syon Park

Two, the former signed and dated Adrian Bury 1942 (lower left), the latter signed twice and dated Adrian Bury/1955/Adrian Bury (lower right)

Both watercolour

22.8 x 28.8cm; 9 x 11¼cm; 28 x 39.5cm; 11 x 15½in

Unframed

Together with a collection of British School 20th Century interiors, landscapes and caricatures, including Three views of a palace; View of Woodeaton Manor; View of a castle on the sea; Unframed (13)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£60-80

233 Φ ARTHUR M. HIND

1880-1957

View of St Peters, Rome, near the sacristy; A house in North Street, Chichester

Two, the former signed and dated A.M.HIND.1924 (lower left), and inscribed

To Teddy & Giovanna May, 1946 (lower centre), the latter signed, dated and inscribed AM Hind/ House in North Street, Chichester, Aug 17/1925 (lower right) and further inscribed To Edward Croft Murray from AMH (lower left)

The former pencil, pen and brown ink and wash, the latter pencil and watercolour

20.2 x 28.3cm; 8 x 11¼in; 20.1 x 28.6cm; 8 x 11¼in

Unframed (2)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£80-120

234

LORD PAUL AYSHFORD METHUEN RBA, RA

1886-1974

Studies of Sheila reclining

Signed Methuen (lower centre) and inscribed and dated 29.12.40/Sheila (lower left)

Pen and black ink, and red chalk

32.6 x 51.8cm; 12¾ x 20½in

Unframed

Together with a letter from the artist gifting the drawing; and Catharine Dodgson (1883-1954); Portrait of the ballerina Joan McClelland; Signed with initials CD (lower right); Red and white chalk with grey wash; 31.5 x 24.1cm; 12½ x 9½in

Unframed (3)

Provenance:

Methuen, a gift from the artist, 19 October 1941; Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

235 Φ

FRED UHLMAN

German 1901-1985

St Agnes Lighthouse, Isles of Scilly

Signed, dated and inscribed For Teddy/with love/Fred U/August 1970 (to verso)

Pencil and watercolour

25.3 x 35.5cm; 10 x 14in

Unframed

Together with Anthony Gross CBE, RA (1905-1984); A vineyard; Signed, dated and inscribed To Edward Croft Murray with best wishes /for xmas and 1973/Any Gross (in pencil to margin); 13.1 x 18.6cm; 5¼ x 7¼in; Unframed (2)

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£120-180

236

PAUL RENOUARD

French 1845-1921

Batterie de l’Orchestra

Signed and indistinctly inscribed Batterie de l’orchestra/P. Renouard (in pencil to margin)

Etching

42.1 x 31.5cm; 16½ x 12½in (sheet)

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£80-120

237 Φ GIORGIO DE CHIRICO

Italian 1888-1978

Comme La Lune

Signed, inscribed and dated A.P./G.de Chirico/1945/ Bruno Barilli (in pencil along lower edge) Lithograph, with text by Bruno Barilli (Italian 1880-1952), from Concilium Lithographicum, with original brown folder

35.7 x 50.7cm (sheet)

Unframed

Provenance:

Property of a former museum keeper, collected between the 1930s and 1970s

£100-150

Φ

LOTS 238-245

PROPERTY FROM STRADEY CASTLE, WALES

The large Neo-Tudor house at Stradey one mile north west of Llanelli, Carmarthenshire was built by Edward Haycock of Shrewsbury from 1847 to 1855 for the solicitor David Lewis. His family had inherited the mineral rich estate which once included virtually all of the present day town of Llanelli from the Mansel family in 1808. His son Charles William Mansel Lewis (1845-1931), a distinguished amateur painter, aggrandized the interior and added a massive tower and link in the 1870s containing his studio.

Charles William Mansel Lewis, a regular exhibitor at the Royal Academy knew many British contemporary artists including Briton Riviere and Sir Edwin Landseer but was particularly friendly with Sir Hubert von Herkomer (1849-1914) the society portraitist and social realist painter who painted his family and with whom he travelled on sketching tours in North Wales. Mansel Lewis was a promoter of art in Wales and the Welsh Eisteddfod for which he commissioned Herkomer to design some of the regalia. Mansel Lewis also was a great collector of pictures by contemporary and earlier artists and the lots in this sale were almost certainly purchased by him for his home Stradey Castle.

238

ATTRIBUTED TO FREDERICK WATERS WATTS

1800-1862

At the lock

Oil on canvas

66.9 x 80.5cm; 26¼ x 31¾in

Provenance:

Property from Stradey Castle, Wales

£600-1,000

239

239

ENGLISH SCHOOL

Early 18th Century

Portrait of a boy, half-length, wearing a blue coat with his dog Oil on canvas

76.4 x 61.6cm; 30 x 24¼in

Provenance:

Property

£2,000-3,000

from Stradey Castle, Wales

240

240

THOMAS SEWELL ROBINS

1810-1880

Beating to windward off Upnor Castle on the River Medway, with Chatham Dockyard in the distance

Signed and dated TS Robins/65 (lower right)

Pencil and watercolour heightened with white 43.7 x 75.6cm; 7¼ x 29¾in

Provenance:

Property from Stradey Castle, Wales

£2,000-3,000

241

THOMAS SEWELL ROBINS

1810-1880

Shipping in choppy coastal waters

Signed and dated T S Robins/1866 (lower left) Pencil and watercolour heightened with white 45.6 x 71.1cm; 18 x 28in

Provenance:

Property from Stradey Castle, Wales

£1,500-2,500

242

THOMAS SEWELL ROBINS

1810-1880

A harbour at low tide

Signed and dated twice T S Robins/1865 (lower left) and T S Robins/65 (lower right)

Pencil and watercolour heightened with white 46 x 71.2cm; 18 x 28in

Provenance:

Property from Stradey Castle, Wales

Exhibited: London, Sotheby’s, Rule Britannia!, January 1986, no.136

£1,500-2,500

243 ERNEST GRISET

French 1844-1907

The boar hunt

Ten, eight signed Ernest Griset, one signed Griset (lower left) Each pen and ink, and watercolour Largest 19.9 x 32.7cm; 7¾ x 12¾in; Smallest 13.8 x 29.3cm; 5½ x 11½in, framed as two (10)

Provenance: The Fine Art Society, London; Property from Stradey Castle, Wales

£250-350

244 ERNEST GRISET

French 1844-1907

The birth of a stork; comprising How much longer are you going to stop in that egg sir?; I’m coming father!; What long legs you’ve got father!; Come and be introduced to your mother!

Four, each signed Ernest Griset (lower left) Each pen and ink and watercolour Largest 24.6 x 19.8cm; 9¾ x 7¾in; Smallest 24.6 x 14.4cm; 9¾ x 5¾in, framed as one (4)

Provenance:

The Fine Art Society, London; Property from Stradey Castle, Wales

£150-250

1769-1859

Village scene with figures outside cottages and a sow and her litter in the foreground

Signed JWARD (in ligature, lower left) Oil on panel 75 x 113.5cm; 29½ x 44¾in

Provenance: Charles Mansel Lewis (1845-1931); And by family descent; Property from Stradey Castle, Wales

Literature:

C. Reginald Grundy, James Ward, R.A. His Life and Works (London, 1909), p.54, no. 858

Exhibited:

London, Royal Academy, Winter Exhibition, 1885, no.33

£6,000-10,000

245

245 (framed)

245 JAMES WARD RA

OIL PAINTINGS

246

ITALIAN SCHOOL

16th Century

The Mystic Marriage of St Catherine Oil on panel

54.5 x 47.8cm; 21½ x 18¾in

£1,500-2,500

247

AFTER RAPHAEL

The Madonna of the Pinks Oil on canvas laid on panel

28.1 x 22.4cm; 11 x 8¾in

After the original in the National Gallery, London (no.NG6596).

Provenance: Private Collection, Yorkshire

£300-500

248

AFTER GIULIO ROMANO

Madonna of the Cat

Oil on canvas

43.8 x 31.3cm; 17¼ x 12¼in

After the original in the National Museum of Capodimonte, Naples.

£300-500

After the original in the Louvre, Paris (no.18).

£400-600

Oil on panel

19.5

£300-500

Allegory of Spring, with a woman

milking goats and figures hunting

Oil on canvas

101.7 x 136.8cm; 40 x 53¾in £2,000-4,000

249 CIRCLE OF THE BASSANO FAMILY

250

AFTER FRANCESCO ALBANI

Apollo and Daphne Oil on copper

34.7 x 15.8cm; 13¾ x 6¼in

251

MANNER OF GIOVANNI BATTISTA SALVI, CALLED SASSOFERRATO Madonna in prayer

x 14.5cm; 7¾ x 5¾in

Village scene with horsemen, figures working a wine press, and a laundress at the river

Oil on panel

28.4 x 36.5cm; 11¼ x 14¼in

Provenance: Dennis Vanderkar Gallery, London; Where purchased by the present owner’s father, c.1958; And by family descent £2,000-3,000

Flemish 1605/1610-1672

The ecstasy of Saint Teresa

253 ABRAHAM WILLEMSEN

Signed A.W.IN.F (lower left) Oil on copper 59 x 77.3cm; 23¼ x 30½in £2,000-3,000

252 CIRCLE OF SEBASTIAEN VRANCX

254 FOLLOWER OF MARINUS VAN REYMERSWAELE

Saint Jerome in his study

Oil on panel 41.7 x 29.8cm; 16½ x 11¾in £2,500-3,500

255 CIRCLE OF JOOS VAN CLEVE

Saint Jerome in his study, with a landscape beyond Oil on panel 94.3 x 69.4cm; 37¼ x 27¼in

Provenance: Christie’s, London, Old Master Pictures, 19 April 2000, lot 44, where purchased by the present private collector £15,000-20,000

256 AFTER SIR PETER PAUL RUBENS

Portrait of a lady, half-length, wearing a gold-coloured dress and pearl necklace

Oil on canvas

86.4 x 62.8cm; 34 x 24¾in

Literature:

To be included as a copy in the digital addenda to Corpus Rubenianum

Ludwig Burchard, Part XIX, no.199

After the original in the Royal Collection (no.RCIN 400118).

£1,000-1,500

257 MANNER OF FRANÇOIS CLOUET

Portrait of a young noblewoman, bust-length

Oil on panel

26.8 x 21.6cm; 10½ x 8½in

Unframed

£200-300

258 DUTCH SCHOOL

17th Century

Portrait of a lady, half-length, wearing a black dress, lace collar and black cap

Oil on canvas

74.6 x 58.9cm; 29¼ x 23¼in

£200-300

259

259

DUTCH SCHOOL

Late 17th Century

Portrait of a lady seated, reading a letter with a dog in her lap, a servant attending Oil on canvas

32.5 x 39.6cm; 12¾ x 15½in

Provenance: Private Collection, Yorkshire

£1,500-2,500

260

MANNER OF MICHIEL JANSZ. VAN MIEREVELT

18th Century

Portrait of a gentleman, a member of the Van Campen family, half-length, wearing a wide-brimmed hat

Oil on canvas

71 x 63.2cm; 28 x 24¾in

Provenance: Sotheby’s, London, October 1970, where purchased by the present private collector (as Circle of van Mierevelt)

£1,000-1,500

261

JAN BAPTIST LAMBRECHTS

Flemish 1680-after 1731

Interior with figures drinking around a table; Interior with figures playing cards

A pair, the former indistinctly signed (lower right), the latter signed Lambrechts (lower right) Both oil on canvas

Each 21.8 x 18.6cm; 8½ x 7¼in (2)

Provenance: Sotheby’s, London, 13 September 1995, lot 283 £800-1,200

262

MANNER

OF DAVID TENIERS II

Boors in a tavern; The alchemist

A pair, both oil on metal

16.1 x 19cm; 6¼ x 7½in; 16.3 x 19.6cm; 6½ x 7¾in (2)

£120-180

263

CIRCLE OF DIRCK HALS

An elegant couple seated on a riverside terrace with a serving boy

Oil on panel

43.1 x 58.1cm; 17 x 22¾in

Provenance:

Court House, Birlingham, Pershore, by 1920; And by family descent

£2,000-3,000

264

264

AFTER REMBRANDT HARMENSZ. VAN RIJN

The Visitation

Oil on canvas

35.6 x 35.6cm; 14 x 14in

Provenance:

In the family of the present owner, for at least 3 generations After the original in the Detroit Institute of Arts, Detroit (no.27.200).

£400-600

265

265

AFTER CASPAR NETSCHER

A woman at a virginal accompanied by a man singing

Oil on canvas

61.1 x 50.9cm; 24 x 20in

This work derives from the original in Staatliche Kunstsammlungen, Dresden (no.1349).

£300-500

263

266 CIRCLE OF NICOLAES BERCHEM

The watering hole

Oil on canvas 68 x 82cm; 26¾ x 32¼in

A signed and dated version of this work is in the Petit Palais, Paris (no.PDUT891). £2,000-3,000

267 EGBERT LIEVENSZ. VAN DER POEL

Dutch 1621-1664

Figure unloading a cart outside a cottage

Signed and dated egbert vander poel 1647 (lower right) Oil on panel 59.6 x 82.8cm; 23½ x 32½in

Provenance:

Property from an Irish country house £1,000-1,500

268

268

ATTRIBUTED TO GERRIT CLAESZ BLEKER

Dutch 1592-1656

269

EGBERT VAN HEEMSKERCK I

Dutch c.1634-1704

Peasants in a tavern

The Adoration of the Magi Oil on panel 97.5 x 137.8cm; 38½ x 54¼in £3,000-5,000

Signed with monogram (lower left to bench) Oil on panel 19 x 16.4cm; 7½ x 6½in £600-1,000

270

JAN FRANS SOOLMAKER

Dutch 1635-after 1665

Italianate landscape with shepherds and other figures in the ruins of the Roman Forum

Signed I F SOOLMAKER (lower right)

Oil on panel 88.3 x 152.5cm; 34¾ x 60in

Provenance: Earl of Kintore, Keith Hall, Inverurie, by 1960; Sotheby’s, London, 20 February 1974, lot 168 £3,000-5,000

270

270 (framed)

271

271 PAUL DE VOS

Flemish 1595-1678

Dogs fighting in a clearing, with a village beyond and hunters returning home

Oil on canvas 174 x 245cm; 68½ x 96½in

Provenance:

Major John Charles Trueman Mills (1900-1975), Hilborough Hall, Norfolk; By descent to his wife, Ida Betty Mills (1900-1985), Hilborough Hall, Norfolk; Her posthumous sale, Christie’s, The Contents of Hilborough Hall, Thetford, Norfolk, 21-23 October 1985, lot 1132; In the family of the present owner since at least 1989; A private collection, Oxfordshire

Literature:

Hella Robels, Frans Snyders: Stilleben und Tiermaler (Munich, 1989), p.460, no.A 182 (as Paul de Vos)

When attributing the present work to Paul de Vos, Hella Robels suggested that the composition might derive from the work of de Vos’ brother-in-law, Frans Snyders. She lists two copies of our painting, one of which later appeared on the art market as by Snyders (Christie’s, London, Old Master Pictures, 9 December 2005, lot 106). The configuration of the dogs in both works is remarkably similar, although the landscape backgrounds are very different.

£25,000-30,000

271 (framed)

272 CIRCLE OF KAREL BREYDEL

A cavalry battle between Ottomans and Europeans

Oil on copper

23.7 x 31.2cm; 9¼ x 12¼in

£400-600

273 DUTCH SCHOOL

18TH CENTURY

Revellers by a horse fair

Oil on canvas

38.4 x 47.3cm; 15¼ x 18½in

£200-400

274

FOLLOWER OF JACQUES D’ARTHOIS

Wooded river landscape with travellers resting on a path; Wooded river landscape with travellers and a dog on a path

A pair, both oil on panel

27.7 x 34.4cm; 11 x 13½in; 27.7 x 33.7cm; 11 x 13¼in Unframed (2)

Provenance:

In the family of the present owner since at least the 1920s

£600-800

Wooded landscape with figures making music and a shepherd resting with his flock

Oil on canvas

98.6 x 117.7cm; 38¾ x 46¼in

£3,000-5,000

River landscape with travellers on a road and figures unloading barrels from boats

Oil on panel

27.9 x 35.1cm; 11 x 13¾in

£300-500

Dutch 1685-1763

Landscape with figures, cattle, sheep and goats, a town in the distance Signed J V Gool Ft (lower right)

Oil on panel 31 x 41.2cm; 12¼ x 16¼in

Provenance: Private Collection, Yorkshire

£800-1,200

275

276

277

275 CIRCLE OF DAVID TENIERS II AND LUCAS VAN UDEN

276 FOLLOWER OF JAN GRIFFIER I

277 JAN VAN GOOL

279

CIRCLE OF JAN VAN DE CAPPELLE

A Dutch galleon lying in a calm offshore, with smaller craft nearby

Oil on panel

42.2 x 62cm; 16½ x 24½in

Provenance:

J.C.H. Heldring, Amsterdam

Exhibited:

Brussels, Musées Royaux, Christmas Exhibition, Marine, 1945-1946 as Jan van de Capelle; Arnhem, Gemeente Museum, April-June 1958, cat. no. 38/12 as Jan van de Capelle

£800-1,200

278 DUTCH SCHOOL

c.1700

Harbour scene with fishermen taking in their nets

Oil on panel 43.2 x 66.8cm; 17 x 26¼in

£2,000-3,000

280

CORNELIS GERRITSZ DECKER

Dutch 1618-1678

River landscape with a fisherman by a cottage

Signed and indistinctly dated C Decker/16*3 (lower left)

Oil on panel 57.2 x 74cm; 22½ x 29in

Provenance:

Alfred Brod, London

£1,000-1,500

281

281

JACOBUS STORCK

Dutch 1641-after 1692

Harbour scene with boats and figures below a crane with a castle beyond

Signed I Storck (lower left)

Oil on canvas

59.3 x 70.1cm; 23¼ x 27½in

Provenance:

Possibly Frederick Fuller (1819-1909); His brother George Fuller (1829-1907); And by family descent

Frederick Fuller was a professor of mathematics at the University of Aberdeen, and a Fellow of Peterhouse, Cambridge. A collector of Old Master paintings, he bequeathed a group of works to the Fitzwilliam Museum, including an Abraham Storck and two paintings by Domenico Veneziano.

£5,000-7,000

281 (framed)

282

AFTER SIR ANTHONY VAN DYCK

Portrait of Charles I (1600-1649), bust-length, wearing a lace collar and the garter ribbon

Oil on panel

25.8 x 16.5cm; 10¼ x 6½in

Provenance:

Private Collection, Worcester (according to inscription to backing paper);

Talbot Galleries, London, where purchased by the previous private collector, April 1962; And by family descent

This work appears to derive from the triple portrait of Charles I in the Royal Collection (no.RCIN404420), and the double portrait of Charles and Henrietta Maria in the Kroměříž Archdiocesan Museum, Kroměříž (no.KE 2372).

£300-500

283

AFTER SIR ANTHONY VAN DYCK

Portrait of Queen Henrietta Maria (1609-1669), bust-length, wearing a lace collar and pearl necklace

Oil on panel

25.8 x 16.5cm; 10¼ x 6½in

Provenance:

Private Collection, Worcester (according to inscription to backing paper);

Talbot Galleries, London, where purchased by the previous private collector, April 1962; And by family descent

This work derives the double portrait of Charles I and Henrietta Maria in the Kroměříž Archdiocesan Museum, Kroměříž (no.KE 2372).

£300-500

284

MANNER OF SIR ANTHONY VAN DYCK

Portrait of Prince Charles, later Charles II (1630-1685), bust-length, wearing a lace collar and the garter ribbon

Oil on panel 25.9 x 16.5cm; 10¼ x 6½in

Provenance:

Private Collection, Worcester (according to inscription to backing paper);

Talbot Galleries, London, where purchased by the previous private collector, April 1962; And by family descent

£200-300

285

AFTER SIR ANTHONY VAN DYCK

Portrait of Mary, Princess Royal, later Princess of Orange (1631-1660), bust-length, wearing a grey dress and pearl necklace

Oil on panel 25.4 x 16.2cm; 10 x 6½in

Provenance:

Private Collection, Worcester (according to inscription to backing paper); Talbot Galleries, London, where purchased by the previous private collector, April 1962; And by family descent

The work derives from the group portrait of the three oldest children of Charles I, in the Galleria Sabauda, Turin (no.285).

£200-300

286

286 (framed)

286 ENGLISH SCHOOL

c.1700

A military column with a royal coach in a landscape, possibly the arrival of William III into London, 1688

Oil on canvas

101.6 x 126.5cm; 40 x 49¾in £6,000-8,000

287 CIRCLE OF GUIDO RENI

St John the Baptist Oil on canvas, oval

58.9 x 43.2cm; 23¼ x 17in

287

Provenance: William Oak Manning (1879-1958); And by descent to the previous owner This work derives from Reni’s original in the Galleria Sabauda, Turin. £3,000-5,000

288

288

ATTRIBUTED TO FRANCESCO RUSCHI

Italian c.1610-1661

Joseph interpreting dreams in prison

Oil on canvas

124.2 x 128.6cm; 49 x 50¾in

Provenance:

Christie’s, London, 8 December 1967, lot 96 (as Giovanni Battista Langetti); Christie’s, London, Old Master Pictures, 19 April 2000, lot 102 (as Attributed to Francesco Ruschi), where purchased by the present private collector

Literature:

Marina Stefani Mantovanelli, ‘Giovanni Battista Langetti’, in Saggi e Memorie di Storia dell’Arte, vol.17 (1990), p.88 (as Circle of Antonio Zanchi)

£15,000-20,000

288 (framed)

289

CIRCLE OF ANTOINE MONNOYER

Still life with flowers in a vase on a stone ledge

Oil on canvas

60.9 x 47cm; 24 x 18in

£2,000-3,000

290

CIRCLE

Still life with fruit, a parrot and a jay in a park landscape

Oil on canvas

80.8 x 100.6cm; 31¾ x 39½in

£1,000-1,500

OF TOBIAS STRANOVER

GASPAR PIETER VERBRUGGEN II

Flemish 1664-1730

Still life with roses, anemones, orange blossoms, hyacinths, poppies and other flowers in a ewer on a ledge

Indistinctly signed (lower right)

Oil on canvas

90 x 67.8cm; 35½ x 26¾in

Provenance:

Bonhams, London, Old Master and British Pictures and Drawings, 11 December 1986, lot 80; Possibly Johnny van Haeften London (as Jean-Baptiste Monnoyer); Phillips, London, Important Old Master Paintings, 5 July 1994, lot 209 (as Gaspar Pieter Verbruggen I); Export Fine Arts, London, where purchased by the present private collector, September 1994 (as Gaspar Pieter Verbruggen I)

We are grateful to Dr Claudia Salvi for confirming the attribution to Gaspar Pieter Verbruggen II on the basis of photographs. A copy of her full report is available on request.

£4,000-6,000

293

JACOB GERRITSZ. VAN BEMMEL

Dutch 1628-1673

Still life with fruit, walnuts, porcelain dish and jug, on a cloth-covered table top Signed and indistinctly dated J v Bemmel 165* (lower left to table)

Oil on canvas 69 x 109.3cm; 27¼ x 43in

Provenance:

By descent to the present owner

£5,000-8,000

293 (framed)

1660-1716

A peacock, turkey, chickens, other birds and rabbits in a park landscape

Oil on canvas with arched top

93.8 x 131.8cm; 37 x 52in

294

294 (framed)

294 MARMADUKE CRADOCK

£5,000-7,000

295

CIRCLE OF PETER MONAMY

An English Squadron of the Red at sea in a stiff breeze

Oil on canvas

85.4 x 119cm; 33¾ x 46¾in £4,000-6,000

295 (framed)

296

296

JACOB KNYFF

Dutch 1638-1681

British men of war and other shipping off Dover Oil on canvas

58.2 x 127.3cm; 23 x 50in

Provenance:

The Norris family, Wood Norton Hall, Norfolk, probably by the late 18th Century; And by family descent

For a similar depiction of Dover by Jacob Knyff, see Frank Cockett’s Early Sea Painters, 1660-1730 (Antique Collectors Club, 1995), p.45 colour plate 15. In this work an almost identical central vessel flies the royal standard.

£10,000-15,000

296 (framed)

297

297

ENGLISH SCHOOL

Late 17th Century

Portrait of a boy, full-length, wearing a red cloak, seated in a landscape with a greyhound Oil on canvas

127.7 x 102.2cm; 50¼ x 40¼in £3,000-5,000

298

298

SIR GODFREY KNELLER BT.

German 1646-1723

Portrait of Sir Humphrey Monoux 4th Bt (1702-1757), of Wooton House, three-quarter length, wearing a red coat and standing in a landscape

Oil on canvas

127.4 x 103.5cm; 50¼ x 40¾in

£5,000-8,000

299 CIRCLE OF JOHANN KERSEBOOM

Portrait of a young man, half-length, wearing a blue cloak and long wig

Oil on canvas, oval

73.2 x 61.5cm; 28¾ x 24¼in

£1,500-2,500

300 ENGLISH SCHOOL

18th Century

Portrait of a young boy, full length, standing in an interior holding a bird

Oil on canvas

91.4 x 71.2cm; 36 x 28in

Unframed

£100-150

301 ENGLISH SCHOOL

Early 18th Century

Portrait of a young girl, half-length, wearing a red dress, standing by a pedestal with a dove

Oil canvas

77 x 64cm; 30¼ x 25¼in

£300-500

Portrait of a gentleman, traditionally identified as Sir Henry Hicks (1666-1755),

302 THOMAS MURRAY Scottish 1663-1734

of Manor House, Chigwell, wearing a blue cloak and long wig Oil on canvas, oval 75.8 x 63.1cm; 29¾ x 24¾in £2,000-3,000

304

AFTER MIGUEL JACINTO MELÉNDEZ

Philip V of Spain in hunting costume, on horseback

Oil on canvas

71.5 x 50.4cm; 28¼ x 19¾in

Unframed

The present work derives from Meléndez’ original in the Cerralbo Museum, Madrid.

£200-300

303 WILLIAM VERELST

1704-1752

Portrait of William Waynflete (c.1398-1486), full-length, wearing bishop’s robes and holding a mitre, standing on a terrace

Oil on canvas

55.8 x 35.8cm; 22 x 14in

Provenance:

Sotheby’s, London, May 16th 1990, lot 16; Where purchased by Norman St John-Stevas, Baron St John of Fawsley (1929-2012)

£1,000-1,500

305

305

THOMAS HUDSON

1701-1779

Portrait of Sir John Tyrell, 5th Bt. of Heron and Woodham, Essex (c.1725-1766), three-quarter length, wearing a red coat and waistcoat

Oil on canvas

127.3 x 101.7cm; 50 x 40in

Provenance:

Property from an Irish country house

The sitter was also painted by Allan Ramsay in 1752, in a work now in the collection of the National Gallery of Ireland, Dublin (no.NGI.570). He was appointed Sheriff of Essex in 1750.

£1,500-2,500

306

AFTER ANGELICA KAUFFMAN

The Judgment of Paris

Oil on copper

40.7 x 51.3cm; 16 x 20¼in

£250-350

307

AFTER NICOLAS LANCRET

The bird catchers

Oil on canvas

45.3 x 84cm; 17¾ x 33in

Provenance:

Purchased from Frank Smith, Hungerford at least 50 years ago; And by family descent

After the original in the Wallace Collection, London (no.P436).

£800-1,200

308

FRENCH SCHOOL

c.1800

Minerva

Oil on canvas, in a painted oval

60.5 x 48cm; 23¾ x 19in

Unframed

Provenance:

The Collection of Robin and Rupert Hambro

£200-300

THIS LOT IS OFFERED WITHOUT RESERVE

309

AFTER FRANÇOIS BOUCHER

Christ and St John the Baptist as children

Oil on canvas

53.9 x 43cm; 21¼ x 17in

After the original in the Uffizi, Florence.

£500-800

310

ATTRIBUTED TO CLAUDE-JOSEPH VERNET

French 1714-1789

View of the Temple of the Sibyl at Tivoli

Oil on canvas

43.2 x 34.4cm; 17 x 13½in

Provenance:

Probably Jean Baptiste Pierre Lebrun; Probably his sale, Paris, 11 April 1791, no. 27; Major H. B. Turnor; By whom offered, Christie’s, London, 4 July 1947, lot 65 (as Vernet) (unsold); And by descent

Literature:

Probably Florence Ingersoll-Smouse, Joseph Vernet, Peintre de Marine (Paris, 1926), Vol.II, p.97, no.2052

For a comparable view of Tivoli by Vernet, see Christie’s, New York, 29 January 2014, lot 58.

£8,000-12,000

311

FRENCH SCHOOL

18th Century

Coastal landscape at dusk with fishermen and a traveller crossing a bridge

Oil on canvas

30.7 x 91.4cm; 12 x 36in

Unframed

£200-300

312

ITALIAN SCHOOL

18th Century

Mountainous landscape with a fountain and ruins in the distance

Oil on panel

51.5 x 67.4cm; 20¼ x 26½in

£300-500

313

ITALIAN SCHOOL

18th Century

Capriccio with figures outside a palazzo with the sea beyond; Capriccio with figures in a street by a fountain

A pair, both oil on marble

Each 20.8 x 9.8cm; 8¼ x 3¾in, framed with arched tops (2)

£300-500

FOLLOWER OF PIETRO ANTONIANI

A view of Naples with the Riviera di Chiaia from the strada di Posillipo, with Vesuvius beyond; A view of the Gulf of Pozzuoli, with a British man-o-war and other vessels

A pair, both oil on canvas

Each 26.6 x 59.4cm; 10½ x 23½in (2)

Provenance:

Christopher Clarke, Stow-on-the-Wold, where purchased by the previous owner, August 1986;

And by descent

£1,000-1,500

315 CHARLES BROOKING

1723-1759

Two English men-o-War passing in the Channel with other vessels beyond Oil on canvas

35.7 x 44.8cm; 14 x 17¾in

Provenance:

Cooling Gallery, London, 1919; Howard Earl Hoover (1890-1985); Hoover Company, UK (hung in their boardroom); Bonhams, London, 15 August 1996, lot 246 (as John Cleveley); David Joel (1928-2019); And by family descent

Literature:

David Joel, Charles Brooking

1723-1759 and the 18th Century British Marine Painters (Antiques Collectors’ Club, 2000), p.63 (illustrated), p.151, no.241B (where listed as with traces of a signature lower right)

£3,000-5,000

316 THOMAS LUNY

1759-1837

St Michael’s Mount, with fishermen bringing in their boat

Signed and indistinctly dated Luny 182* (lower left) Oil on canvas

50.4 x 69cm; 19¾ x 27¼in

£700-1,000

317

317

ROBERT FREEBAIRN

1764-1808

Italian landscape with figures at the water below a castle Indistinctly signed and dated R ****bairn/1797 (lower centre)

Oil on canvas

58.2 x 78.4cm; 23 x 30¾in

Provenance:

Private Collection, Yorkshire £4,000-6,000

317A

ENGLISH SCHOOL

18th Century

Italianate river landscape with a ruined temple on a hill with sheep and cattle below

Signed with initials CL (lower right)

Oil on panel

21.5 x 25.7cm; 8½ x 10in

Provenance:

Lewis Fry MP (1832-1921); And by family descent to the present owner £1,200-1,800

317A

Elegant

37.9

Provenance: Christie’s, South Kensington, 22 February 1996 £1,200-1,800

1757-1832

The game larder

Oil on canvas

36.1 x 46cm; 14¼ x 18in £300-500

ENGLISH SCHOOL

18th Century

A market scene

Oil on panel

32.8 x 40.4cm; 13 x 16in

Oil on canvas

60.8 x 73.8cm; 24 x 29in

321

318 CIRCLE OF JAN JOSEF HOREMANS THE YOUNGER c.1750

figures and a musical company on the terrace of a country house

Oil on canvas

x 47.9cm; 15 x 18¾in

319

BENJAMIN BLAKE

320

£200-300

321 CIRCLE OF EDWARD HAYTLEY Conversation piece with a family in a library

£2,000-3,000

322 ENGLISH SCHOOL

18th Century

Portrait of a young boy, traditionally identified as Francis Page of Newbury, full-length, in a landscape holding a cricket bat Oil on canvas

75.5 x 62.7cm; 29¾ x 24¾in

Provenance: By descent to the present private collector

£800-1,200

323

FOLLOWER OF ARTHUR DEVIS

Portrait of a gentleman, full length, wearing a red coat, embroidered waistcoat and blue breeches, standing in an interior by a table with a globe

Oil on canvas

74.7 x 62.2cm; 29½ x 24½in

£500-700

324

CIRCLE OF ARTHUR WILLIAM DEVIS

Portrait of the Prescott family seated in an interior Oil on canvas

72.2 x 63.4cm; 28½ x 25in

Provenance: The Hon. Mrs Nellie Ionides Collection; And by family descent

£500-700

Portrait of a lady, full-length, wearing a brown dress seated in a

a dog

Portrait of a gentleman, full-length, wearing a blue coat and buff waistcoat, standing in a landscape

326 CIRCLE OF EDWARD HAYTLEY

landscape with

Oil on canvas

73.2 x 53.5cm; 28¾ x 21in £500-700

325 CIRCLE OF EDWARD HAYTLEY

Oil on canvas

73.2 x 53.4cm; 28¾ x 21in £700-1,000

325

327

327

JOHN DOWNMAN ARA

1750-1824

Portrait of a gentleman, three-quarter length, wearing a grey coat and green waistcoat, leaning on a ledge with a landscape beyond Oil on canvas

101.8 x 78.8cm; 40 x 31in

Provenance: Private collection, Salisbury £2,000-3,000

Provenance:

£5,000-7,000

328

THOMAS BEACH 1738-1806

Portrait of a young boy, half-length, in van-dyke costume Oil on canvas, oval

64.9 x 56cm; 25½ x 22in

The property of the late Sir Thomas Sopwith (1888-1989) by the late 1890s; And by family descent

328

329 CIRCLE OF ANGELA KAUFFMAN

Portrait of a lady, half-length, wearing a grey dress

Oil on canvas, oval

73.5 x 57.7cm; 29 x 22¾in

£1,000-1,500

331 AFTER THOMAS GAINSBOROUGH

330 CIRCLE OF THOMAS GAINSBOROUGH

Portrait of a young girl wearing a grey dress in a painted oval

Oil on canvas

22 x 17.2cm; 8¾ x 6¾in

£300-500

Portrait of Margaret Gainsborough, the artist’s daughter, half-length in a painted oval

Bears an inscription Margaret Gainsborough/given to the Rev W Green by the sitter (to reverse)

Oil on canvas

76 x 62.3cm; 30 x 24½in

Provenance:

Possibly given by the sitter to Revd William Green (according to inscription); Midlington Park Estate, Droxford (according to label)

After the original in the Tate (no.N01482). Revd William Green was married to Margaret Gainsborough’s cousin Elizabeth (1756-1840), and owned another portrait of Margaret (see Hugh Belsey, Thomas Gainsborough (Yale University Press, 2019), vol.1, p.350, no.364).

£300-500

332

CIRCLE OF SIR JOSHUA REYNOLDS

Portrait of a lady, half-length, wearing a white dress with a green sash and fur-lined cloak

Oil on canvas

76.5 x 64.3cm; 30 x 25¼in

Provenance: Private Collection, UK

£2,000-3,000

333

AFTER SIR JOSHUA REYNOLDS

A Man’s Head

Oil on canvas

68.9 x 56.4cm; 27¼ x 22¼in

After the original in Tate Britain (no.N00106). The subject is George White, one of Reynolds’ favourite models.

£600-800

334

ENGLISH SCHOOL

19th Century

Portrait of a boy wearing a red coat, reading at a table

Oil on canvas

76.3 x 63.2cm; 30 x 24¾in

Unframed

£300-500

334

333

332

335

CIRCLE OF WILLIAM BEECHEY

Portrait of a young lady, half-length, wearing a white dress and grey cloak

Oil on canvas

76.7 x 63.8cm; 30¼ x 25in

£400-600

336

BRITISH SCHOOL

18th Century

Portrait of Mrs Mary Cameron (née Adair) (1731-1818), of Ayr, Scotland, half-length, seated holding a letter

Oil on canvas

76.2 x 64.2cm; 30 x 25¼in

Provenance:

By descent in the family of the sitter until purchased by the present owner

The letter held by the sitter is traditionally believed to be from her son, Lt. Col. Robert Cameron, informing her that he is to be released from an Indian prison, where he was held by Tipu Sultan’s army from 1782-84. For an account of Cameron’s captivity see Robert Cameron and P. R. Cadell, ‘A Prisoner of War in India, 1782-4’, in Journal of the Society for Army Historical Research, vol. 10, no.39 (January 1931), pp.17-34.

£200-300

337

CIRCLE OF WILLIAM BEECHEY

Portrait of Emmanuel Muller (d.1822), half-length, wearing a green coat and white waistcoat; Portrait of Harriet Muller (née Hart), half-length, wearing a white dress and red shawl

A pair, both oil on canvas

77.2 x 63.5cm; 30½ x 25in;

77.2 x 64.4cm; 30½ x 25¼in (2)

£600-800

338

ENGLISH SCHOOL

Early 19th Century

Portrait of Mary Hart (née Garland) (b.1750)

Oil on canvas

77.8 x 64.8cm; 30¾ x 25½in

£200-300

339

ROBERT HOME

1752-1834

Portrait of John Walter Sherer (1776-1846), half-length, wearing a brown coat and seated at a table holding a letter

Oil on canvas

74.7 x 65.2cm; 29½ x 25¾in

Provenance:

By family descent to the previous owner

The sitter arrived in India in 1798, as a financial administrator for the East India Company and went on to become Accountant-General of Bengal. Robert Home’s account book records a payment of 300 rupees for the present work in 1802. £1,000-1,500

340

ENGLISH SCHOOL

19th Century

Portrait of a gentleman, half-length, seated and resting his hand on a volume of English Verse

Oil on canvas

90.7 x 70.6cm; 35¾ x 27¾in

Unframed

£200-300

341

SCOTTISH SCHOOL

19th Century

Portrait of a gentleman, half-length, wearing a blue coat with gold buttons

Oil on canvas

77.4 x 63.4cm; 30½ x 25in

£300-500

341 340

339

342

AFTER JOHN OPIE RA

Portrait of Sir John St Aubyn, 5th Bt (1758-1839), three-quarter length, seated with a landscape beyond Oil on canvas

127.2 x 101.1cm; 50 x 39¾in

Provenance: Mr Wingfield Baker, Eaton Square, London; John St. Aubyn; William St. Aubyn (all according to labels)

£1,000-1,500

343 ENGLISH SCHOOL

Early 19th century

Portrait of a gentleman, bust-length, wearing a black coat and white stock

Oil on canvas

35.7 x 30.6cm; 14 x 12in

£150-250

344 ENGLISH SCHOOL

Early 19th Century

Portrait of a gentleman, bust-length, wearing a blue coat in a painted oval

Oil on panel

18 x 15cm; 7 x 6in

£100-150

CIRCLE OF SIR HENRY RAEBURN

Portrait of Hugh Elliot (1752-1830), three-quarter length, wearing a black coat and yellow waistcoat, seated in an interior

Oil on canvas

127.9 x 101.7cm; 50¼ x 40in

Hugh Elliot was the brother of the 1st Earl of Minto, and as teenagers the brothers were mentored by the philosopher David Hume (1711-1776). After serving in the Russian army, Elliot entered the diplomatic service, and was the Governor of the Leeward Islands from 1809-1814, and Governor of Madras from 1814-1820. A noted abolitionist, whilst Governor of the Leeward Islands, he was reported to be the driving force behind the arrest, trial and execution of Arthur Hodge for the murder of a slave in the British Virgin Islands.

£700-1,000

346 AMERICAN SCHOOL

19th Century

Portrait of a gentleman, half-length, wearing a black coat and white waistcoat

Oil on canvas

76.4 x 63.7cm; 30 x 25in, framed as an oval

Provenance: Formerly the property of the late Marguerite Littman (1930-2020)

£200-300

347 ENGLISH SCHOOL

19th Century

Portrait of a gentleman, half-length, seated in an interior

Oil on canvas

76.8 x 64.4cm; 30¼ x 25¼in

£300-500

346

347

345

AFTER ANTOINE-JEAN GROS

19th Century

Portrait of Napoleon Bonaparte, First Consul, half-length, in uniform Oil on canvas, oval laid onto rectangular canvas

108 x 86.8cm; 42½ x 34¼in

Unframed

£400-600

Early 19th Century

Portrait of an officer, half-length, in uniform

Oil on canvas

54.5 x 43.7cm; 21½ x 17¼in

£300-500

Early 19th Century

Portrait of a gentleman wearing a black coat and white stock

Oil on canvas

33.4 x 27.5cm; 13¼ x 10¾in

£150-250

Portrait of a gentleman, bust-length, wearing a black coat

Oil on canvas

24.5 x 19.1cm; 9¾ x 7½in

£100-200

351 350

349

348

348

349 FRENCH SCHOOL

350 FRENCH SCHOOL

351 FOLLOWER OF LOUIS-LÉOPOLD BOILLY

352

FRENCH SCHOOL

19th Century

Portrait of a lady, half-length, wearing a black dress and standing by a harp

Oil on canvas

91.5 x 79cm; 36 x 31in

Unframed

£500-700

353

AFTER LOUIS CARROGIS CARMONTELLE

Portrait of Narcisse, servant of the Duke of Orléans, full-length, standing on a terrace

Oil over a print, laid on canvas

73.1 x 50.5cm; 28¾ x 19¾in

Provenance: Private collection, Salisbury

£100-150

354

CENTRAL EUROPEAN SCHOOL

18th Century

Portrait of a lady, half-length, wearing a yellow dress, a choker of pearls, and holding a posy of flowers

Oil on canvas

35.4 x 30.8cm; 14 x 12¼in

£300-500

354

352

353

355

JOSEF AUGUST SCHOEFFT

Hungarian 1778-1860

Portrait of three siblings standing in a mountainous landscape after a hunt

Signed and dated Schoefft/1809 (centre right)

Oil on copper

45.8 x 45.8cm; 18 x 18in

£600-1,000

356

CONTINENTAL SCHOOL

19th Century

Portrait of a young boy, three-quarter length, dressed in red playing a drum

Indistinctly signed G Dev* (upper left)

Oil on canvas

81.3 x 63.6cm; 32 x 25in

£100-150

357

AMERICAN SCHOOL

19th Century

Portrait of a lady, three-quarter length, seated in an interior holding a letter

Indistinctly inscribed (to letter)

Oil on canvas

76.1 x 63.3cm; 30 x 25in

Provenance: Formerly the property of the late Marguerite Littman (1930-2020)

£300-500

ATTRIBUTED TO MARGARET CARPENTER

1793-1872

Portrait of George Davis, grandson of John Spicer, as a boy, half-length with a dog Oil on canvas

60.7 x 51cm; 24 x 20in

£800-1,200

359

AMERICAN SCHOOL

19th Century

Portrait of three children in an interior, the youngest holding a doll Oil on canvas

94.1 x 76.3cm; 37 x 30in

Provenance:

Formerly the property of the late Marguerite Littman (1930-2020)

£300-500

360

ENGLISH SCHOOL

c.1800

Portrait of a young girl wearing a red jacket Oil on canvas

56.9 x 47.4cm; 22½ x 18¾in

£300-500

360

359

358

361

361

ENGLISH SCHOOL

19th Century

Two merchant brigs in full sail offshore, with a pilot cutter approaching the larger vessel

Oil on panel

31.8 x 39.6cm; 12½ x 15½in

£400-600

363

363

ENGLISH

SCHOOL

19th Century

A large English frigate underway below a well-armed coastal fortress

Oil on panel

42.9 x 60.9cm; 17 x 24in

It has been suggested that this fortress represents Gibraltar as similarsometimes inscribed - works have been noted in commerce.

£200-300

362 CIRCLE OF WILLIAM JOHN HUGGINS

The merchant barque Lady Sale lying offshore and drying her sails, with a large merchantman under tow and other smaller craft nearby Oil on canvas

54.6 x 68.5cm; 21½ x 27in

This barque has been identified from her numerical recognition flags. She was built at Newcastle in 1843, owned by Douglas & Co. and voyaged regularly to Singapore.

£800-1,200

364

WILLIAM BALL SPENCER

1854-1923

The bombardment of Algiers by Admiral Lord Exmouth’s fleet, 27th August 1816

Signed and dated W B SPENCER/1871 (lower right)

Oil on canvas

59.8 x 89.4cm; 23½ x 35¼in

£600-800

364

362

Early 19th Century

View of Edinburgh at dusk from Calton Hill

Oil on canvas

33.5 x 68.2cm; 13¼ x 26¾in

Provenance: Anthony Woodd, Edinburgh

c.1800

Southern landscape with a castle

Signed W.Sharp (lower left)

Oil on canvas

20.5 x 28.8cm; 8 x 11¼in £200-300

19th Century

River landscape with boats near a folly, and a country house in the distance

Oil on panel, oval

19.5 x 23cm; 7¾ x 9in

£100-150

367

366

365

365 SCOTTISH SCHOOL

£700-1,000

366 W. SHARP

367 ENGLISH SCHOOL

1787-1879

A halt at an inn

Signed and dated William Shayer 1871 (lower right)

Oil on canvas

46.4 x 61.5cm; 18¼ x 24¼in £800-1,200

Figures resting outside a cottage

Signed W Shayer Senr (lower left)

Oil on canvas

61 x 50.7cm; 24 x 20in £1,000-1,500

368 WILLIAM SHAYER

369 WILLIAM SHAYER 1787-1879

370 ALEXANDER CARSE Scottish c.1770-1843

A travelling clothier outside an inn

Signed and dated A Carse/1831 (lower right)

Oil on canvas

63.9 x 76.5cm; 25¼ x 30in £2,000-3,000

370

370 (framed)

ENGLISH SCHOOL

19th Century

A shepherd and his flock returning home at dusk Oil on canvas 35.6 x 51cm; 14 x 20in £200-300

DUTCH SCHOOL

19th Century

River landscape with horses watering and figures crossing a bridge Oil on canvas 46 x 61cm; 18 x 24in Unframed £100-150

373 ENGLISH SCHOOL

19th Century

River landscape with a traveller on horseback approaching a bridge Oil on panel 26.5 x 20.3cm; 10½ x 8in £200-300

19th Century

River landscape with a couple in a boat and cattle watering, with a farmhouse beyond Oil on panel 21.1 x 18cm; 8¼ x 7in £100-200

374 NORWICH SCHOOL

372

375

WILLIAM EDWARD WEBB

1862-1903

Landscape with a shepherd leading his flock through a gate; Landscape with figures resting on a path outside a cottage

A pair, both signed W.WEBB (lower right)

Both oil on canvas

Each 20.6 x 25.8cm; 8 x 10¼ (2)

£200-300

376

ENGLISH SCHOOL

Early 19th Century

Wooded landscape with a woman carrying wood along a path under stormy skies

Oil on canvas

18.9 x 14.1cm; 7½ x 5½in

£150-250

377

ENGLISH SCHOOL

Early 19th Century

A meet on the road

Oil on panel

20.5 x 15.7cm; 8 x 6¼in

Unframed £100-150

378

FREDERICK WILLIAM HULME

1816-1884

Sunrise over the lakes

Signed F W Hulme (lower right)

Oil on board

13.8 x 24cm; 5½ x 9½in

£150-250

379 EDMUND JOHN NIEMANN

1813-1876

View of Reading from Caversham Heights

Signed Niemann (lower centre) Oil on canvas

71.2 x 91.2cm; 28 x 36in

Provenance:

David Messum, Beaconsfield; Bonhams, London, Fine 19th Century Paintings, 1 November 2001, lot 87, where purchased by the present private collector £800-1,200

380 GEORGE WILLIAM MOTE

1832-1909

Landscape with cows in a pasture

Oil on canvas

49.8 x 75.4cm; 19½ x 29¾in

Provenance:

Christie’s, London, British Pictures of the 17th-18th and 19th Centuries, 9 February 1990, lot 202; And by descent to the present owner £800-1,200

381

381

JOHN

FREDERICK TENNANT

1796-1872

View of Hillsborough near Ilfracombe, North Devon

Signed and dated J Tennant 1869 (lower right)

Oil on canvas

66.4 x 107.4cm; 26¼ x 42¼in, framed with an arched top

Provenance:

Phillips, London, 19th Century British and European Paintings, 4 April 2000, lot 18 £2,500-3,500

382 HENRY JUTSUM

1816-1869

Shepherds resting in a river landscape

Signed and dated Henry Jutsum 1846 (lower right)

Oil on canvas

50.7 x 71.9cm; 20 x 28¼in

Provenance:

382 151

383

FREDERICK RICHARD LEE RA

1798-1879

View of Stirling from the Forth Oil on canvas

97.5 x 142.8cm; 38¼ x 56¼in

Provenance: Ian MacNicol, Glasgow, where purchased by the present private collector, May 1975 £3,000-5,000

383 (framed)

384

384

FREDERICK RICHARD LEE RA

1798-1879

AND THOMAS SIDNEY COOPER RA

1803-1902

A wooded river landscape with cattle watering

Signed and dated F.R.LEE RA 1883 (RA 1883 possibly strengthened) and bears a signature

T.Sidney Cooper R.A (lower right)

Oil on canvas

112.2 x 147.8cm; 44¼ x 58¼in

Provenance:

Caroline, Duchess of Montrose (1818-1894);

Her sale, Christie’s, 14 July 1894, lot 23 (unsold).

Her posthumous sale, Christie’s, 4 May 1895, lot 72 (360 gns. to Gribble).

David Messum, London, prior to 1996.

The Property of a Limited Company; Bonhams, London, 21 November 1996, lot 150, as ‘The Watering Place’;

Christie’s, London, Victorian and Traditionalist Pictures, 15 November 2007, lot 73;

Tim and Virgina Hoare;

Their sale, Dreweatts, Newbury, Hollycombe House: The Collection of Tim and Virginia Hoare, 15 June 2021, lot 211, where purchased by the present private collector

Literature:

Kenneth Westwood, Thomas Sidney Cooper C.V.O., R.A.: His Life and Work, 2011, vol.II., pp.12, 304, no.L/C 33, pl.394

£15,000-20,000

384 (framed)

1825-1895

Fishing boats in choppy waters at Portsmouth

Signed and dated James Webb/May 1854 (lower left)

Oil on canvas

64.2 x 111.9cm; 25¼ x 44in

Provenance: Shoshi Preiss, London, where purchased by the present private collector £2,500-3,500

1825-1895

Near Whitstable

Signed and dated James Webb 81 (lower left)

Oil on panel

36.7 x 45.9cm; 14½ x 18in

Provenance: Cooling Galleries, London £1,000-1,500

1825-1895

A lock on the Norfolk Broads

Oil on canvas

102.8 x 146.2cm; 40½ x 57½in

Provenance: Frost and Reed £3,000-5,000

387

385 JAMES WEBB

386 JAMES WEBB

387 JAMES WEBB

388

LOUIS BOSWORTH HURT

1856-1929

In Glen Cannich, Invernesshire

Signed Louis B Hurt (lower left), and further signed and inscribed In Glen Cannich. Invernesshire/Louis B Hurt (to reverse) Oil on canvas 61.5 x 91.8cm; 24¼ x 36¼in £6,000-8,000

388 (framed)

389

SYDNEY RICHARD PERCY

1822-1886

Mountainous river landscape with goats in the foreground, and cattle watering in the distance

Signed and dated SRPercy 1852 (lower right)

Oil on canvas

66.2 x 94.4cm; 26 x 37¼in

Provenance:

Chester Galleries, London; Possibly purchased from the above, 1977; And by family descent

£5,000-7,000

389 (framed)

390

390

SYDNEY RICHARD PERCY

1822-1886

Haymaking in West Aber, North Wales

Signed and dated S R Percy 1883 (lower right)

Oil on canvas

44.6 x 65.1cm; 17½ x 25¾in

£2,000-3,000

391

SYDNEY RICHARD PERCY

1822-1886

Landscape with a drover and her cattle crossing a brook

Signed and dated SRPercy 1881 (lower left)

Oil on canvas

81.5 x 61.3cm; 32 x 24¼in

Provenance:

Chester Galleries, London; Possibly purchased from the above, 1976; And by family descent

Exhibited: Possibly London, Royal Academy, 1881, no.317 (as A Babbling Brook in Ochmore)

1812-1845

River landscape with a church

Signed and indistinctly dated WMuller 184* (lower right)

Oil on canvas

21.6 x 35.3cm; 8½ x 14in

Provenance:

Thos. Agnew & Sons

£800-1,200

Workers digging near trees

Oil on paper

25 x 35.6cm; 9¾ x 14in

£100-200

1786-1868

Landscape with cattle resting and a figure by a stile

Signed and indistinctly dated A Vickers/18** (lower left)

Oil on canvas

38.4 x 28.6cm; 15 x 11¼in

£600-800

394

393

392 392 WILLIAM JAMES MÜLLER

393 FOLLOWER OF WILLIAM JAMES MÜLLER

394 ALFRED VICKERS

1803-1879

River landscape with a watermill at dusk

Signed with monogram and dated 1866 (lower left)

Oil on canvas

41.3 x 61.1cm; 16¼ x 24in

£700-1,000

1781-1854

Landscape with cattle watering and peasants resting by a stream, a cottage beyond Signed TOWN PIN*** (lower right)

Oil on canvas

36 x 44.8cm; 14¼ x 17¾in

Provenance:

H. Douglas Constantine, Harrogate, where purchased by the present private collector, August 1966 (as Francis Towne)

£400-600

Landscape with a horse and rider crossing a stream, cattle and a cottage in the distance Oil on canvas

45.8 x 61.5cm; 18 x 24¼in

Provenance:

Haynes Fine Art, Broadway (as Attributed to Willis)

£300-500

395 JOHN BERNEY LADBROOKE

396 CHARLES TOWNE

397 CIRCLE OF HENRY BRITTAN WILLIS

399

KARL HEFFNER

German 1849-1925

Fetching water

Signed and dated Karl Heffner/1876 (lower left)

Oil on canvas

90.3 x 47.3cm; 35½ x 18½in

Provenance: Woolley and Wallis, Salisbury, Old Masters, British and European Paintings, 11 September 2018, lot 325, where purchased by the present private collector

£300-500

398

THOMAS

STANLEY BARBER

act.1891-1899

Landscape near Llanberis, North Wales; A waterfall near Ffestiniog, North Wales

A pair, both signed T S Barber (lower right)

Both oil on canvas

Each 31.1 x 26.1cm; 12¼ x 10¼in (2)

£300-500

HERBERT HUGHES-STANTON

RA, RWS

1870-1937

River landscape with a figure and sheep on a path

Signed and dated Hughes-Stanton 1917 (lower left)

Oil on canvas

30.8 x 45.9cm; 12¼ x 18in

£200-300

400

EDMUND GUSTAVUS MÜLLER

c.1817-1888

The eel traps; The ferry Two, the former signed and dated E G Miller 1853 (lower right), the latter signed and dated E G Muller 1852 (lower right)

The former oil on board, the latter oil on panel

29.7 x 21.9cm;

11¾ x 8½in; 29.4 x 21.7cm;

11½ x 8½in (2)

Provenance:

‘The Ferry’ with William Permain; Both with M. Newman, London; Christie’s, South Kensington, British, Victorian and Scottish Pictures, 6 March 2003, lot 427

£800-1,200

JOSEPH CLAYTON BENTLEY

1809-1851

The Four Arches, Bingley, Yorkshire

Signed and dated J C Bentley/1849 (lower right)

Oil on canvas

78.5 x 117.8cm; 13 x 46¼in

Provenance:

L.H.Lefèvre & Son, London; Ian MacNicol, Glasgow, where purchased by the present private collector, June 1971

£1,200-1,800

403

CONTINENTAL SCHOOL

Mid-19th Century

Portrait of a lady, three-quarter length, wearing a lace dress and bonnet, seated in an interior

Oil on copper

30.9 x 26cm; 12¼ x 10¼in

Unframed

£300-500

Portrait of a lady, full length, wearing a purple dress and fur-lined hat, seated in an interior holding a book

Oil on panel 35.7 x 23.4cm; 14 x 9¼in

£100-150

405

CLAUDE-MARIEPAUL DUBUFE

French 1790-1864

Portrait of a lady leaning on a windowsill

Oil on panel 35.8 x 30.2cm; 14 x 12in

£200-300

406

CONTINENTAL

19th Century

Portrait of a young girl, full-length, standing in an interior by a chair, holding a posy of flowers

Traces of a signature (lower right)

Oil on canvas 26.3 x 22cm; 10¼ x 8¾in

Unframed

£150-250

407

AUSTRIAN

19th Century

An elegant lady reading in an interior

Signed indistinctly with monogram (lower right)

Oil on panel

29.8 x 22.6cm; 11¾ x 9in

Unframed

£120-180

407 406

405

404

403

404 MANNER OF ELISABETH-LOUISE VIGÉE LEBRUN

SCHOOL

SCHOOL

408

ALFRED EDWARD CHALON

1780-1860

Portrait of two sisters seated on a sofa Oil on board

23.2 x 30.4cm; 9¼ x 12in £1,000-1,500

409

409

ENGLISH SCHOOL

19th Century

Portrait of a lady, three-quarter length, wearing a white dress and seated in an interior Oil on panel

35.3 x 30.3cm; 14 x 12in

Unframed

£100-150

408

410

410

ENGLISH SCHOOL

19th Century

Portrait study of a lady wearing a broad-brimmed feathered hat Oil on canvas

33.1 x 30.6cm; 13 x 12in

£200-300

411

411

ENGLISH SCHOOL

Early 19th Century

Portrait of a lady, bust-length, wearing a white dress

Oil on canvas

35.6 x 30.5cm; 14 x 12in

412 WILLIAM JOSEPH C. BOND

1833-1928

A boat beached on the shore; Fishing boats in a harbour

Two, the former signed W J C Bond (lower right), the latter signed and dated W J C Bond 89 (lower left)

Both oil on panel 19.7 x 14.6 cm; 7¾ x 5¾in; 11.4 x 13.9cm; 4½ x 5½in (2) £200-300

413

FRANCIS E. JAMIESON

1895-1950

Bringing home the catch; Repairing the nets

A pair, the signed with pseudonym W.RICHARDS (lower right), the latter signed with pseudonym W.RICHARDS (lower left)

Both oil on canvas

51.4 x 77.1cm; 20¼ x 30¼in; 51.3 x 76.7cm; 20¼ x 30¼in (2)

£300-500

414

FRANK SPENLOVE-SPENLOVE

British 1864-1933

Waiting for the boats, Scheveningen

Signed Frank Spenlove Spenlove (lower right)

Oil on canvas laid on board

12.2 x 20.8cm; 4¾ x 8¼in

£100-150

415

416

415

WILLIAM THORNLEY

act. 1858-1898

Coastal landscape with figures unloading the catch; Coastal landscape with ships in choppy waters and figures watching from the shore

A pair, both oil on canvas

Each 25.7 x 46cm; 10 x 18in (2)

£400-600

416

ENGLISH SCHOOL

19th Century

Coastal landscape with fisherfolk on the shore

Oil on canvas

30.6 x 45.9cm; 12 x 18in

Provenance:

Woolley and Wallis, Salisbury, Paintings, Books and the Dr. Evans Collection of Animalier Bronzes, 2 April 2008, lot 613

£100-150

417

ENGLISH SCHOOL

19th Century

View of Viking Bay, Broadstairs

Indistinctly inscribed Broad***rs (lower left)

Oil on canvas

42.9 x 34.1cm; 16¾ x 13½in

£300-500

418

HENRY MEASHAM

1844-1922

417

418

View of Conwy Castle, with fishermen tending to their boats in the foreground

Signed H Measham/RCA (lower left), and inscribed CONWAY CASTLE/H. Measham R.C.A (to reverse)

Oil on canvas

28.7 x 46.3cm; 11¼ x 18¼in

£150-250

421

419 HENRY LEONIDAS ROLFE

British 1823-1881

A trout and fishing rod lying on a bank

Signed and dated H L Rolfe/1878 (lower right)

Oil on canvas

61.3 x 91.8cm; 24¼ x 36¼in

£2,000-3,000

420 J. C. SANDERS

Late 19th Century

The day’s bag

Signed and dated J C Sanders/1891 (lower left)

Oil on canvas

38.8 x 76.5cm; 15¼ x 30in

£500-700

421 SIR EDWIN HENRY LANDSEER RA

British 1802-1873

Study of a dead stag on a table

Oil on board

24.8 x 34.5cm; 9¾ x 13½in

Provenance:

The artist’s studio sale, Christie’s, London 8th-14th May 1874 (according to inscription to reverse)

£2,000-3,000

422

422 GEORGE EARL

1824-1908

A pointer in a landscape

Signed with initials and dated G.E./93 (lower left)

Oil on canvas 63.7 x 101.7cm; 25 x 40in £3,000-5,000

423 HEYWOOD HARDY 1842-1933

The Gamekeeper’s Daughter

Signed and dated Heywood Hardy 1903 (lower left)

Oil on canvas 91.6 x 71.1cm; 36 x 28in

Provenance: Frost and Reed £5,000-8,000

424

425

426

424

FRANK MOSS BENNETT

1874-1952

A warm welcome

Signed and dated F M Bennett 1924 (lower left)

Oil on panel

34.4 x 49.5cm; 13½ x 19½in

Provenance:

Bonhams, London, Fine 19th Century English and Continental Pictures and Continental Watercolours, 18 November 1993, lot 153

£800-1,200

426

JOSEPH PAYTON

act.1861-1870

Before the duel

Signed and dated J Payton/1873 (lower right)

Oil on board

24.8 x 29.8cm; 9¾ x 11¾in

£300-500

427

425 AFTER FRANCIS WHEATLEY

Scene from The Taming of the Shrew, Act II, Scene II, showing Petruchio seizing Katherine by the hand

Oil on canvas

57.5 x 72.8cm; 22¾ x 28¾in

£300-500

427

AFTER EDWARD MATTHEW WARD

Doctor Johnson in the Ante-Room of the Lord Chesterfield

Waiting for an Audience, 1748

Oil on canvas

46 x 61.7cm; 18 x 24¼in

After the original in Tate Britain, London (no.N00430)

£200-300

428

GUIDO SIGRISTE

Swiss 1864-1915

The Connoisseurs

Signed indistinctly Guido *igrist* (lower left)

Oil on canvas

48.5 x 65.4cm; 19 x 25¾in

£400-600

429

KARL KAUFMANN

Austrian 1843-1905

The fruit and vegetable seller

Signed with pseudonym L Bertini (lower left)

Oil on canvas

37.2 x 58.5cm; 14¾ x 23in

£600-900

430

VICTORIANO CODINA Y LANGLIN

Spanish 1844-1911

A pensive moment

Signed and dated V Codina Langlin/1877 (lower left)

Oil on canvas

33.4 x 24.2cm; 13¼ x 9½in

Provenance:

Bonhams, London, Fine 19th Century European Paintings and Watercolours, 16 November 1995, lot 170

£500-800

430

429 428

433

431

FILIPPO MARANTONIO

Italian 1863-1937

Revellers in a tavern

Signed Marantonio (lower right)

Oil on canvas

60.2 x 80.6cm; 23¾ x 31¾in

£1,000-1,500

432

HENRY GILLARD GLINDONI RBA

1852-1913

The welcome; A favourite pet

A pair, the former signed and dated 1884/ H.Gillard Glindoni (lower right), the latter signed and dated 18/H Gillard Glindoni/84 (lower left)

Both oil on panel

27.1 x 20.7cm; 10¾ x 8¼in;

27.1 x 20.8cm; 10¾ x 8¼in (2)

£500-700

433

GIACOMO MANTEGAZZA

Italian 1853-1920

The entertainer

Signed, dated and inscribed GMantegazza/Milano 1875 (lower right)

Oil on canvas

44 x 61.3cm; 17¼ x 24¼in

Provenance:

Sotheby’s, London, Nineteenth Century European Paintings, Drawings and Watercolours, 27 November 1991, lot 334

£2,000-3,000

435

434

ELOISE HARRIET STANNARD

1829-1914

Summer: Still life with strawberries on a cabbage leaf below honeysuckle; Autumn: Still life with grapes, blackberries, an apple, poppies and chestnuts

A pair, the former signed and dated E H Stannard 1866 (lower left); the latter signed and dated E H Stannard 1866 (lower right)

Both oil on canvas

Each 30.8 x 30.8cm; 12¼ x 12¼in, framed as roundels (2)

£6,000-8,000

435

ELOISE HARRIET STANNARD

1829-1914

Still life with pineapple, peaches, plums, grapes, pears and convolvulus by a basket

Signed and dated E H Stannard/1882 (lower left)

Oil on canvas

51.9 x 81.4cm; 20½ x 32in

Provenance:

Private Collection, UK; By whom sold, Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 4 March 2020, lot 365; Where purchased by the present private collector

£5,000-7,000

436

436

EMILY STANNARD

1802-1885

Still life with flowers in a terracotta vase on a marble ledge Oil on canvas

61.5 x 51.2cm; 24¼ x 20¼in

Provenance: Oscar and Peter Johnson, London £3,000-5,000

437

EMILY STANNARD 1802-1885

Still life with a vase of flowers on a marble ledge Oil on panel 49.3 x 37.5cm; 19½ x 14¾in

Provenance: Oscar and Peter Johnson, London £3,000-5,000

437

438

439

440

440

KEELEY HALSWELLE

1831-1891

View of Danbury across the fields

Oil on canvas

16.9 x 39.4cm; 6¾ x 15½in

£200-300

438

WILLIAM HENRY MANDER

1850-1922

River landscape near Capel Curig

Signed and dated W H Mander/07 (lower right)

Oil on canvas

50.8 x 76.2cm; 20 x 30in

Provenance: The Bourne Gallery

£700-1,000

439

GILBERT FLOYD

Early 20th Century

Mountainous river landscape

Signed and dated Gilbert Floyd 1910 (lower right)

Oil on canvas

76.8 x 127.8cm; 30¼ x 50¼in

£500-800

441

441

ENGLISH SCHOOL

19th Century

Landscape with children outside a cottage and a church in the distance

Oil on canvas

40.8 x 56.4cm; 16 x 22¼in

£150-250

ALFRED FONTVILLE DE BREANSKI

1877-1957

View of Lake Buttermere with cattle watering; View of Loch Katrine with a rowing boat

A pair, the former signed A F.De.Bréanski (lower right) and inscribed Buttermere (to reverse); the latter signed A F.De.Bréanski (lower left) and inscribed Loch Katrine (to reverse)

Both oil on canvas

Each 30.8 x 51.4cm; 12¼ x 20¼in (2)

Provenance:

By family descent to the present owner

£1,000-1,500

443

GEORGE HARLOW WHITE

1817-1888

Mountainous river landscape

Signed and dated G Harlow White/1866 (lower right)

Oil on canvas

53.8 x 43.3cm; 21¼ x 17in

£300-500

442 Φ

443

442

444

445

446

444

GEORGE PAICE

1854-1925

Portrait of Jubilee Jack, a bay hunter in a stable

Signed and dated G.Paice 97 (lower right) and inscribed Jubilee Jack (lower centre)

Oil on board

22.1 x 30.1cm; 8¾ x 11¾in

£300-500

446

LOUIS NADLER

Early 20th Century

A grey in a loose box

Signed NADLER (lower right)

Oil on panel

30.5 x 40.2cm; 12 x 15¾in

£150-250

447

445 COLIN GRAEME

1858-1910

Horse and magpie

Signed and dated Colin Graeme 99 (lower centre)

Oil on canvas 41 x 30.7cm; 16¼ x 12in

£200-300

447

ENGLISH SCHOOL

19th Century

A bay and a grey horse in a field below a ruined tower

Oil on canvas 41 x 62.2cm; 16¼ x 24½in

Unframed

£150-250

448

EDWARD ROBERT

1810-1899

Three horses grazing

SMYTHE

Signed E R Smyth (lower right) Oil on canvas

35.8 x 30.8cm; 14 x 12¼in

Provenance:

Oscar and Peter Johnson, London

£800-1,200

449

FOLLOWER OF JOHN FREDERICK HERRING JR.

Horses, pigs, chickens and ducks in a farmyard

Oil on canvas

41.2 x 51.2cm; 16¼ x 20¼in

£250-350

450

ENGLISH SCHOOL

19th Century

Trompe l’oeil of a George Stubbs print behind broken glass

Oil on canvas

30 x 39.5cm; 11¾ x 15½in

£150-250

448

450 449

451

HILTON LARK PRATT

1838-1875

A dark-breasted fighting cock facing right; A pale-breasted fighting cock facing left

A pair, the former signed with monogram (lower left), the latter signed with monogram (lower right)

Both oil on panel

Each 29.9 x 22.3cm; 11¾ x 8¾in (2)

Provenance:

Arthur Ackermann & Son, London; Arthur Ackermann & Peter Johnson, London

£800-1,200

452

CORNELIUS VAN LEEMPUTTEN

Belgian 1841-1902

Landscape with chickens and ducks by a pond

Signed and dated Corneille Van Leemputtem/1863 (lower right)

Oil on panel

13.4 x 21.3cm; 5¼ x 8¼in

£300-500

453

EUGÈNE JOSEPH VERBOECKHOVEN

Belgian 1798-1881

A cow in a landscape

Signed E.Verboeckhoven FC (lower left) Oil on panel 10.9 x 15.5cm; 4¼ x 6in

Provenance:

Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 8 September 2020, lot 617, where purchased by the present private collector

£300-500

454

HORATIO HENRY COULDERY

1832-1918

Three bulldog puppies in a kennel

Signed with monogram (lower right)

Oil on canvas

36.1 x 30.9cm; 14¼ x 12¼in

Provenance:

Fieldings, Stourbridge, The September Sale, 7 September 2019, lot 560

£1,200-1,800

455

HORATIO HENRY COULDERY

1832-1918

Good friends

Signed H H Couldery (lower right)

Oil on canvas

35.6 x 45.6cm; 14 x 18in

Provenance:

The estate of the late John F. Braund; By whom sold, Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 4 September 2019, lot 246; Where purchased by the present private collector £800-1,200

456

GEORGE ARMFIELD

1808-1893

Four terriers ratting

Signed G Armfield (lower left)

Oil on canvas

24.7 x 28.5cm; 9¾ x 11¼in

£500-800

457 MAURICE GRÜN

French 1869-1947

La Petite Laitière Bretonne

Signed and dated M Grün 98 (lower right)

Oil on canvas

81.1 x 58.5cm; 32 x 23in

Provenance: The John Davies Gallery, June 1998

£1,000-1,500

458 BERNARD DE HOOG

Dutch 1867-1943

Peeling pears

Signed B de Hoog (lower right)

Oil on canvas

48.4 x 38.2cm; 19 x 15in

Provenance: Ian MacNicol, Glasgow, where purchased by the present private collector March 1973

£600-800

459 DUTCH SCHOOL

1872

Two children seated in the interior of a cottage

Signed with monogram and dated 1872 (lower right)

Oil on canvas

61.2 x 50.8cm; 24 x 20in

£400-600

460

460

PETRUS VAN SCHENDEL

Belgian 1806-1870

The fruit seller

Signed and dated P van Schendel 1866 (lower right)

Oil on panel 65.3 x 50.5cm; 25¾ x 20in

We are grateful to Jan de Meere for confirming the attribution of the present work on the basis of photographs.

£8,000-12,000

461

462

461

DUTCH SCHOOL

19th Century

Winter landscape with figures and animals on a frozen river; Landscape with figures

halting outside a cottage

A pair, both oil on panel

17.1 x 22.9cm; 6¾ x 9in; 17.6 x 23cm; 7 x 9in (2)

£500-800

462

HENRY THOMAS SCHAFER

1854-1915

View of Chartres; View of Rouen, with Saint-Maclou

A pair, both signed with monogram and dated 1884 and 1883 (lower right respectively), and further signed H Schafer and inscribed Chartres, France and St Maclou, Rouen/Normandy (to reverse)

Both oil on canvas

41 x 31.1cm; 16¼ x 12¼in; 41.4 x 30.8cm; 16¼ x 12¼in (2)

£600-800

HENRY THOMAS SCHAFER

1854-1915

The interior of St. Lorenz, Nuremberg

Signed and dated H Schafer/1890 (lower left), and further signed and inscribed St Lawrence, Nuremberg/Die geheime Wohnung Bavaria

Germany/H Schafer (to reverse)

Oil on canvas

61.2 x 40.8cm; 24 x 16in

Provenance:

Woolley and Wallis, Salisbury, Paintings & Watercolour Sale, 5 April 2006, lot 385, where purchased by the present private collector

£400-600

463

463

464

PIERRE LOUIS LÉGER VAUTHIER

French 1845-1916

View of Paris from the Seine

Signed, dated and inscribed

A L’ami Fred/10 Juillet 1884/ Pierre Vauthier (lower right)

Oil on canvas

52.9 x 92.4cm; 20¾ x 36¼in

Provenance:

Hammer Galleries, New York; Richmond Gallery, London, where purchased by the present private collector, September 1980

£1,500-2,500

465

JULES VERNIER

French 1862-1937

Fishing boats on the Belgian coast

Signed J Vernier (lower left)

Oil on canvas

48.4 x 68.7cm; 19 x 27in

£400-600

466

WILLIAM RAYMOND DOMMERSEN

1859-1927

River landscape with boats near as castle

Signed W.Dommersen (lower right)

Oil on canvas

40.6 x 61cm; 16 x 24in

£400-600

464

467 Φ

ANTOINE BOUVARD

French 1870-1956

Landscape with houses by a lake

Signed with pseudonym Pelletier (lower right)

Oil on canvas

54.4 x 73.2cm; 21½ x 28¾in

Provenance:

Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 4 March 2020, lot 318

£300-500

465

467

466

19th

Signed

1800-1870

A

101.7

£6,000-8,000

470

468 ARTHUR E. GRIMSHAW British 1868-1913

The Yorkshireman brought in

Signed and inscribed A Grimshaw/ The Yorkshireman brought in (to reverse) Oil on canvasboard

29.3 x 44.6cm; 11½ x 17½in £2,000-3,000

469 L. MORETTI

Century View of the Bosphorus at night with Constantinople in the distance

and dated L Moretti 1879 (lower right) Oil on canvas 40 x 65cm; 15¾ x 25½in £800-1,200

470 JAMES HOLLAND

carnival outside The Doge’s Palace, Venice Oil on canvas

x 127.1cm; 40 x 50in

471 192

471

NICHOLAAS RIEGEN

Dutch 1827-1889

Dutch fishing boats in calm waters

Signed N Riegen (lower right) Oil on canvas

65.5 x 98.1cm; 25¾ x 38½in

£800-1,200

472

ENGLISH SCHOOL 19th Century

Fishing boats in calm waters at dawn

Oil on board

27.8 x 29.7cm; 11 x 11¾in

£100-150

473

ATTRIBUTED TO CHARLES HENRY SEAFORTH

1801-1872

View of a Neapolitan harbour with an artist sketching Oil on canvas laid on panel 41 x 61.5cm; 16 x 24¼in

Provenance: Frost and Reed; Bonhams, London, British and Continental Oil Paintings, 8 April 2003, lot 258

474

THOMAS JACQUES SOMERSCALES

1842-1927

Yachts racing off the Andes

Signed T.Somerscales (lower left) Oil canvas laid on panel 29 x 40.5cm; 11½ x 16in

Provenance: Phillips, Saltram House, August 1990 (according to inscription to reverse); David Joel (1928-2019); And by family descent

£800-1,200

475

ENGLISH SCHOOL

19th Century

Ships in a storm

Signed with initials WJR (lower left)

Oil on board 12 x 23cm; 4¾ x 9in

£100-150

476

BRITISH SCHOOL

c.1900

The S.S. Pakeha at sea under steam

Oil on canvas

50.7 x 76.3cm; 20 x 30in

Unframed

The Pakeha, 4331 tons, was built in 1890 and operated by Shaw, Savill & Albion. After an interesting career, including being chartered by the Russian Government in 1910-11 to act as ‘mother ship’ to the Siberian salmon fishing fleet, she was torpedoed and sunk in the English Channel off Hastings on 29th April 1918.

£200-300

477

WILLEM LINNIG THE ELDER

Belgian 1819-1885

Visiting those less fortunate

Signed and dated WLinnig f 1849 (lower left)

Oil on panel

52.6 x 65.1cm; 20¾ x 25¾in

£400-600

478

JOHN ANTHONY PULLER 1799-1886

A cottage interior with a family around a table

Signed J A Puller (lower left)

Oil on board 19.4 x 24.9cm; 7¾ x 9¾in

£300-500

479

EDWIN HUGHES

1842-1922

A suitor at the window

Signed and dated EDWIN HUGHES 1888 (lower right)

Oil on canvas

51.2 x 36cm; 20¼ x 14¼in £500-800

480

EDWARD HUGHES

1832-1908

Taking out the fruit

Signed and indistinctly dated E.Hughes/18** (lower centre)

Oil on canvas

25.3 x 20.6cm; 10 x 8in

Unframed £150-250

481

THOMAS KENT PELHAM act.1860-1891

Sitting for a portrait

Signed T.K.Pelham (lower left)

Oil on canvas

71.8 x 91.9cm; 28¼ x 36¼in

£800-1,200

482

GEORGE A. ELCOCK act.1881-1892

Reading with granny

Signed Geo A Elcock (lower right)

Oil on canvas

61.5 x 40.8cm; 24¼ x 16in

Provenance: Colmore Galleries, Henley-in-Arden

£300-500

483

JOHN HAYNESWILLIAMS

1836-1908

Threading the needle

Signed J.W.Haynes (lower left)

Oil on canvas 37.5 x 47.6cm; 14¾ x 18¾in

481

482

484 ALEXANDER FRASER ARSA

Scottish 1786-1865

Silks from afar

Signed A Fraser (lower left)

Oil on canvas

87.4 x 114.4cm; 34½ x 45in

Provenance:

Haynes Fine Art, Broadway

£2,000-3,000

484

484 (framed)

485

FREDERICK MORGAN ROI 1847-1927

A Lively Haul

Signed Fred Morgan (lower left)

Oil on canvas

75.3 x 106.8cm; 29¾ x 42in

Provenance:

Phillips, London, British and Victorian Paintings, 23 June 1992, lot 113; Richard Green, London, where purchased by the previous private collector; And by family descent

Exhibited: London, Royal Academy, 1897, no.515

£20,000-30,000

485

485 (framed)

486

JULIEN DUPRÉ

French 1851-1910

La Fenaison

Signed JULIEN DUPRE (lower left) Oil on canvas

46.5 x 38.7cm; 18¼ x 15¼in

Provenance: The John Davies Gallery, June 1998

£2,000-3,000

486

486 (framed)

487

WALTER FREDERICK OSBORNE RHA

Irish 1859-1903

Joe the Swineherd

Signed and dated WALTER OSBOURNE/-90 (lower left)

Oil on canvas

51 x 68.4cm; 20 x 27in

Provenance:

By descent from the artist until at least 1983; Private collection, UK

Literature:

Thomas Bodkin, Four Irish Landscape Painters (Talbot Press, 1920), pp.122, 129; Jeanne Sheehy, Walter Osborne (Cork, 1974), no.234; Jeanne Sheehy, Walter Osborne, exh. cat. (Dublin, National Gallery of Ireland, 1983), no.36

Exhibited:

London, Royal Academy, 1891, no.613; Liverpool, Walker Art Gallery, Autumn Exhibition, 1891; Dublin, Royal Hibernian Academy, 1892, no.87; Dublin, National Gallery of Ireland, 16 November-31 December 1983, no.36; Belfast, Ulster Museum, 20 January-29 February 1984, no.36

£30,000-50,000

487

487 (framed)

488 FRANCIS JOHN WYBURD

1826-1893

Reading with granny

Signed with initials and dated FJW. 1886 (lower left)

Oil on canvas

76.1 x 50.6cm; 30 x 20in

£200-400

490

489

ENGLISH SCHOOL

19th Century

Le Chapeau de Paille

Bears an inscription

Thomas Le Chapeau de Paille (to stretcher)

Oil on canvas

33.9 x 25.5cm; 13¼ x 10in

£1,000-1,500

WILLIAM VERPLANCK BIRNEY

American 1858-1909

By the fire

Signed, dated and inscribed copyright 1909 by/W.Verplanck Birney A.N.A (lower left)

Oil on canvas

31 x 41.4cm; 12¼ x 16¼in

£500-800

491 WILLIAM LEE HANKEY RWS, RI, ROI, RE, NS 1869-1952

The Cottage Door

Signed W LEE HANKEY (lower left)

491

494

ENGLISH SCHOOL

Late 19th Century

Study of a man leaning against the rocks

Bears a signature A B Simpson (lower left)

Oil on board

24.1 x 34.1cm; 9½ x 13½in

£150-250

496

HENRY

1855-1924

Children on a bridge

Signed with initials YK (lower right)

Oil on canvas

30.7 x 20.3cm; 12 x 8in

£300-500

492 Φ

FERDINAND KARL GREBESTEIN

German 1883-1974

A seamstress seated in an interior

Signed Grebestein 1917 (upper right)

Oil on board

39.2 x 32.4cm; 15½ x 12¾in

£200-300

493

MAURICE AUBRYET

French 19th Century

Portrait of a young chef

Signed Aubryet (upper right)

Oil on panel

30.8 x 20.4cm; 12¼ x 8in

Provenance:

The Collection of Robin and Rupert Hambro

£200-300

THIS LOT IS OFFERED WITHOUT RESERVE

495

JOHN

1820-1888

Adam and Eve

Signed inscribed and dated Adam & Eve

1882/J K Thomson (to reverse)

Oil on panel 21.8 x 30.3cm; 8½ x 12in

£100-150

KNIGHTON THOMSON

495

494

493

492

JOHN YEEND KING

497

ARTHUR HUGHES

1832-1915

Portrait of Lucy Hill (1864-1946), full-length, standing in an interior

Signed ARTHUR HUGHES (lower left) and inscribed and dated Lucy Hill Oct 1888 (upper right)

Oil on canvas laid on panel 38.6 x 22.7cm; 15¼ x 9in

Together with Lucy Crump (née Hill), The House of the Five Poplars (Blackie and Son, London, 1911) (2)

Provenance:

Lucy Hill (1864-1946), later Lucy Crump; Gifted by her to Mary Manson (daughter of James Bolivar Manson), September 1938;

By descent to the previous owner; Sotheby’s, London, Victorian and Edwardian Pictures, 25 November 2004, lot 326

Lucy Hill and her family were lifelong friends of Arthur Hughes. He also painted her and her siblings in 1866, a work now in the Bruce Castle Museum, London.

£2,000-3,000

498

ARTHUR HUGHES

1832-1915

Landscape at Fairlight, Sussex

Signed ARTHUR HUGHES (lower right)

Oil on panel 40.5 x 26.2cm; 16 x 10¼in

Provenance:

Christie’s, London, British and Victorian Pictures, 7 September 2005, lot 301

£500-700

498

497

499 ENGLISH SCHOOL

19th Century

Female nude lying in the grass

Oil on canvas

51.3 x 73.7cm; 20¼ x 29in

£600-800

500 HENRI RONDEL French

1857-1919

Portrait of a young beauty in a lilac dress

Oil on canvas

46.4 x 38.8cm; 18¼ x 15¼in

£600-800

Portrait of a young lady, bust-length, in profile

Oil on canvas

35.2 x 30.8cm; 13¾ x 12¼in

£200-300

501 CIRCLE OF SIR SAMUEL LUKE FILDES

HERBERT JAMES DRAPER

1864-1920

Reveil

Signed Herbert Draper (lower left)

Oil on canvas, 1918

204.2 x 107cm; 80½ x 42¼in

Provenance:

Property of the artist; And by family descent

Literature:

The Connoisseur, 1918, vol.LI, p.115 (‘marked by grace and refinement’); Simon Toll, Herbert Draper 1863-1920: A Life Study (Antique Collector’s Club, 2003), pp.48, 163-164, 197, no. HJD180, colour plate 52

Exhibited:

Royal Academy, 1918, no.304

This was Herbert Draper’s last major mythological work. Encompassing some of Draper’s favourite themes, it shows nymph-like figures waking with the dawn autumn light. Simon Toll described it as a ‘painting of sun-worship in which the nymphs owe their conscious existence to Apollo and Aurora’. This theme was extremely popular in the early part of the twentieth century, and was one in which Draper excelled. The two figures were based on the models Ruth Torr and Hilda Edgell, both of whom Draper had painted before.

£15,000-20,000

503

GEORGE PAUL CHALMERS RSA

Scottish 1833-1878

Landscape with a river bursting its banks

Signed and dated G P Chalmers/71 (lower right)

Oil on canvas

38.3 x 21.7cm; 15 x 8½in

£200-300

505

WILLIAM GREAVES

1852-1938

On the edge of Sherwood Forest

Signed W Greaves (lower right)

Oil on canvas

61.8 x 91.7cm; 24¼ x 36in

£200-300

504

E. J. C. V. ROUSE

Late 19th Century

Landscape with farm buildings near a pond

Signed and dated E.J.C.V. ROUSE ‘93 (lower right)

Oil on canvas

25.6 x 35.9cm; 10 x 14¼in

£200-400

506

JOHN BATES NOEL

1870-1927

Under April Skies

Signed J B Noel (lower left), and further signed and inscribed

Under April Skies/J B Noel (to reverse)

Oil on canvas

46.2 x 61.4cm; 18¼ x 24¼in

£200-300

507

CONTINENTAL SCHOOL

Late 19th Century

View of Davos, Switzerland in winter

Oil on panel

21.2 x 29.2cm; 8¼ x 11½in

Unframed

Provenance:

Property of Bill Thomson, Albany Gallery; By whom sold, Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 11 August 2021, lot 310, where purchased by the present private collector £120-180

509

SIR ALFRED EAST 1844-1913

A Wet Day at Fladbury

Signed ALFRED EAST (lower left)

Oil on board

25.3 x 36.4cm; 10 x 14¼in

£300-500

508

SIR ERNEST ALBERT WATERLOW RA, ROI 1850-1919

View of Val Roseg, Pontresina, Switzerland

Signed and dated E A Waterlow/1903 (lower right)

Oil on board

25.1 x 34.2cm; 10 x 13½in

£600-800

510

WILLIAM WIDGERY 1826-1893

Recovering wreckage

Traces of signature (lower left)

Oil on canvas

51 x 83.9cm; 20 x 33in

£200-300

511

ERNEST BAILLET

French 1853-1902

Landscape near Grez

Signed Ern Baillet (lower right)

Oil on canvas

44.6 x 58.6cm; 17½ x 23in

£400-600

512

514

512

ENGLISH SCHOOL

c.1900

Still life with flowers in a glass vase

Oil on canvas

46.2 x 41cm; 18¼ x 16¼in

£150-250

Still life with grapes on a red tablecloth

Oil on panel, oval

30.5 x 40.2cm; 12 x 15¾in

£300-500

514

ALFRED MORGAN

act.1862-1904

Still life with cornflowers in a drug jar

Signed A.Morgan (lower left)

Oil on canvas

25.6 x 20.6cm; 10 x 8in

£120-180

515

THOMAS COLLINS

act.1857-1893

Still life with a bird’s nest and primroses

Signed TCollins (TC in ligature, lower right)

Oil on canvas

18 x 23.5cm; 7 x 9¼in

£120-150

515

513

513

FOLLOWER OF JOHANN WILHELM PREYER

516

ANDREW MORTON

1802-1845

Still life with the Imperial State Crown and chivalric orders Oil on canvas

76.3 x 63.5cm; 30 x 25in

Provenance:

£2,000-3,000

517

CONTINENTAL SCHOOL

19th Century

Still life with flowers in an urn and fruit on a ledge with a landscape beyond Oil on canvas

63 x 69.8cm; 24¾ x 27½in

£400-600

Alfred Pope (1842-1934); By descent to Evelyn Bartelot (née Pope); And by family descent

517

516

518

OLIVER CLARE

1853-1927

Still life with plums, grapes, peaches and strawberries on a ledge; Still life with damsons, grapes, yellow plums, peaches and strawberries on a ledge

Two, both signed OLIVER CLARE (lower right)

Both oil on board

24.3 x 34.6cm; 9½ x 13½in; 23.1 x 29.4cm; 9 x 11½in (2)

£300-500

519

OLIVER CLARE

1853-1927

Still life with grapes, apples, gooseberries and a raspberry on a mossy bank; Still life with greengages, raspberries, peach and a plum on a mossy bank

A pair, both signed OLIVER CLARE (lower right)

Both oil on board

Each 15.9 x 20.7cm; 6¼ x 8¼in (2)

£200-300

520

OLIVER CLARE

1853-1927

Still life with plums, grapes, greengages and strawberries on a forest floor; Still life with damsons, plums and a peach on a forest floor

Two, both signed OLIVER CLARE (lower right)

The former oil on board, the latter oil on canvas

19 x 24.2cm; 7½ x 9½in; 25.6 x 20.5cm; 10 x 8in

Together with Vincent Clare (1855-1925); Still life with grapes on a forest floor; Signed Vincent Clare (lower right); Oil on canvas; 22.8 x 17.8cm; 9 x 7in (3)

£300-500

521

HENRY CHAPLIN

act.1855-1879

Still life with fruit on the forest floor; Still life with flowers on the forest floor

A pair, the former signed Henry Chaplin (lower left), the latter signed Henry Chaplin (lower right)

Both oil on board

Each 28.3 x 23.5cm; 11¼ x 9¼in, framed as ovals (2)

£200-400

521

522

ALBERT DURER LUCAS

1828-1919

Butterflies in the heather

Signed and dated A D Lucas 1879 (lower left)

Oil on canvas

25.7 x 20.2cm; 10 x 8in

£200-300

523

ALBERT DURER LUCAS

1828-1918

Heather, wild flowers and butterflies in a landscape

Signed D Lucas (lower left)

Oil on board

23.9 x 18.8cm; 9½ x 7½in

£150-250

524

CIRCLE OF OLIVER CLARE

Still life with flowers and a bird’s nest

Oil on board

29.2 x 21.8cm; 11½ x 8½in

£300-500

522

524

523

525

ITALIAN SCHOOL

Early 20th Century

Portrait of a Renaissance prince holding a maquette of a sculpture

Oil on canvas

58 x 42.5cm; 22¾ x 16¾in

£100-150

526

MANNER OF WILLIAM-ADOLPHE BOUGUEREAU

Allegory of peace

Oil on canvas

61 x 47.4cm; 24 x 18¾in

£100-150

527

ITALIAN SCHOOL

19th Century

An Italian beauty

Signed and dated Corelli/1877 (lower right)

Oil on canvas

40.7 x 30.4cm; 16 x 12in

£150-250

528

CENTRAL EUROPEAN SCHOOL

19th Century

A peasant smoking a pipe

Oil on canvas

74.3 x 60.7cm; 29¼ x 24in

Unframed

£200-300

529

JULIUS ROLSHOVEN American 1858-1930

Portrait of Charles Lyttelton, 8th Viscount Cobham (1842-1922), half-length

Oil on canvas

91.1 x 71.1cm; 35¾ x 28in

Provenance: The Hon George Lyttelton (1883-1962);

And by family descent

£300-500

526

525

527

A

INDEX OF ARTISTS

Carmontelle, Louis Carrogis 353

Adam, Robert 97

Albani, Francesco, After 250

Aldin, Cecil 63, 64

American School 19th Century

346, 357, 359

Antoniani, Pietro, Follower of 314

Armfield, George 456

Aubryet, Maurice 493

Augustin, Jean-Baptiste Jacques, Circle of 41 Austrian School 19th Century 407

B

Baillet, Ernest 511

Barber, Thomas Stanley 398

Barker of Bath, Thomas

Barry, John, Manner of 13

Basire,

Bassano

Baxter, William Giles

Beechey,

Chaplin, Henry 521 Chase, Frank M. 129

Chasselat, Charles Abraham 189

Clare, Oliver 518-520

Clare, Oliver, Circle of 524

Clouet, François, Manner of 257

Codina y Langlin, Victoriano 430

Collins, Samuel, Attributed to 8 Collins, Thomas 515

Company School 166-168

Constable, John 86

Continental School 18th Century 205, 354

Continental School 19th Century 30, 70, 159, 161, 194, 195, 356, 403, 406, 507, 517, 528

Cooke, Edward William 212

Cosway, Richard 24, 25

Couldery, Horatio Henry 454, 455

Cox Sen., David 87, 88

Cradock, Marmaduke 294

Dutch School 18th Century 206, 273, 278, 292

Dutch School 19th Century 327, 459, 461

E

Earl, George 422

Earlom, Richard 57

East, Alfred 509

Egginton, Wycliffe 118

Elcock, George A. 482

Elmore, Alfred 214

Engleheart, George 26

English School 17th Century 297

English School 18th Century

2, 3, 7, 14, 16, 17, 18, 27, 80, 116, 198, 199, 204, 230, 239, 286, 300, 301 320, 322, 336

English School 19th Century

6, 28, 35, 42, 43, 52, 137, 138, 146, 148, 162, 164, 199, 217, 218, 230, 334, 338, 340, 343, 344, 347, 360, 361, 363, 367, 371, 373, 374, 376, 377, 409, 410, 411, 416, 417, 441, 447, 450, 472, 475, 489, 494, 499

English School 20th Century 230, 476, 512

Goupy, Joseph 183, 202

Graeme, Colin 445

Gray, Duncan 98

Greaves, William 505

Grebestein, Ferdinand Karl 492

Griffier I, Jan, Follower of 276

Grimshaw, Arthur E. 468

Griset, Ernest 243, 244

Gros, Antoine-Jean, After 348

Grün, Maurice 457 Guercino 67

H Hall, Pierre Adolphe 38

Hals, Dirck, Circle of 263

Halswelle, Keeley 440

Hankey, William Lee 491

Hardy, Heywood 423

Hardy, Thomas Bush 122

Haynes-Williams, John 483

Hayter, John 201

Haytley, Edward, Circle of

Bibiena

Blake, Benjamin

Blake, William

Bleker, Gerrit Claesz, Attributed to 268

Boilly, Louis-Léopold, Follower of 351

Bond, William Joseph C. 412

Boni, Bianca 37

Bonington, Richard Parkes, Circle of 215

Boucher, François, After 309

Bouguereau, William-Adolphe, Manner of 526

Bouvard, Antoine 467

Brabazon Brabazon, Hercules 154, 155

Breydel, Karel, Circle of 272

Brooking, Charles 315

Buck, Adam 34

Buck, Frederick, Circle of 4, 5

Burch, Edward 9

Burney, Edward Francis, Attributed to 83

Bury, Adrian 232

Butler, Mildred Anne 133

C

Campi, Guilio, Attributed to 66

Canaletto, Circle of 173

Crosse, Richard, Circle of 15

Cruikshank,

F Faber the Younger, John 53

Fildes, Samuel Luke, Circle of 501

Finch, Heneage 99

Fisher, Edward 54

Floyd, Gilbert 439

Francia, Francois-Thomas-Louis 223

Fraser, Alexander 484

Freebairn, Robert 317

French School 18th Century

74-76, 311

French School 19th Century

36, 81, 308, 349, 350, 352

Fripp, George Arthur 117

Fronti, Michel 158

G

Gainsborough, Thomas, After 331

Dodgson,

Haydock 150

Dommersen, William Raymond 466

Downman, John 327

Draper, Herbert James 502

Drouin, Jean Pierre 40

Dubufe, Claude-Marie-Paul 405

Duffield, Mary Elizabeth 142

Dun, Nicolas-François 32

Dupré, Julien 486

Dürer, Albrecht 45, 46

Durham, Cornelius Bevis 31

Dutch School 17th Century 258, 259

Gainsborough, Thomas, Circle of 330

Gallaway, Alexander 29

Galliari, Giuseppe 180

Gandolfi, Gaetano, Attributed to 69

Gardner, Daniel 114

Giorgi, Giuseppe 176

Glindoni, Henry Gillard 432

Glover, John, Circle of 211

Godfrey, Richard Bernard 222

Goltzius, Hendrick, After 47

Gool, Jan van 277

K

Kauffman, Angela, Circle of 329

Kauffman, Angelica, After 306

Kaufmann, Karl 429

Kerseboom, Johann, Circle of 299

King, Henry John Yeend 496

Kip, Jan 220

Knapton, George, Attributed to 216

Kneller, Godfrey 298

Knyff, Jacob 296

INDEX OF ARTISTS

Schoefft, Josef August 355

Scorza, Sinibaldo, Circle of 72

Scottish School 19th Century 341, 365

Seaforth, Charles Henry, Attributed to 473

Sharp, W. 366

Shayer, William 368, 369

Sigriste, Guido 428

Smythe, Edward Robert 448

Somerscales, Thomas Jacques 474

Soolmaker, Jan Frans 270

South German School

18th Century 178

Spanish School 17th Century 170

Spencer, William Ball 364

Spenlove-Spenlove, Frank 414

Stadler, Joseph Constantine 224

Van Mierevelt, Michiel Jansz., Manner of 260

Van Reymerswaele, Marinus, Follower of 254

Van Rijn, Rembrandt Harmensz., After 264

Van Schendel, Petrus 460

Vanderbank, John 200

Vandyke Copley Fielding, Anthony, After 229

Varley, Cornelius

Lancret, Nicolas, After 307

Landseer, Edwin Henry 421

Lawrence, Thomas, After 111 Le Cave, Peter 187

Lear, Edward 128, 184

Leaver, Noel Harry 151

Lee, Frederick Richard 383, 384

Lethbridge, Walter Stephens 23

Levachez, Charles François Gabriel

Lewis, John Frederick, Circle of 208

Linnig the Elder, Willem 477

Lloyd, Walter Stuart 126, 127

Longe, William Verner

Monamy, Peter, Circle of 295

Monnoyer, Antoine, Circle of 289

S

Sandby, Paul 106

Sandby, Paul, Circle of 209, 213

Sanders, J. C. 420

Sassoferrato, Manner of 251

Schafer, Henry Thomas 462, 463

Schinkel, Karl Friedrich 196

Stannard, Eloise Harriet 434, 435

Stannard, Emily 436, 437

Stannard, Henry John Sylvester 131, 132

Stephenson, Willie 130

Stewart, James Lawson 149

Storck, Jacobus 281

Strachan, Arthur Claude 135

Stranover, Tobias, Circle of 290

T

Tayler, Charles Foot 19-21

Tayler, E. 33

Teniers II, David, and Lucas van Uden, Circle of 275

Teniers II, David, Manner of 262

Tennant, John Frederick 381

Thirtle, John 102

Thomson, John Knighton 495

Thornhill, James, Attributed to 177

Thornley, William 415

Tillemans, Peter 78

Towne, Charles 396

Turner, Joseph Mallord William 85, 186

Uhlman, Fred 235

Uwins, Thomas 104

Van Bemmel, Jacob Gerritsz. 293

Van Cleve, Joos, Circle of 255

Van de Cappelle, Jan, Circle of 279

Van der Poel, Egbert Lievensz. 267

Van Dyck, Anthony, After 282, 283, 285

Van Dyck, Anthony, Manner of 284

Van Haecken, Alexander 203

Van Heemskerck I, Egbert 269

Van Leemputten, Cornelius 452

MODERN BRITISH & 20TH CENTURY ART

WEDNESDAY 13TH DECEMBER

Craigie Aitchison CBE, RSA, RA (Scottish 1926-2009) Red Berries, Montecastelli

Signed, inscribed and dated “Red Berries”/ Montecastelli 2000/Craigie Aitchison (to reverse) Oil on board 17.8 x 12.8cm

Provenance:

Advanced Graphics London, where purchased by the present private collector, 2015 Exhibited: New York, Galeria Ramis Barquet, in association with Timothy Taylor Gallery, London and Waddington Galleries, London, Craigie Aitchison, April-May 2000, no.27 Estimate £10,000 - 15,000*

ENQUIRIES

Victor Fauvelle | +44 (0)1722 446961 | vf@woolleyandwallis.co.uk

*Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

A large and impressive pair of Minton Majolica jardinières Formerly from the estate of Lillian Forte Estimate £12,000 - 15,000*

ARTS

OF AFRICA, OCEANIA

Mali

76cm high

ENQUIRIES

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

*Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

ENQUIRIES

Michael Jeffery | +44 (0)1722 424505

mj@woolleyandwallis.co.uk

*Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

DESIGN

WEDNESDAY 18TH OCTOBER

Age of Jazz

A rare Clarice Cliff table centrepiece

Estimate £3,000 - 4,000*

AUCTION INFORMATION

OPENING HOURS

Castle Street Salerooms

Monday to Friday 9.00am – 5.00pm

Castle Gate Offices

Monday to Friday 9.00am – 5.00pm

VIEWING

All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US

All first time buyers need to register with us. 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 +44 (0)1722 424500 or emailing enquiries@woolleyandwallis.co.uk

You will be asked to show your documents, or email copies.

PLEASE NOTE: Registering with thesaleroom.com or through our website does not automatically register you with us.

BIDDING AT AUCTION

See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

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.

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.

LIVE ONLINE BIDDING

Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens.

BUYER’S PREMIUM

The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24% inclusive) thereafter.

CONDITION REPORTS

The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true.

SALE RESULTS

These will be posted on our website shortly after the sale.

PACKING AND SHIPPING

Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

Alban Shipping +44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk

Kimdan Ltd +44 (0)7973 389436 andy@kimdan.co.uk

Mailboxes +44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send +44 (0)1635 887237 newbury@packsend.co.uk

www.packsend.co.uk/newbury

ZIXIS Fine Art Limited +44 (0)7873 981026 zixisfineart@163.com www.zixisfineart.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.

EXPORTING YOUR PROPERTY FROM THE UK

If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand-carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

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.

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 €10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to:

Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB.

Account no. 00957707

Sort code 30-97-41

IBAN no. GB20LOYD30974100957707

BIC code LOYDGB21063

Debit and Credit cards: Visa, Mastercard, Amex or Union Pay

Where practical, payment can be made and purchases collected during the auction.

We reserve the right to add storage charges to all lots 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.

LOT SYMBOLS VAT

Lots marked with a dagger (†) 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.defra.gov.uk/ahvla-en/imports-exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Lots marked with a Φ symbol are potentially subject to a levy. 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.

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 €10,000.

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.

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 €10,000

FIREARMS

Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/ purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but are not allowed to take physical possession of it. The auctioneers will reoffer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

ROYAL INSTITUTION OF CHARTERED SUREYORS 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 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) inclusive thereafter.

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 symbol (Ω) 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.

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 five 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 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) inclusive thereafter.

5. VALUE ADDED TAX

Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. 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) Immediately a lot is sold you will:

(i) give to us, if requested, proof of identity, and

(ii) pay to us the total amount due in pounds sterling

(b) 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.

(c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

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 NON-PAYMENT OR FAILURE TO COLLECT PURCHASES

(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.

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

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

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.

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.

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS

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.

Glossary

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.

(a) 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.

(b) 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.

(c) 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.

(d) 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.

(e) 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.

(f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date.

(g) After Edward Lear: In our opinion a copy of a known work of the artist.

(h) 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.

(i) 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.

(j) Dimensions are given height before width.

(k) Pictures are framed unless otherwise stated.

BOOKS AUCTIONS

If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

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.

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 €10,000.

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 €10,000

Lots marked with a Φ symbol are potentially subject to the levy.

WHAT THIS PRIVACY NOTICE DOES

PRIVACY NOTICE FOR CUSTOMERS

This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you. This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.

DATA CONTROLLER AND CONTACT DETAILS

Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and the General Data Protection Regulation (GDPR).

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details:

• By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU.

• By email – privacyofficer@woolleyandwallis.co.uk

• By telephone – +44 (0)1722 424599

HOW WE COLLECT YOUR PERSONAL DATA

We collect your personal data from the following sources:

• From you when you:

- interact with us before entering into a contract with us, for example when you express your interest in our Services;

- instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions;

- communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account;

- in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

• From third parties such as:

- other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you;

- thesaleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on thesaleroom.com) of individuals who register for one of our auctions (please see thesaleroom. com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (thesaleroom.com’s payment provider);

- sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided);

- shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT

We may collect the following personal data about you:

• your name and contact details including address, telephone and email address;

• your image, as captured by CCTV, if you attend our premises;

• personal identification documents, including copies of government-issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details);

• account details and other information relating to your transactions/dealings with us and your use of our Services;

• payment details such as credit card and bank account details;

• credit and payment history (where you open an account with us as a buyer or bidder);

• information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and

• other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA

WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU

We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following:

• to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services);

• once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.

LEGITIMATE INTERESTS

We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following:

• to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance;

• to deal with any concerns or feedback you may have in the performance of the Services;

• for our internal business record keeping and processes;

• to seek advice on our rights and obligations, including obtaining legal advice;

• to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes;

• to customise our website and marketing communications in line with your particular interests or preferences;

• to collect money owed to us or our consignors;

• to carry out background and credit checks in relation to bidders and buyers.

In this respect we will provide your data to the following:

• our professional advisors;

• the-saleroom.com;

• debt collection agencies;

• third parties who assist us with our marketing;

• our website and email management software provider.

LEGAL OBLIGATIONS

We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following:

• to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks;

• in order to assist with investigations (including criminal investigations) carried out by competent authorities;

In this respect we will provide your data to the following:

• external auditors;

• the police and other competent authorities, including HMRC;

CONSENT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above. Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

SPECIAL CATEGORIES OF PERSONAL DATA

We process special categories of personal data for the following reasons:

• if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention);

• if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers);

We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

INTERNATIONAL TRANSFERS OF DATA

We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.

We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.

PROFILING

We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

HOW LONG YOUR INFORMATION IS KEPT

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

In particular:

• in relation to CCTV images taken when you attend our premises, we will retain these for a few months;

• in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services;

• we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive;

• in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS

Under the DPA you have the following rights:

• to obtain access to, and copies of, the personal data that we hold about you;

• to require that we cease processing your personal data if the processing is causing you damage or distress;

• to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect;

• to require us to erase your personal data;

• to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal);

• to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller;

• to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.

If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk

Woolley & Wallis Salisbury Salerooms Ltd.

51-61 Castle Street, Salisbury, Wiltshire SP1 3SU

Registered in England No.02998482

VAT No: 631 9832 29

VALUATIONS

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.

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.

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

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.

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

Contact Amanda Lawrence +44 (0)1722 424509 | valuations@woolleyandwallis.co.uk

FREE AUCTION VALUATIONS

Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleyandwallis.co.uk or call +44 (0)1722 424500.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)

ABSENTEE BID FORM

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS

TUESDAY 5TH & WEDNESDAY 6TH SEPTEMBER 2023

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 Business printed in the catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed.

BUYER’S PREMIUM

Each lot is subject to a buyer’s premium of 26% plus VAT at 20%

Billing Name (please print)

Address

Postcode

Daytime Telephone

Email

ID may be required even if you have bid with us before.

Signature

AUCTION CALENDAR

SEPTEMBER

5th & 6th Old Masters, British & European Paintings

19th British and Continental Ceramics & Glass

20th & 21st Arts of Africa, Oceania and the Americas

OCTOBER

4th & 5th Furniture Works of Art & Clocks

13th-29th Horatio’s Garden Charity Timed Auction

18th Design

24th The Jewellery Collection of the late Jean Louis Chameroy

25th & 26th Fine Jewellery

31st Silver & Objects of Vertu (Day One)

NOVEMBER

1st Silver & Objects of Vertu (Day Two)

14th-16th Asian Art, Chinese Paintings & Japanese Works of Art

28th Medals & Coins, Arms & Armour

29th British Art Pottery

DECEMBER

13th Modern British & 20th Century Art

Dates may be subject to change

+44 (0)1722 424500

enquiries@woolleyandwallis.co.uk

51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk

*Price includes buyer’s premium

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR UPCOMING AUCTIONS

Ernest Koerner (German 1846-1927) The Temple of Horus at Edfu, Egypt (detail) SOLD FOR £50,000*