Woolley & Wallis Auctioneers

Page 1

OLD

BRITISH & EUROPEAN PAINTINGS

MASTERS,

WEDNESDAY 8TH MARCH 2023

SPECIALIST DEPARTMENTS

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

PAINTINGS Victor Fauvelle 446961 Ed Beer 446962 Sarah Bennie 446970 20TH CENTURY DESIGN Michael Jeffery 424505 Zoe Smith 446955 AFRICAN & OCEANIC ART | ANTIQUITIES Will Hobbs 339752 Molly O’Reilly 446980 ASIAN ART John Axford MRICS ASFAV 424506 Alexandra Aguilar 424583 Freya Yuan-Richards 424589 Jeremy Morgan +44 (0)7812 601098 Michelle Yu 424571 Sophie Moore 424591 Nelson Chui 424591 CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards 424589 Michelle Yu 424571 ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham 424507 Hollie Morrison 446964 FURNITURE, WORKS OF ART & CLOCKS Mark Yuan-Richards 411854 Neil Grenyer MRICS 446972 Jim Gale 339161 Sarah Stone 446974 Victoria Elwell 339161 JAPANESE WORKS OF ART Alexandra Aguilar 424583 Michelle Yu 424571 JEWELLERY Marielle Whiting FGA 424595 Jonathan Edwards FGAA (Consultant) 424504 Samuel Hug FGA DGA 424586 Megan Corbett MEDALS & COINS, ARMS & ARMOUR Ned Cowell 341469 Molly O’Reilly 446980 SILVER Rupert Slingsby 424501 Lucy Chalmers 424594 VALUATIONS FOR INSURANCE & PROBATE Jeremy Lamond MRICS ASFAV FRSA 424502 Neil Grenyer MRICS 446972 Amanda Lawrence 424509 Archie Swann (Trainee valuer) Hannah Farthing (Trainee valuer) GENERAL OFFICE Ruth Pike (Office Manager) 424500 Nicola Young Serena Tandy-Cockram Gemma Pointer CASTLE GATE RECEPTION Sally Litherland MARKETING Chloe Davie 446959 Lucinda Phillips ACCOUNTS Sharon Ringwood 424565 Anna Gentleman BOARD OF DIRECTORS John Axford MRICS ASFAV Chairman Natalie Milsted FCCA Managing Director ASSOCIATE DIRECTORS Alexandra Aguilar Clare Durham Victor Fauvelle
Hobbs Michael Jeffery Jeremy Lamond MRICS ASFAV FRSA Rupert Slingsby
Whiting FGA Freya Yuan-Richards Mark Yuan-Richards ILLUSTRATIONS Front Cover: Lot 325 (detail) Back Cover: Lot 268 (detail) Catalogue £12.00 (£15.00 by post)
Will
Marielle

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS

WEDNESDAY 8TH MARCH 2023

10.30AM

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 4th March 10.00am – 1.00pm

Monday 6th March 10.00am – 4.00pm

Tuesday 7th March 10.00am – 4.00pm

Wednesday 8th March By appointment

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 4th March

Monday 6th March

10.00am – 1.00pm

10.00am – 4.00pm

Tuesday 7th March 10.00am – 4.00pm

Wednesday 8th March By appointment

THE AUCTION ON 8TH MARCH WILL TAKE PLACE AT OUR CITY CENTRE SALEROOM

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 Tuesday 7th March.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

‡ 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.

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Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU
Lot 236 CONTENTS Portrait Miniatures 1-23 Prints & Frames 24-39 Drawings & Watercolours 40-162 Property from a Private Collection, Wiltshire 163-210 Oil Paintings 211-342 5

1

ENGLISH SCHOOL

c.1600

Portrait miniature of a gentleman wearing a lace collar and gilt embroidered black doublet

On copper, oval, in a white metal frame with scroll surmount

53 x 45mm

Provenance:

The collection of the late John Taylor

£500-700

PORTRAIT MINIATURES

2

DUTCH SCHOOL

17th Century

Portrait miniature of a gentleman wearing a brown coat and grey cloak

On vellum, oval, in a gilt-painted wooden frame 57 x 49mm

£200-300

4

CIRCLE OF SUSANNAH-PENELOPE

ROSSE

Portrait miniature of a lady wearing a blue dress

On vellum, oval in a gilt metal frame, the reverse with engraved crest 34 x 28mm

Provenance:

The collection of the late John Taylor

£300-500

7

CONTINENTAL SCHOOL

c.1700

Portrait miniature of a gentleman wearing a blue coat with silver buttons, black waistcoat and a long wig

On copper, oval, in an ebonised wooden frame 100 x 80mm

Provenance:

The collection of the late John Taylor

£500-700

3

MANNER OF CORNELIUS JOHNSON

Portrait miniature of a lady wearing a green dress and pearl necklace and headdress

On copper, oval, in a gilt metal frame 66 x 52mm

Provenance: The collection of the late John Taylor

£150-250

5

ENGLISH SCHOOL

17th Century

Portrait miniature of a lady wearing a blue dress and pearl necklace and earrings

On copper, in a gilt metal frame 55 x 43mm

Provenance: Christie’s, London, Miniatures and Objects of Vertu, 6 May 1975, lot 29; The collection of the late John Taylor

£400-600

8

ENGLISH SCHOOL

c.1700

Portrait miniature of a gentleman, traditionally identified as John Greene, wearing a brown coat with blue collar

On copper, oval, in a gilt metal frame with scroll surmount

71 x 56mm

Provenance: The collection of the late John Taylor

£400-600

6 FRENCH SCHOOL

c.1680

Portrait miniature of a nobleman wearing a brown coat over armoured breastplate and a long wig

On copper, oval, in a gilt metal frame with scroll surmount 65 x 49mm

Provenance: Richard Temple from whom purchased by John Taylor; The collection of the late John Taylor

£500-700

9 λ

ENGLISH SCHOOL

c.1780

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

Oval, in a gilt metal frame, the glazed reverse revealing a stipple engraving of a lady, within a tooled black leather case

38 x 31mm

Provenance: The collection of the late John Taylor

Ivory Act registration number: BKY3HKTX

£200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
6
Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 5 9 8 7 6 4 3 2 1 7

10 λ

DAVID GIBSON

Scottish act.1788-1797

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

Oval, in a gilt metal frame with blue glass reverse, within a red leather case

54 x 47mm

Provenance:

The collection of the late John Taylor

Ivory Act registration number: 1VVHYQAD

£300-500

11 λ

NATHANIEL HONE RA

Irish 1718-1784

Portrait miniature of a gentleman wearing a blue coat and brown waistcoat

Signed with initials NH (centre right)

Oval, in a gilt metal frame, the reverse with engraved crest 44 x 34mm

Provenance: The collection of the late John Taylor

Ivory Act registration number: ND3CP8AD

£500-700

12 λ

FRANÇOIS FERRIÈRE

Swiss 1752-1839

Portrait miniature of a gentleman wearing a black coat, white stock and powdered wig

Oval, in a gilt metal frame, the glazed reverse with a lock of hair over a mother-of-pearl reverse 64 x 50mm

Ivory Act registration number: UP6FRYWT

£300-500

13 λ

ENGLISH SCHOOL

18th Century

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

Oval, in a gilt metal frame, the glazed reverse with a lock of hair over a mother-of-pearl back 55 x 44mm

Ivory Act registration number: QFKAMMTW

£120-180

14 λ

CIRCLE OF THOMAS REDMOND

Portrait miniature of a young man wearing a blue coat and white waistcoat

Oval, in a gilt metal frame 38 x 32mm

Provenance: The collection of the late John Taylor Ivory Act registration number GVSZ37D1

£250-350

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
11 13 10 12 14 8

CIRCLE OF WILLIAM EGLEY

Portrait miniature of a lady wearing a black dress and lace shawl; Portrait miniature of a young lady wearing a black dress and with ringlets in her hair

A pair, both oval, framed together within a brown leather case

Each 83 x 67mm (2)

Ivory Act registration number: JU4WCMLV

£150-250

16 λ

ENGLISH SCHOOL

Early 19th Century

Portrait miniature of a gentleman wearing a black coat and a red and green waistcoat

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

81 x 64mm

Together with Manner of Richard Cosway; Portrait miniature of a lady wearing a blue and white dress and oriental headdress; Oval, in a gilt metal frame; 76 x 63mm; English School 19th Century; Portrait miniature of a lady wearing a pink hat; Enamel on porcelain, oval in a gilt metal frame with pierced scroll decoration; 36 x 29mm; and English School Late 19th Century; Portrait miniature of a lady in a maroon dress and pearl headdress; Over a photographic base, oval, in a gilt metal frame; 53 x 43mm (4)

£100-150

17 λ

ENGLISH SCHOOL

Mid 18th Century

Portrait miniature of a young child wearing a blue dress and holding a hunk of bread

Oval, in a gilt metal frame, the glazed reverse revealing locks of hair, within a red leather case

61 x 51cm

Provenance:

The collection of the late John Taylor Ivory Act registration number: TH1URGEF

£300-500 18

FRENCH SCHOOL

c.1800

Portrait miniature of a lady wearing a blue dress and broad brimmed hat decorated with flowers

On card, oval, in a gilt metal frame, the glazed reverse revealing a playing card

55 x 46mm

Provenance:

Sotheby’s, London, English and Continental Portrait Miniatures, 10 June 1974, lot 94; The collection of the late John Taylor

£300-500

19 λ

HANNAH MYERS act.1893-1913

Portrait miniature of a young girl, traditionally identified as a member of the Gore Booth family, wearing a white dress and brooch

Signed with initials and dated HM/1913 (centre right)

Circular, in a gilt metal frame, within a red leather case 45mm diameter

Provenance: The collection of the late John Taylor Ivory Act registration number: R81D768Z

£100-150

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161
lot are available on www.woolleyandwallis.co.uk
• Framed images of each
15 λ
15 18 9
17 19 16

JOHN SMART

1741-1811

Portrait miniature of Captain Marriott, with powdered hair

Pencil and watercolour heightened with white, oval, in a rectangular ebonised wooden frame 59 x 48mm

Provenance:

The sitter’s sister, Caroline Marriott, July 1828 (according to inscription to reverse);

The collection of the late John Taylor

A preliminary sketch for the miniature now in the Yale Centre of British Art, Connecticut (no.B1974.2.95).

£800-1,200

21 λ ATTRIBUTED TO SIR THOMAS LAWRENCE PRA, FRS

1769-1830

Portrait miniature of Anne, Lady Ellenborough (1769-1843), wearing a white dress

Rectangular, in a gilt metal repoussé frame 114 x 87mm

Sir Thomas Lawrence painted a portrait of Lady Ellenborough in c.1811, but was dissatisfied with it and failed to complete it (see K. Garlick, Sir Thomas Lawrence - A Complete Catalogue of Oil Paintings, 1989, p.183, no.270b). Lady Ellenborough wrote several letters to Lawrence in 1811 regarding the unfinished portrait, saying she ‘had rather have the present picture reduced to the smallest size, than relinquish the idea of having it completely finished before she leaves town’ (see George Somes Layard (ed.), Sir Thomas Lawrence’s Letter-Bag, 1906, pp.74-83).

Portrait miniatures by Lawrence are extremely rare, with only a few known to exist in private collections.

Ivory Act registration number F87E4HXC

£800-1,200

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices 20
20 21 10

ANDREW ROBERTSON

1777-1845

Portrait miniature of Sir David Wilkie RA (1785-1841), seated in an interior, holding an artist’s palette and wearing a tam o’ shanter

Rectangular, in a gilt-painted wooden frame

165 x 128cm

Exhibited:

Probably London, Royal Academy, 1810, no.650

Ivory Act registration number: GAHXKVW4

£1,500-2,500

23 λ

ANDREW PLIMER

1763-1837

Portrait miniature of a lady wearing a white dress and a bandeau in her powdered hair

Oval, in a gilt metal frame, the reverse with a glazed aperture revealing a lock of hair and a blue glass border over guilloché

68 x 55mm

Provenance: The collection of the late John Taylor

Ivory Act registration number: FCMXNLZS

£700-1,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 22 λ
23 22 11

24

JAMES PEAKE

1792-c.1782

AND JAMES MASON

1743-c.1805

AFTER CLAUDE GELLÉE, CALLED CLAUDE LORRAIN

French 1600-1682

Morning; A View on the River Po in Italy

Two, both engraving and etching 42.6 x 57.4cm; 16¾ x 22½in; 41 x 58cm; 16¼ x 22¾in (2)

£200-300

25

AN ALBUM OF OLD MASTER AND 19TH CENTURY PRINTS

Thirty-seven, including examples by or after Anthonie Waterloo, Herman van Swanevelt, Jan Both, Stefano della Bella, Cornelis Bega, Phillippe Mercier, Nicolaes Berchem, John Arthur Poulter, Battista Franco, Guercino, Karel Dujardin, Thomas Rowlandson, Willem van de Velde the Younge, Nicolas Chaperon, William Hogarth, William Beechey, Georgiana Keate, Rembrandt, and Adriaen Brouwer

Largest 31.6 x 27.2cm; 12½ x 10¾in; Smallest 9.9 x 7.3cm; 4 x 2¾in (sheet) (37)

Provenance:

Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 14 September 2022, lot 1063

£500-700

26

MARTIN SCHONGAUER

German c.1445-1491

Saint Stephen (Lehrs 66)

Engraving 16.4 x 11.6cm; 6½ x 4½in (sheet)

£400-600

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
PRINTS & FRAMES 24 25 26 12

WILLIAM HOGARTH

1697-1764

Noon; Night

A pair, both engraving with hand-colouring

Each 49.1 x 41.2cm;

19¼ x 16¼in (plate) (2)

Provenance: Christie’s, London, Spanish SplendourThe Collection of a Marqués, 5 November 2009, lot 135

£100-200

THOMAS COOK

1744-1818

AFTER WILLIAM HOGARTH 1697-1764

Marriage a-la Mode

Six, the complete set, each engraving with hand-colouring

Each 38.6 x 47.1cm; 15¼ x 18½in (plate) (6)

Provenance: Christie’s, London, Spanish Splendour - The Collection of a Marqués, 5 November 2009, lot 134

£200-300

AFTER WILLIAM HOGARTH

Industry and Idleness

Twelve, each engraving, the complete set printed for Carington Bowles, London Each approx. 24.5 x 32.5cm; 9¾ x 12¾in (sheet)

Unframed (12)

£200-300

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 29
27
28
29 28 27 13

30 FRENCH SCHOOL

1722

Seven plates from volume II of Bernard de Montfaucon’s (1655-1741)

‘L’antiquité expliquée et représentée en figures…’, comprising Isis (pl.111); Osiris (pl.118); Isis Osiris et Orus (pl.120); Apis et Aelurus ou le Dieu Chat (pl.126); Divinites Egyptiennes (pl.127); Canopes (pl.134); Dieux de la Haute Egypte (pl.142)

Each etching

Each approx. 33 x 18.8cm; 13 x 7½in (plate) (7)

£300-500

30A

THOMAS HERBERT MAGUIRE

1821-1895

Portrait of John Gould (1804-1881); Portrait of Sir William Jardine (1800-1874); Portrait of Edwin Sidney (1798-1872); Portrait of John Lee (1783-1866); Portrait of James Scott Bowerbank (1797-1877); Portrait of William Thompson (1805-1852); Portrait of Prideaux John Selby (1788-1867); Portrait of Thomas Bell (1792-1880); Portrait of Robert Patterson (1802-1872)

Nine, each lithograph, octagonal, with facsimile signature of the sitter to backing card, from ‘Portraits of the Honorary Members of the Ipswich Museum’ series

Largest 29.6 x 24cm; 11¾ x 9½in; Smallest 28.8 x 24.1cm;

11¼ x 9½in (image)

Unframed (9)

£150-250

31 WILLIAM LIONEL WYLLIE RA

1851-1931

HMS President with St. Paul's Cathedral beyond

Signed W L Wyllie (in pencil to margin)

Etching

30.9 x 22.1cm; 12¼ x 8¾in (plate)

Provenance:

Royal Exchange Art Gallery, London

£200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
30 14
30A 31

32

LOUIS HAGHE

Belgian 1806-1855

AFTER DAVID ROBERTS RA

1796-1864

The Siege and Destruction of Jerusalem by the Romans Under the Command of Titus, A.D. 70 Coloured lithograph

69 x 106.8cm; 27¼ x 42in (image)

£1,000-1,500

33

WILLIAM HOLMAN HUNT OM

1827-1910

The Desolation of Egypt (Hartnoll 15)

Etching

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
33 32 15
3.7 x 10.4cm; 1½ x 4in (image) £100-150

34

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)

£800-1,200

35

JAMES WARD

1769-1859

Nonpareil

Lithograph with later hand colouring

37.1 x 47.1cm; 14½ x 18½in (sheet)

Unframed

£100-150

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
34 35 16

HERBERT JAMES DRAPER

1864-1920

Design for the ceiling of the Livery Hall at Drapers’ Hall

Signed and inscribed Painted ceiling the Livery Hall/of the Drapers’ Company/75ft by 36ft/(centre panel 30 x 20)/ Painted by/Herbert Draper (in pencil to the mount)

Gravure print

72.4 x 33.7cm; 28½ x 13¼in

Provenance:

Property of the artist; And by family descent

Literature:

Simon Toll, Herbert Draper 1863-1920: A Life Study (Antique Collector’s Club, 2003), p.136, plate 93 £100-200

37 ‡ CHARLES JOHNSON PAYNE (SNAFFLES)

1884-1967

Once Upon A Time

Signed and inscribed To Eric Wallace/from/ Snaffles (in pencil to margin) and with Snaffle bits blindstamp

Coloured print

34.5 x 48.8cm; 13½ x 19¼in (image)

Provenance:

Given by the artist to the previous private collector; And by family descent

38 ‡

CHARLES JOHNSON PAYNE (SNAFFLES)

1884-1967

Blimy! Wot a Life: West of Gib and North Across The Bay

Signed and inscribed To Ian W/from Snaffles (in pencil to margin)

Coloured print

32.6 x 50.6cm; 12¾ x 20in (image)

Provenance: Given by the artist to the present private collector

£150-250 39

£150-250

A pair of French 19th century gilded composition frames

58 x 67.5cm; 22¾ x 26½in (external); 44.5 x 54cm; 17½ x 21¼in (sight); 47.4 x 56.8cm; 18¾ x 22¼in (rebate) (2)

Provenance: Bonhams, Knightsbridge, Fine Frames, 24 October 2001, lot 132

£300-500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 36
39 38 37 36 17

40 NORTHERN EUROPEAN SCHOOL

17th Century

Moses parting the red sea

Pen and ink, and wash

22.9 x 16.8cm; 9 x 6½in

Provenance: Sotheby’s, Olympia, 20 April 2004, lot 44

£200-300

41 CIRCLE OF FILIPPO BELLINI

Study of three male saints

Pen and brown ink and wash, with an unidentified collector’s mark (upper left) 26.3 x 18.6cm; 10¼ x 7¼in

Provenance: Sotheby’s, Olympia, 20 April 2004, lot 44

£200-300

42 FOLLOWER OF NICOLAS POUSSIN

Apollo and Daphne

Black and white chalk with wash, with two collectors’ marks (one unidentified, lower left)

28.6 x 26cm; 11¼ x 10¼in

Provenance: Joseph van Aken (c.1699-1749) (L.2516); Sotheby’s, Olympia, 20 April 2004, lot 44

£200-300

43 ATTRIBUTED TO JOSEPH DENIS ODEVAERE

Belgian 1775-1830

Pietà

Pen and ink

12.2 x 9.7cm; 4¾ x 3¾in £100-150

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
DRAWINGS & WATERCOLOURS 43 42 41 40 18

44

ITALIAN SCHOOL

c.1700

St John the Baptist

Red chalk

25.4 x 18.4cm; 10 x 7¼in

Provenance: Peter Cardiff Fine Art, London

£400-600

45

CIRCLE OF ANDREA SACCHI

Study of a man seen from behind, with arm raised Bears an inscription A Sacchi (lower right)

Red chalk

13.4 x 12.8cm; 5¼ x 5in

Provenance: Parsons & Sons, London (L.2881); Sotheby’s, Olympia, 20 April 2004, lot 44 (as Attributed to Andrea Sacchi)

£200-300

46

CIRCLE OF THE ZUCCARI FAMILY

Study of a group of warriors

Black chalk, brown ink and brown wash heightened with white 10.7 x 8.9cm; 4¼ x 3½in

£200-300

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
46 45 44 19

47

ATTRIBUTED TO HENDRICK DE CLERCK

Flemish c.1570-1630

The Flight into Egypt

Pen and brown ink with wash

17.3 x 17.7cm; 6¾ x 7in

£300-500

48

FOLLOWER OF ANTHONIE PALAMEDESZ

A merry company in an interior

Pen and black ink with wash

25 x 35.6cm; 9¾ x 14in

£200-300

49

CIRCLE OF FRANS SNYDERS

Two figures in a larder with fish, a swan, cabbage and sheep’s head

Oil on paper, en brunaille

16.1 x 27.4cm; 6½ x 10¾in

£200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
49 48 47 20

50

FOLLOWER OF GUIDO RENI

Study of the head of a young man

Bears a signature and date Guido Reni 1620 (lower left)

Red and black chalk

37.4 x 26.4cm; 14¾ x 10½in

Provenance: George Guy, 4th Earl of Warwick (1818-1893) (L.2600); Possibly his posthumous sale, Christie, Manson & Woods, London, 20-21 May 1896, possibly part of lot 318; Dr Peter Mangold; And by descent

£300-500

51

ABRAHAM JANSZ. BEGEYN

Dutch 1637-1697

Landscape with a path through an avenue of trees

Signed A.Bega (lower left)

Black and white chalk and wash on blue paper

26.7 x 36.9cm; 10½ x 14½in

£200-400

52

CIRCLE OF JAN WILDENS

Landscape with trees by a pond

Pen and brown ink with brown and blue wash

24.7 x 38.2cm; 9¾ x 15in

Provenance:

An unidentified collectors mark (lower left, not in Lugt); Possibly Lord Warwick (according to inscription to mount)

£300-500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
52 51 50 21

53 JOHN LAPORTE

1769-1831

Deer in Knole Park, Sevenoaks, Kent, home of Mary, Countess of Plymouth (1792-1864)

Inscribed by a later hand A View taken in Knole Park the seat of/His Grace The Duke of Dorset/ (by Barrett) (to backing board)

Gouache

32.4 x 47.2cm; 12¾ x 18½in

Exhibited:

London, Royal Academy, 1829, no.443

£400-600

54 CHARLES GORE

1729-1807

A view of Arundel Castle, Sussex

Signed, inscribed and dated Arundel Castle taken from the platform or/Bowling Green by Charles Gore Esq 1781 (lower right), and further bears an inscription Arundel Castle Sussex/1781 (upper right)

Pencil and watercolour

19.4 x 49cm; 7¾ x 19¼in

Unframed

Provenance:

Iolo Williams (1890-1962); And by descent to the previous owner; By whom sold, Sotheby’s, London, Eighteenth and Nineteenth Century British Drawings and Watercolours, 13 July 1989, lot 5

£150-250

55 PETER LE CAVE

act.1790-1810

Landscape with figures conversing and animals resting by a river

Signed La Cave (lower centre to rock)

Watercolour

16.6 x 23.7cm; 6½ x 9¼in

£100-150

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
55 54 53 22

CORNELIUS VARLEY

1781-1873

Mountain landscape with figures and cattle by a lake

Signed and indistinctly dated Cornelius/*** (lower right)

Watercolour and bodycolour

50.5 x 64.8cm; 19¾ x 25½in

£1,500-2,500

57 JOHN VARLEY OWS

1778-1842

Cattle watering in a mountainous landscape, probably Snowdonia

Signed J Varley (lower right)

Watercolour

13.6 x 20.8cm; 5¼ x 8¼in

£200-300

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 56
57 56 23

58

58

DANIEL GARDNER

1750-1805

Portrait of a lady, wearing a pink dress, white fur-lined cloak and white headdress

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
Pastel and gouache, oval 22.8 x 18.7cm; 9 x 7¼in
£800-1,200 24

59

JOHN DOWNMAN ARA

Welsh 1750-1824

Group portrait of the three daughters of the 7th Earl of Cavan, Lady Honora Elizabeth Hester Lambart (1784-1856), Lady Sophia Augusta Lambart (1787-1798), Lady Alicia Margaretta Hockmore Lambart (1785-1818), and their dog

Signed J Downman (centre right, to chair) Coloured chalks, pencil and stump, oval 46 x 37.5cm; 18 x 14¾in

Provenance:

By descent in the family of the sitters; De Muizon, Chantilly, 1 October 2001, lot 21; With Judy and Brian Harden Portrait Miniatures

Exhibited:

London, Philip Mould & Company, Downman In Vogue, 2020

In this ambitious and large work Downman depicts the three daughters of General Richard Lambart, 7th Earl of Cavan (1763-1837) and his first wife Honora Margaretta Lambart, née Gould (d. 1813). The sitters are from left: Lady Honora Elizabeth Hester Lambart (1784-1856), Lady Sophia Augusta Lambart (1787-1798) and Lady Alicia Margaretta Hockmore Lambart (1785-1818). The portrait dates from 1788. They also had four sons. Honora married firstly Captain Noodgate of the Royal Navy and secondly Captain Harvey. Alicia married Philip Paunceforte-Duncombe (1784-1849) in 1813 at Fawley, Hampshire and they had three children. He was High Sheriff of Buckinghamshire.

Preliminary sketches for the eldest two children are recorded in the Maitland collection (see G.C. Williamson; John Downman, his life and works, 1907, ill. p.36).

£1,200-1,800

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
25
59

60

WILLIAM HOARE OF BATH RA

c.1707-1792

Study of a boy reading; Study of a man asleep in an armchair; Study of a boy seated by a window

Three, one red chalk, two black chalk

Largest 14.1 x 9.4cm; 5½ x 3¾in; Smallest 13.8 x 9.1cm; 5½ x 3½in

Unframed (3)

Provenance: Sir Henry Duff Gordon (1866-1953)

£200-300

61 FRENCH SCHOOL

Early 19th Century

Study of a Franciscan; Study of a Carthusian; Study of a Benedictine; Study of a Cistercian; Study of an Abbé

Five, each pen and ink, and watercolour

Largest 15.1 x 9cm; 6 x 3½in; Smallest 13.7 x 7.5cm; 5½ x 3in

Unframed (5)

£200-300

62

NOËL-DIEUDONNÉ FINART

1797-1852

Napoleon and his generals on the battlefield

Signed and dated N Finart 1846 (lower right)

Pencil and watercolour heightened with white

16.8 x 21.9cm; 6½ x 8½in

£120-180

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
62 61 60 26

SIR ROBERT KER PORTER

Scottish 1777-1842

An album containing 41 sketches of French and Russian figures Comprising A Peasant near Châtillon; A Maid Servant at Châtillon; A French Curate; A Grenadier of Moravia; A Bourgeois of Châtillon; A Salute from a National Sentinel; A Garde Nationale, Châtillon-sur-Seine; A Russian Tradesman; An Artelchick; A Russian Coachman; A Russian Peasant in his Winter Dress; A Russian Butcher Crying his Meat; A Coachman Going to the Neva for Water; A Russian Tradesman’s Wife in her Winter Dress; A Russian Nurse; A Single Horse Sledge; A Traveller and Kibitka; A Zbitenschick; A Grey Police Soldier; A Russian Waiter; An Archbishop in his Robes; A Priest in his Summer Dress; A Russian Monk; A Boodishnick; A Russian Grenadier; An Officer of the Horse Guards; A Russian Peasant in his Summer Dress; Descending an Ice Hill; A Quasnick; A Cossack; Ice Cutters on the Neva; A Russian Peasant in her Summer Dress; A Finnish Peasant; A Green Police Soldier; A Russian Tradesman’s Wife in her Winter Dress; A Postillon; A Soldier of the Imperial Guard; A Merchant’s Wife of Moscow; A Merchant of Moscow; A Soldier of the Imperial Guard; A Russian Peasant Playing upon the Balalaika

Each signed with initials RKP, numbered and inscribed with title, and some dated Watercolour, and pen and black ink, 1814-1816, bound in green gilt-tooled leather

20.1 x 26.2cm; 8 x 10¼in

Provenance:

From the collection of Sir Raymond Smith KBE (1917-2002) and Lady Smith (1918-1996) £2,000-3,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
63
63 27

64 M. MARTINO

19th Century

The Northern Colossus of Memnon

Signed M.MARTINO (lower right)

Watercolour

17.4 x 30.3cm;

6¾ x 12in

£150-250

65 A. AMATO

Italian 19th Century

View of a parade stage on the Suez Canal, possibly after The Egyptian Expedition of 1882

Signed and dated A. Amato/1882 (lower right)

Watercolour

25.5 x 36.5cm; 10 x 14¼in

Provenance:

The collection of Luigi Manzotti; Christie’s, London, British and Continental Watercolours and Drawings, 23 June 1999, lot 188 (as ‘The Opening of the Suez Canal’)

£200-300

66

FOLLOWER OF DAVID ROBERTS

The Osride Pillars and the Fallen Colossus of Memnon, Thebes

Inscribed Egypt (lower right)

Pencil and watercolour

33.2 x 48.6cm;

13 x 19¼in

£200-300

67

FREDERICK ARTHUR BRIDGMAN

American 1847-1928

The Sanctuary of the Temple of Ramesses II at Abu Simbel (recto); View of the Nile (verso)

Inscribed Abu simbel Nubia (recto, lower left) and with Bridgman studio stamp (recto, lower right) Graphite (recto); pencil and watercolour (verso)

18.9 x 12.7cm; 7½ x 5in

£250-400

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
67 65 64 66 28

CLARKSON STANFIELD RA

1793-1867

The First Born of Egypt

Smitten

Signed C Stanfield RA (lower right) and inscribed The first born of Egypt smitten/Exodus C. 12th v 29th (lower centre)

Pencil, pen and brown ink, and brown and grey wash heightened with white 34.1 x 44cm; 13½ x 17¼in

Provenance: Christie’s, South Kensington, Victorian and British Impressionist Pictures, 17 March 2010, lot 129

£400-600

69

FRENCH

SCHOOL

19th Century

View of the Armenian Monastery of St. Macar near Tbilisi, Georgia

Inscribed Vue du Monastere de St Macar à 100 verstes de Tiflis construit par Macar Roi D’Armene en 1043 (along lower margin)

Pencil and watercolour heightened with gum arabic within black framing lines 24.5 x 34.1cm; 9¾ x 13½in

According to the inscription, the monastery depicted was constructed in 1043 by the King of Armenia.

£150-250

70

JOHN FULLEYLOVE

1845-1908

View of the Church of the Nativity, Bethlehem

Signed and inscribed Bethlehem/J Fulleylove (lower left)

Pencil and watercolour 24 x 29.9cm; 9½ x 11¾in

£100-200

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
68
70 69 68 29

ROBERT HILLS

1769-1844

Study of two stags; Studies of resting cattle, sheep and a dog; Study of cattle watering; Study of a bull; Study of two cows and a calf

71

ISAAC

ROBERT CRUIKSHANK

1789-1856

A stag hunt, with hounds chasing their quarry into a river; Coursing, with greyhounds chasing a hare

A pair, the former signed Robert Cruikshank (lower right), the latter signed Robert Cruikshank (lower left) Both pencil and watercolour 15.9 x 27.9cm; 6¼ x 11in; 16.8 x 29.1cm; 6½ x 11½in (2)

Provenance: Both Abbott & Holder, London

Exhibited: London, Abbott & Holder, The List, January 1989, nos.41 & 42 £300-400

72

SAMUEL

1756-1822

HOWITT

Coursing a hare

Pen and black ink, and watercolour

22.7 x 30.5cm; 9 x 12in

Provenance: Simon Morrison; Penelope Dewhurst Thomas; Leger Galleries, London

£200-300

Five, each numbered 566, 560, 564, 561, 565 respectively (lower right) Each pen and ink with grey wash

Largest 8.9 x 25.6cm; 3½ x 10in; Smallest 9.3 x 11.9cm; 3¾ x 4¾in Unframed (5)

£200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
73
73 72 71 30

74

SCOTTISH SCHOOL

c.1800

View of Ballindalloch Castle, Scotland, with fishermen and laundresses in the foreground

Inscribed Ballindalig (lower right)

Pencil and watercolour within black framing lines

31.5 x 50.9cm; 12½ x 20in

Unframed

£150-250

76

SCOTTISH SCHOOL

19th Century

River landscape with a figure on the far bank

Watercolour and black chalk, heightened with gum arabic

40.9 x 57.3cm; 16 x 22½in

Provenance:

Putnam Museum of History and Natural Science, Iowa; By whom sold, Christie’s, New York, 13-14 December 2007, lot 194

£100-150

75

JOHN HARDWICKE LEWIS

1840-1927

View of Maidstone, Kent, with figures unloading timber and All Saints Church beyond Signed J Hardwicke Lewis (lower right)

Watercolour heightened with bodycolour

29.2 x 49.4cm; 11½ x 19½in

£400-600

77

WILLIAM BURGESS

1749-1812

Spalding Church from the South-West, Lincolnshire

Signed, dated and inscribed Sketch’d on the Spot by Wm & H Burgess. Oct 4th 1797 Drawn by W Burgess Dec 21st 97 Finished (along lower border) and further inscribed Spalding Church/SW (to verso)

Pen and grey ink, and wash

21.4 x 32.5cm; 8½ x 12¾in

Unframed

Literature:

William Burgess, Twelve views of churches in Lincolnshire and Cambridgeshire; drawn and engraved by W. and H. Burgess (Fleet, Lincs, 1800-05) (engraved)

£200-300

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
77 76 75 74 31

78

THOMAS SUNDERLAND

1744-1823

View of Falmouth Harbour

Pencil, pen and ink, and wash

18.1 x 28.9cm; 7 x 11¼in

Provenance: Thos. Agnew & Sons, London

£100-150

79

WILLIAM ANDERSON

1757-1837

Shipping in calm coastal waters

Signed and dated W Anderson/1797 (lower right)

Pencil and watercolour

16.4 x 23.9cm; 6½ x 9½in

Provenance: Hon. Mrs R. Dawson; The Fine Art Society, London

£400-600

80

THOMAS LEESON ROWBOTHAM

1782-1853

Hilhouse’s new dock, later the Albion Dockyard, Bristol, with Clifton and Brandon Hill in the distance

Signed and dated ROWBOTHAM/1829 (lower right) and with initials TR (lower left)

Pencil and brown wash

12.3 x 17.1cm; 4¾ x 6¾in

There is another earlier version of the present watercolour, with slight differences, dated 1826, formerly in George Braikenridge’s collection and now in Bristol Art Gallery. Braikenridge’s catalogue entry carefully details the subject depicted here as ‘the large Ship outside the Dock Gates taking in her Mizzen Mast is the Middleton of London –on the right the Vessel on the Stocks is [in] Tippett’s Yard.’ In the distance is the rotunda at Goldney House, the tower of St Andrew’s parish church, Clifton and Brandon Hill with Queen’s Parade beneath.

£250-350

81

ROBERT WINCHESTER FRASER

1848-1906

Figures on the shore of the Bristol Channel

Signed R W Fraser (lower right)

Watercolour heightened with white

20.3 x 38cm; 8 x 15in

£50-100

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
81 80 79 78 32

82

JOHN VARLEY OWS

1778-1842

Study of ships in a harbour; Study of figures near a river; Study of a landscape with a castle in the distance; Study of a traveller outside a cottage; Study of a cottage

Five, each signed J. Varley (to backing paper)

Each pencil, pen and ink, and wash

Largest 6.7 x 13.7cm; 2¾ x 5½in;

Smallest 4.9 x 6.7cm; 2 x 2¾in (5)

£100-150

83

EDWARD DUNCAN RWS

1803-1882

Study of a covered boat; Study of a covered boat and anchor; Study of a covered boat with bow visible

Three, one signed with initials and dated ED/ sep 22/77 (lower left) and each with the artist’s studio stamp (lower right)

Each pencil

Largest 8.5 x 14cm; 3¼ x 5½in;

Smallest 8.6 x 11.3cm; 3½ x 4½in

Unframed (3)

£100-150

84

EDWARD DUNCAN RWS

1803-1882

Study of an anchor; Entrance to Plymouth; Farm workers, Guernsey; Hop picking

Four, three signed E Duncan, one dated 1851, one inscribed Hop picking, one inscribed ****Guernsey, and all with artist’s studio stap

Three pencil, one pencil and watercolour

Largest 15.8 x 24.5cm; 6¼ x 9¾in;

Smallest 11.8 x 17cm; 4¾ x 6¾in

Unframed (4)

£200-300

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
84 83 82 33

85

WILLIAM ARNEE FRANK

1808-1897

Coastal landscape with figures on the shore, with St Michael’s Mount and a rainbow in the distance; Fishing boats in choppy coastal waters

Two, the former signed W A FRANK (lower left), the latter signed W A FRANK (lower right) Both watercolour, the former heightened with gum arabic

Each 32 x 50cm; 12½ x 19¾in (2)

£200-300

86

S. HOWARD

19th Century

‘The Rambo’ an American ship off the coast

Signed and inscribed The Rambo S.Howard (lower right)

Gouache

19.6 x 29.1cm; 7¾ x 11½in

Provenance:

Crane Kalman Gallery, London, where purchased by Mrs T. Stone, February 2010

£250-450

88

87

GEORGE STANFIELD WALTERS

1838-1924

On the Medway near Gillingham

Signed G.S.Walters (lower left)

Pencil and watercolour

31 x 47.8cm; 12¼ x 18¾in

£150-250

CAPTAIN JOHN DURRANT

act.1790-1830

Sailors pulling a two-master to shore; A beached ship by a pier; View of Phoenix Park, Dublin; View of St Mary’s, Clommel, Tipperary; Fishing boat at Dover; Shipping off the coast

Six, five pen and ink, and watercolour; one pencil and watercolour

Largest 17.5 x 22.5cm; 7 x 8¾in; Smallest 11 x 17.4cm; 4¼ x 6¾in

Unframed (6)

Provenance:

Thomas Lloyd (b.1826) of Cowesby Hall, Northallerton, Yorkshire; And by descent until 1990

£200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
88 87 86 85 34

89

CHARLES TAYLOR JNR

act.1841-1883

A fishing boat, paddle steamer and other shipping in choppy waters

Pencil and watercolour

37 x 57cm; 14½ x 22½in

Provenance:

Possibly David James, London

£300-500

90

CHARLES TAYLOR JNR

act.1841-1883

A merchant ship in high seas

Pencil and watercolour heightened with bodycolour

42.9 x 75.5cm; 16¾ x 29¾in

Provenance:

Possibly David James, London

£300-500

91

CHARLES TAYLOR JNR

act.1841-1883

Running up channel

Pencil and watercolour

37.5 x 57.5cm; 14¾ x 22¾in

Provenance: David James, London

£300-500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
91 90 89
35

92

THOMAS CHARLES LEESON ROWBOTHAM NWS

1823-1875

View of the Bay of Naples, with figures conversing in the foreground and Capri in the distance; View of the harbour at Salerno, with fishermen mending their nets in the foreground

A pair, the former signed and dated T L Rowbotham/1874 (lower left); the latter signed and dated T L Rowbotham/1874 (lower right)

Both watercolour heightened with bodycolour

Each 18.7 x 45.4cm; 7¼ x 17¾in (2)

£200-300

93 ENGLISH SCHOOL

Early 19th Century

View of a Mediterranean harbour, with a mountainous landscape beyond Pencil and watercolour

22.1 x 33.7cm; 8¾ x 13¼in

£100-150

94 EMILIO BOGGIO

Venezuelan 1857-1920

View of a town square, San Gimignano

With studio stamp (lower left)

Gouache

17.5 x 29cm; 6¾ x 11½in

£200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
94 93 92 36

CARLO LABRUZZI

Italian 1748-1810

View of Lake Nemi looking towards Rome

Pencil and watercolour 36 x 52.6cm; 14¼ x 20¾in

Provenance: Dickinson, London; Christie’s, London, Old Master and British Works on Paper, 5 July 2022, lot 31

£500-800

96

FRANZ HEINRICH

German 1802-1890

Sala dell’Iliade in the Pitti Palace

Signed indistinctly F Hein** (lower left)

Pencil and watercolour heightened with gum arabic

43.5 x 60.8cm; 17¼ x 24in

£400-600

97

EMANUEL STÖCKLER

Austrian 1819-1893

The King’s Bedchamber, The Palace of Versailles

Signed E Stockler (lower right)

Watercolour heightened with gum arabic 45 x 59cm; 17¾ x 23¼in

Provenance:

Sotheby’s, London, 19th Century European Paintings, Drawings and Watercolours, 11 June 1997, lot 75

£400-600

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
95
97 96 95 37

JOHN

HENRY MOLE

1814-1886

A highland fisherman’s home

Signed and dated J H Mole 1851 (lower right)

Pencil and watercolour heightened with white, roundel 22.1cm; 8¾in diameter

£200-300

99

JOHN HENRY MOLE

1814-1886

Mussel Gatherers

Signed and dated JHMole/1860 (lower left)

Pencil and watercolour heightened with bodycolour and scratching out 23.9 x 46.3cm; 9½ x 18¼in

Provenance: Lascelles Hall, Huddersfield; W. Barker & Co, Alexandra Gallery, Harrogate

£300-400

101

ENGLISH SCHOOL

19th Century

Mountain landscape with cattle grazing and a train passing a staithe, with the sea beyond Watercolour

31.3 x 46.7cm; 12½ x 18½in

Provenance: In the present owners family since c.1940

Loading staithes, such as the one depicted here, fell out of use c.1880. It has been suggested that the present work may depict a site between Workington and Whitehaven.

£200-300

100

JOHN

SKINNER PROUT

1805-1876

View of Clovelly, Devon

Signed J S PROUT (lower right)

Watercolour heightened with white 33.3 x 47cm; 13 x 18½in

£200-300

102

CHARLES FREDERICK ALLBON

1856-1926

A shepherd and his flock returning home

Signed with monogram (lower left)

Watercolour

15.7 x 34.4cm; 6¼ x 13½in

£100-150

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices 98
98
102 100 101 99 38

HENRY MOORE RA, RWS

1831-1895

Study of a chalkpit

Signed and dated Oct 17 1884/H Moore (lower left)

Pencil and watercolour

25.9 x 44.8cm; 10¼ x 17¾in

Provenance:

Sotheby’s London, The British Sale, 22 March 2005, lot 134;

Guy Peppiatt Fine Art, London

This is possibly a view looking north from Ditchling Beacon near Lewes on the Sussex Downs.

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

RICHARD PRINCIPAL LEITCH

c.1827-1882

Continental river landscape with a village on the bank

Watercolour heightened with bodycolour

23.6 x 33.7cm; 9¼ x 13¼in

Provenance: Peter Cardiff Fine Art, London

£300-500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 103
£400-600 105 104 103
104
105
39

107

106

HENRY MEYNELL RHEAM

1859-1920

The letter writer

Signed HENRY M RHEAM (upper left)

Watercolour heightened with white 53 x 46.6cm; 20¾ x 18¼in

£500-700

107

ERSKINE NICOL RSA, ARA

Scottish 1825-1904

The Politician

Indistinctly signed and dated 1859 (lower left), and inscribed The Politician (to verso)

Pencil and watercolour heightened with white 19.8 x 18.3cm; 7¾ x 7¼in

Provenance: Michael Bryan, London

£300-400

108

WILLIAM JAMES MÜLLER

1812-1845

Still life with a Jacobean chair, chest and oval portrait

Signed with initials and dated WM/1832 (lower left)

Pencil and watercolour heightened with white 23.1 x 18.3cm; 9 x 7¼in

£200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
108 106
40

109

DAVID COX JNR

1809-1885

Fête champêtre

Watercolour and bodycolour

heightened with gum arabic

15.5 x 11.5cm; 6 x 4½in

£200-300

110

DAVID COX JNR

1809-1885

Cattle by the River Lledr at Dolwyddelan, North Wales

Pencil and watercolour

30 x 21.7cm; 11¾ x 8½in

Unframed

This is a similar viewpoint to a watercolour by David Cox Senior in Birmingham Museums and Art Gallery (no.1908P31) which was drawn in August 1846.

£200-300

111

WILLIAM EDWARD FROST RA

1810-1877

Female nude bathing in a river

Signed W E Frost (lower right)

Pencil, watercolour and bodycolour

12.5 x 7.6cm; 5 x 3in

£100-150

112

WILLIAM EDWARD FROST RA

1810-1877

Eve

Pen and ink, and watercolour

16.9 x 10.4cm; 6¾ x 4in

£100-150

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
111 112 110 109 41

42

113

113

THOMAS NOEL SMITH

1840-1900

Mother and child on a path near the Lizard, Cornwall; Figures outside a cottage, Runswick, Yorkshire

A pair, the former signed Noëlsmith (lower centre) the latter signed Noëlsmith (lower right)

Both watercolour heightened with white Each 16 x 26.1cm; 6¼ x 10¼in (2)

Provenance:

Bonhams, London, 21 September 1999, lot 595; Private Collection, London £200-300

116 114

115

HENRY JOHN SYLVESTER STANNARD RBA, FRSA

1870-1951

The duck pond

Signed Sylvester Stannard (lower left)

Pencil and watercolour heightened with white 37 x 48.5cm; 14½ x 19in

£200-300

114

RALPH WILLIAM BARDILL

1876-1935

Figures and Geese before thatched cottages, Inner Hope, Devon

Signed Ralph W Bardill (lower right)

Watercolour 44 x 59.3cm; 17¼ x 23¼in

Provenance:

Christie’s, South Kensington, British and Continental Watercolours and Drawings, 6 April 2000, lot 20; Private Collection, London £150-250

116

WILLIAM COLLINGWOOD SMITH RWS

1815-1887

View of Hastings Old Town from All Saints Church

Watercolour with scratching out 28.4 x 39.8cm; 11¼ x 15¾in

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
£150-250 115

117

117

ALFRED GOMERSAL VICKERS

1810-1837

Figures in a landscape, possibly in the grounds of Magdalen College, Oxford Watercolour heightened with gum arabic and scratching out

13.7 x 18cm; 5½ x 7in

Provenance: Albany Gallery, London

£150-250

118

HENRY BRIGHT

1810-1873

A Wine Shop near Calais

118

Signed HBright (lower right) and inscribed Wineshop/near Callais[sic] (lower left) Black chalk and stump

23.6 x 34cm; 9¼ x 13¼in

Provenance: Agnew’s, London

£400-600

119

120

119

JAMES STARK

1794-1859

Thatched cottage with a field beyond

Pencil and watercolour

23.1 x 33.5cm; 9 x 13¼in £80-120

120

JAMES STARK 1794-1859

Fuller’s Hole, St Martin at Oak, Norwich; The Old Workhouse, Steyning, West Sussex

Two, the latter inscribed and dated Old Union Steyning July 57 (lower left) and inscribed chaume (to the thatched roof)

Both pencil and watercolour

25 x 35.5cm; 9¾ x 14in; 26.2 x 36.2cm; 10¼ x 14¼in

Unframed (2)

£150-250

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
43

121 WILLIAM HOLMAN HUNT OM

1827-1910

A donkey, a study for The Triumph of the Innocents

Black, red and white chalk 54 x 76cm; 21¼ x 30in Provenance:

Sir John Middlemore, 1st Bt. (1844-1924); And by family descent

The present work is a study for the Tate’s The Triumph of the Innocents (no.N03334), which was donated by Sir John Middlemore, the original owner of this study. £800-1,200

122 THOMAS COOPER GOTCH

1854-1931

A young child and a dragon

Black and white chalk on paper laid on canvas 100 x 126cm; 39¼ x 49½in £600-1,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
122 121 44

123

GEORGE LAWRENCE BULLEID ARWS

1858-1933

In the Theatre

Signed and dated G.LAWRENCE.BVLLEID.MCMIII (lower right) Pencil and watercolour

x 26.6cm; 14 x 10½in £1,000-1,500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
123 45
35.4

124

EDWIN JOHN ALEXANDER

1870-1926

Still life of white crocuses in a pewter bowl

Signed with initials EA (lower left)

Watercolour, heightened with white bodycolour and red chalk

31.6 x 16.7cm; 12½ x 6½in

Provenance:

Christie’s, London, British and Continental Watercolours and Drawings, 3 February 2000, lot 160;

Sotheby’s, Gleneagles, Fine Scottish and Sporting Pictures and Sculpture, 30 August 2000, lot 1153; Private Collection, London

£400-600

125

ENGLISH SCHOOL

19th Century

Study of roses

Pastel

40.2 x 30.6cm; 15¾ x 12in

£100-150

126

MARTHE DE BATZ

19th Century

Study of peonies and other flowers

Signed Marthe De Batz (lower centre)

Pencil and watercolour heightened with gum arabic

38.4 x 30.3cm; 15 x 12in

Provenance:

Christie’s, London, Old Master Drawings, 21 April 1998, lot 329

£300-500

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
126 125 124 46

WILLIAM B. HOUGH

1819-1897

Still life with an apple, grapes and rose hips on a mossy bank; Still life with apples and grapes on a mossy bank; Still life with cherry blossoms and a bird’s nest on a mossy bank

Three, each signed

W. Hough (lower left)

Each watercolour

heightened with bodycolour

Largest 15 x 18.5cm; 6 x 7¼in (framed as an oval); Smallest 14 x 18.1cm; 5½ x 7¼in

Together with after William Henry Hunt; Still life with apples, grapes and strawberries on a mossy bank; Chromolithograph heightened with gum arabic; 18.2 x 28.8cm; 7¼ x 11¼in (4)

£300-500

128

THOMAS HOLLAND

1795-1865

A posy of flowers with old roses; A posy of flowers with a yellow rose; A posy of flowers with a daisy; A posy of flowers with winter pansies

Four, each signed THolland

Each pencil and watercolour, heightened with bodycolour, mounted as oval

Each 14.4 x 19.5cm; 5¾ x 7¾in (image)

Unframed (4)

£200-300

129

DU DANEMARK MARIE, PRINCESS MARIE OF ORLÉANS, LATER PRINCESS OF DENMARK

French 1865-1909

Study of wild mushrooms

Signed Marie (lower right)

Pencil and watercolour

45.2 x 71.1cm; 17¾ x 28in

Provenance: Jane, Lady Abdy, from whom purchased by the present owner

£400-600

130

DU DANEMARK MARIE, PRINCESS MARIE OF ORLÉANS, LATER PRINCESS OF DENMARK

French 1865-1909

Study of wild mushrooms

Pencil and watercolour

24.6 x 33.6cm; 9¾ x 13¼in

£150-250

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 127
130 129 128 127 47

132

LOUIS VAN STAATEN

Dutch 1836-1909

View of a Dutch town on the Scheldt, Netherlands

Signed Lvan Staaten (lower right)

Watercolour and bodycolour

39.6 x 59.6cm; 15¾ x 23½in

£150-250

133

GIULIO VIOTTI

Italian 1845-1877

Two musicians in a town square

Signed Viotti (lower right)

Pencil and watercolour

55.4 x 41.1cm; 21¾ x 16¼in

£200-400

131

EMILE HOETERICKX

Belgian 1858-1923

Market day in Bruges

Signed and inscribed

Emile Hoeterickx Bruges (lower right)

Watercolour heightened with white

26.4 x 36.8cm; 10½ x 14½in

£600-800

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
133 132 131 48

134

MARCIANO

BAPTISTA

ANTONIO

Portuguese 1826-1896

The town of Victoria, Hong Kong; A street scene in Hong Kong

A pair, both watercolour 42.3 x 63cm; 16¾ x 24¾in; 42.3 x 63.5cm; 16¾ x 25in (2)

Provenance:

Bonhams, London, Exploration, Travel & Topographical Pictures, 9 May 2006, lot 41

£800-1,200

136

M. T. HLA

Burmese 1874-1946

135

LIEUTENANT CHARLES SIDNEY

WILLIAMS RMA

19th Century

Grove near Shektsin, China

Signed with initials CW (lower right) and inscribed and dated Grove nr Shektsin/ Nov.23rd 59 (lower left) and further inscribed Rice Fields/Canton (to verso)

Pencil and watercolour

24.6 x 34.8cm; 9¾ x 13¾in

Provenance:

Martyn Gregory, London

Exhibited: London, Martyn Gregory, Trade Winds to China, May 1987, no.132

£150-250

135

The Kandawgyi Lake, with the Shwedagon Pagoda beyond; Fishing boats on the Irrawaddy River

Two, the former signed M.T.Hla (lower left), the latter signed M T Hla (lower right) Both watercolour 18.5 x 24.7cm; 7¼ x 9¾in; 17.5 x 23.9cm; 7 x 9½in Unframed (2)

£300-500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
136
134 49

137

HENRIËTTE RONNER-KNIP

Dutch 1821-1909

Two kittens playing with a pocket watch on a watch stand

Signed and dated Henriette Ronner/1901 (upper right)

Watercolour heightened with white 24.9 x 36.6cm; 9¾ x 14½in

£400-600

138

JOHN BEER

1860-1930

Balsarroch wins the Cesarewitch

Signed and inscribed Rambling Katie/ Balsarroch/wins the Cesarewitch Black Sand/ John Beer

Watercolour and bodycolour

22.8 x 33.4cm; 9 x 13¼in

£100-200

139

EDWARD ROBERT SMYTHE

1810-1899

Study of three donkeys

Signed E R Smythe (lower right)

Pencil

31.6 x 41.6cm; 12½ x 16¼in

£200-300

140

JOSEPH MILNER KITE

c.1864-1946

A family seated by a beach hut; Figures seated under a parasol

Two, the former signed J Milner Kite (lower left) Both pencil

15.5 x 19cm; 6 x 7½in; 14 x 11.1cm; 5½ x 4¼in (2)

Provenance:

Property from an Irish country house

£120-180

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
139 140 138 137 50

141

NEWTON SMITH LIMBIRD FIELDING

1799-1856

Roe Deer near Loch Rannoch, Scotland

Signed Newton Fielding (lower left) and signed, dated and inscribed Roe Deer nr Loch Rannoch/N. Fielding 1846 (to verso)

Pencil and watercolour heightened with bodycolour and gum arabic

34.9 x 49.9cm; 13¾ x 19¾in

Unframed

£400-600

142 ‡ K. C. BROWN

act.1937-1962

Ghillie & Kelpie, two Scottish Terriers

Signed K. C. Brown/1940 (lower left) and inscribed

Ghillie & Kelpie (lower centre)

Black ink, watercolour and bodycolour

56.9 x 44.7cm; 22½ x 17½in

Unframed

£200-300

143

J. LAURENCE HART

c.1830-1907

Sunset over a Welsh Landscape; Landscape near Leamington Hastings with figures by a pond

Two, the former signed and dated J.LAURENCE HART 87 (lower left), the latter signed and dated J.LAURENCE HART 75 (lower left)

Both watercolour

10.8 x 17cm; 4¼ x 6¾in; 11.8 x 18.9cm; 4¾ x 7½in (2)

£100-200

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 •
of each lot are available on www.woolleyandwallis.co.uk
Framed images
51
143 142 141

144

EDWARD

1803-1882

DUNCAN RWS

Cattle watering near Temple Lock on the Thames

Signed and indistinctly dated E Duncan/187* (lower left)

Pencil, pen and ink, and wash heightened with white

15.2 x 33.2cm; 6 x 13in

Provenance:

Leggatt Brothers, London

£150-250

145

WILLIAM WEST

1801-1861

Welsh landscape from Betws-y-Coed Inscribed From/Bettws.y.coed (lower left)

Pencil and watercolour

31.2 x 52.7cm; 12¼ x 20¾in

Provenance: Heather Newman, Gloucestershire

£80-120

146

JAMES

THOMAS LINNELL

1820-1905

Trees by a sandy path

Pastel

26.1 x 34.5cm; 10¼ x 13½in

Provenance: D. Colman Dunn, the artist’s granddaughter; Heather Newman, Gloucestershire

Exhibited: Salt Lake City, Salt Lake Art Centre, October 1964, no.43; London, Maas Gallery (according to label)

£150-250

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
146 145 144 52

147

GEORGE PRICE BOYCE

1826-1897

The Orchard at Mapledurham House

Signed and dated G.P.Boyce 1860 (lower right), and inscribed Orchard & Church

Mapledurham/G.P.Boyce in May 1860/Sunset about 7 pm (to verso)

Watercolour heightened with gum arabic 19 x 27.7cm; 7½ x 11in

Provenance:

Purchased from the artist by William Debenham, 1861; Purchased by John Mercer from an antique shop by 1987; And by family descent

Literature:

Virginia Surtees (ed.), The Diaries of George Price Boyce (1980), p.33; Christopher Newall and Judy Egerton, George Price Boyce (exh. cat., Tate Gallery, 1987), p.52, no.29 (illustrated)

Exhibited:

London, Tate Gallery, George Price Boyce, August 987, no.29

Mapledurham church can be seen through the trees.

£1,000-1,500

147

148

HERCULES BRABAZON BRABAZON 1821-1906

AFTER WILLIAM JAMES MÜLLER 1812-1845

Apothecaries’ Garden and Lecture Hall, Chelsea

Pencil and watercolour 28.2 x 45.9cm; 11 x 18in

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
Provenance: Albany Gallery, London; Private Collection; And by family descent £800-1,200 148 53

149 ‡

BEATRICE EMMA PARSONS

1870-1955

The Dovecote at The Pleasaunce, Overstrand, Norfolk

Signed Beatrice Parsons (lower right)

Watercolour heightened with bodycolour

30.2 x 24.9cm; 12 x 9¾in

£200-300

150

DAVID WOODLOCK

1842-1929

Gossip

Signed and inscribed “GOSSIP”/D.Woodlock” (lower centre)

Watercolour and bodycolour

51.1 x 41.5cm; 20 x 16¼in

Provenance:

Bonhams, London, British and Continental Watercolours and Drawings, 14 June 2000, lot 104; Private Collection, London

£250-450

151

JOSEPH KIRKPATRICK

1872-1936

Two girls and a calf in a hayfield

Signed JOSEPH KIRKPATRICK (lower left)

Watercolour 31.1 x 22.3cm; 12¼ x 8¾in

£150-250

152

152

JOSEPH KIRKPATRICK

1872-1938

Landscape with girls picking flowers and sheep grazing beyond; Harvesting bulrushes

Two, the former signed and dated JKIRKPATRICK-1901- (lower right), the latter signed and dated JKIRKPATRICK-1901- (lower right)

Both watercolour heightened with white

16.5 x 24.1cm; 6½ x 9½in; 23.7 x 16.7cm; 9¼ x 6½in (2)

Provenance:

The Swan Gallery, Sherborne

£200-400

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
151
54
150 149

HELEN ALLINGHAM

RWS

1848-1926

Chase Cottage and Pond, Blackdown, Surrey

Signed HAllingham (lower left)

Pencil and watercolour with scratching out 37.4 x 26.7cm; 14¾ x 10½in

Provenance: The artist’s studio, 1905

Literature: Arthur Paterson, The Homes of Tennyson painted by Helen Allingham (A. & C. Black, 1905), p.72 (illustrated); Helen Allingham, Cottages of England: Watercolours by Helen Allingham (A. & C. Black, 1925), pl.11

Exhibited:

London, The Royal Society of Painters in Water-Colours, Winter Exhibition, 1905, no.176

In The Homes of Tennyson (op.cit), Helen Allingham writes of the present work, ‘Lord Tennyson, who showed me this secluded spot some years ago, told me that it was one of his father’s favourite walks from Aldworth. It lies in a hollow of Blackdown. The Poet always loved water (running water when possible) and liked to come and look into the depth of this shady pond and to watch the little gold birch and beech leaves floating on its surface – as they floated last autumn when I made this drawing’.

We are grateful to Annabel Watts for her assistance cataloguing the present work.

£4,000-6,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 153
153 55

155

MARI TEN KATE

Dutch 1831-1910

Feeding the ducks

Signed Mari ten Kate (lower right),

Watercolour heightened with bodycolour

23.5 x 33.1cm; 9¼ x 13in

£300-500

154 MARI TEN KATE

Dutch 1831-1910

Domestic chores

Signed M ten Kate (lower right)

Watercolour

21.6 x 27.1cm; 8½ x 10¾in

£300-500

156

MARI TEN KATE

Dutch 1831-1910

Feeding the chickens

Signed M ten Kate (lower right)

Watercolour heightened with bodycolour

21.4 x 27.4cm; 8½ x 10¾in

£300-500

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
56
156 155 154

157

AUGUSTUS JULES BOUVIER

NWS

1825-1881

In the firelight glow

Signed Aug.Bouvier (lower right)

Pencil and watercolour heightened with white

37.4 x 32.1cm; 14¾ x 12¾in

Provenance:

Luscombe Carroll, Toronto; Sotheby’s, London, Victorian Pictures, 11 March 1998, lot 112; Sotheby’s, Billingshurst, 19 May 1999, lot 664; Private Collection, London

£500-800

158 ‡

GERTRUDE DEMAIN HAMMOND

1862-1953

By the Firelight, a scene from ‘The Mill on the Floss’

Signed and dated G.Demain Hammond 05 (lower right)

Pencil, watercolour and bodycolour within pencil framing lines 28 x 21.5cm; 11 x 8½in

Provenance: Property of the artist’s great niece; By whom sold, Phillips, Bury St. Edmunds, 14 March 1991, lot 94; Private Collection

£400-600

159 ‡

FREDERICK SAMUEL BEAUMONT

1861-1954

Portrait of a young girl, standing full-length, wearing a white dress

Signed and dated Frederick Beaumont 1899 (lower right)

Pastel

110 x 69cm; 43¼ x 27in

Provenance:

Christie’s, London, British and Continental Watercolours and Drawings, 14 September 2000, lot 137; Private Collection, London

£300-500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 •
of each lot are available on www.woolleyandwallis.co.uk
Framed images
57
159 158 157

160

ROBERT BARNES

1840-1895

Freshly baked bread

Signed with initials and dated RB83 (lower right)

Watercolour heightened with white 37.7 x 28.1cm; 14¾ x 11in

£800-1,200

161

ENGLISH SCHOOL

19th Century

Design for a chessboard with the black squares replaced by copies of 19th century paintings

Watercolour heightened with white and gilt paint

41.5 x 41.5cm; 16¼ x 16¼in

£200-400

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
161 160 58

ROSE MARY BARTON RWS

Irish 1856-1929

The Pianist Signed and dated Rose

Barton/1902 (lower left)

Pencil and watercolour heightened with bodycolour

34.9 x 26cm; 13¾ x 10¼in £2,000-3,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
162
162 59

163

PIETER CORNELISZ VERBEECK

Dutch 1610-1654

Figures and horses in a landscape

Signed indistinctly V Be**(lower right)

Black chalk, pen and ink, and wash

10.8 x 16.7cm; 4¼ x 6½in

Provenance:

John Manning, London; Private Collection, Wiltshire

£800-1,200

164

JOHN VANDERBANK

1694-1739

Study of the head of a woman

Pen and brown ink

15.1 x 11.3cm; 6 x 4½in

Provenance:

Sotheby’s, London, 10th March 1988, lot 35; The collection of Michael and Justina Ryan; By whom sold, Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 6 March 2019, lot 173, where purchased by the present private collector

£200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices 60 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE
164 163

165

165

THOMAS GAINSBOROUGH

1727-1788

Landscape with a road winding past extensive farm buildings

Signed with initials TG (to mount)

Pen and grey ink, and stump 23 x 26.7cm; 9 x 10½in

Provenance:

Benjamin West PRA (1738-1820) (L.419); Howard Bliss (1894-1977); By whom given to John Marshall; And by descent to the present private collector, Wiltshire

Literature:

John Hayes, ‘Gainsborough Drawings: A Supplement to the Catalogue Raisonné’ in Master Drawings (vol.21, no.4, Winter 1983), pp.384-385 no.930

The present work dates to the mid to late 1770s. £3,000-5,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 61 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE

166

DAVID COX SNR RWS

1783-1859

Stanley Mill, near Eskdale

Pencil and watercolour

23.5 x 32.8cm; 8¾ x 13in

Provenance:

Agnew’s, London, where purchased by a private collector, 1905;

Property of a Lady;

From whom purchased by The Manning Galleries, London;

Where purchased by John Marshall, 1967; And by descent to the present private collector, Wiltshire

£200-300

167

DAVID COX SNR RWS

1783-1859

Royal Oak, Betws-y-Coed, Caernarfonshire

Inscribed Royal Oak (below the margin according to label)

Black chalk and watercolour

20.7 x 29.4cm; 8¼ x 11½in

Provenance: Private Collection, Wiltshire

Exhibited:

London, Walker’s Galleries, Drawings by David Cox 1783-1859, April-May 1960, no.65

£150-250

168

ATTRIBUTED DAVID COX SNR RWS

1783-1859

Coastal landscape with a castle and figures on a beach, possibly at Conwy, Wales

Pen and ink, and wash

9.6 x 24.2cm; 3¾ x 9½in

Provenance:

Walker’s Gallery, London; Private Collection, Wiltshire

£120-180

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices 62 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE
168 167 166

169

DAVID COX SNR RWS

1783-1859

An archery party at Westwood Hall, Warwickshire

Inscribed to verso

Pencil and watercolour heightened with scratching out

8.9 x 13.7cm; 3½ x 5½in

Provenance:

John Manning, London; Private Collection, Wiltshire

£300-500

170

DAVID COX SNR RWS

1783-1859

Study of an oak tree with a castle beyond at dusk

Watercolour and black chalk

20.1 x 27cm; 8 x 10in

Provenance: John Marshall; And by descent to the present private collector, Wiltshire Exhibited:

London, Walker’s Galleries, Drawings by David Cox 1783-1859, April-May 1960, no.11;

London, Leicester Galleries, Artists as Collectors, July-August 1963, no.128

£150-250

171

DAVID COX SNR RWS

1783-1859

Mountainous landscape with trees in the foreground

Black chalk and watercolour

17.8 x 25.4cm; 7 x 10in

Provenance: The Fine Art Society, London, May 1945; Private Collection, Wiltshire

£150-250

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 63 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE
171 170 169

172

173

173

DAVID COX SNR RWS

1783-1859

The Abbey of St Agatha, Easby, North Yorkshire

Inscribed Agatha or/Easby Abbey nr Richmond (lower left)

Pencil and watercolour

25.5 x 35.6cm; 10 x 14in

Provenance:

Thos Agnew & Sons, London; Private Collection, Wiltshire

£200-300

172

DAVID COX SNR RWS

1783-1859

A vale in the evening

Pencil and watercolour 21 x 28.5cm; 8¼ x 11¼in

Provenance: John Marshall; And by descent to the present private collector, Wiltshire

Exhibited:

London, Walker’s Galleries, Drawings by David Cox 1783-1859, April-May 1960, no.28;

London, Leicester Galleries, Artists as Collectors, July-August 1963, no.129

£200-300

174

174

DAVID COX SNR RWS

1783-1859

Landscape with trees under stormy skies

Pencil and watercolour

20.3 x 27.8cm; 8 x 11in

Provenance: Private Collection, Wiltshire

£150-250

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices 64 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE

175

DAVID COX SNR RWS

1783-1859

Study of trees at Maxstoke, Warwickshire

Inscribed Maxstoke (lower left)

Pencil

17.5 x 25.4cm; 7 x 10in

Provenance:

The Fine Art Society, London, 1946; John Marshall;

And by descent to the present private collector, Wiltshire

Exhibited:

London, Leicester Galleries, Artists as Collectors, July-August 1963, no.126

£100-150

177

DAVID COX SNR RWS

1783-1859

Oxen at plough

Pencil

11.5 x 22.3cm; 4½ x 8¾in

Provenance:

The Manning Galleries, London; John Marshall;

And by descent to the present private collector, Wiltshire

£80-120

176

DAVID COX SNR RWS

1783-1859

Landscape with cottages and figures near Rowsley, Derbyshire

Inscribed N Rowsley (lower left)

Black chalk

19.5 x 26.9cm; 7¾ x 10½in

Provenance:

William Ellis, 1845; Private collection, Canterbury; Michael Bryan, 1998; Martyn Gregory, 2005: Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 7 September 2016, lot 69; Where purchased by the present private collector, Wiltshire

£150-250

178

DAVID COX SNR RWS

1783-1859

Study of Kenilworth Castle

Black chalk

9.1 x 13.6cm; 3½ x 5¼in

Provenance: The Fine Art Society, London; Private Collection, Wiltshire

£80-120

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 65 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE
178 177 176 175

179

JOHN SELL COTMAN

1782-1842

Figures by a portico

Pencil

19.7 x 14.3cm; 7¾ x 5½in

Provenance:

Lord Clwyd; Spink & Son, London; Private Collection, Wiltshire

£80-120

180

JOHN SELL COTMAN 1782-1842

View of the Thames, with Westminster Bridge beyond Pencil 12.4 x 16.9cm; 5 x 6¾in

Provenance: Private Collection, Wiltshire

£50-100

181

FRANCOIS-THOMAS-LOUIS FRANCIA

French 1772-1839

Villagers outside a country church

Signed with initials L.F (lower left)

Pen and ink with grey wash

15.2 x 20.1cm; 6 x 8in

Provenance: Colonel Grant; Sotheby’s, London, Early English Drawings & Watercolours & Victorian Watercolours, 24 September 1987, lot 178; Private Collection, Wiltshire

£150-250

182

ENGLISH SCHOOL

Early 19th Century

Leicester’s Building, Kenilworth Castle

Signed with initials G.B.S (lower right)

Pencil

13.1 x 19.3cm; 5¼ x 7½in

Provenance: Private Collection, Wiltshire

£80-120

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices 66 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE
182 181 180 179

183

PETER DE WINT OWS

1784-1849

St Mary’s Church, Sudeley Castle

Watercolour 14.4 x 20.6cm; 5¾ x 8in

Provenance: J. S. Maas & Co, London; Private Collection, Wiltshire

Exhibited: London, J. S. Maas & Co, Spring Exhibition, 1964, no.104

£150-250

184

PETER DE WINT OWS

1784-1849

Moorland landscape with horsemen

Watercolour heightened with bodycolour and scratching out 15.2 x 32.9cm; 6 x 13in

Provenance: Miss Bostock; Thos. Agnew & Sons, London; Private Collection, Wiltshire

Exhibited: Lincoln, Usher Art Gallery, Peter de Wint Exhibition, 1937, no.146

£150-250

185

JOHN VARLEY OWS

1778-1842

Figure on a road by a lake

Signed J Varley (lower centre)

Watercolour 10.3 x 13.2cm; 4 x 5¼in

Provenance: The Fine Art Society, London, October 1944; Private Collection, Wiltshire

£150-250

186

JOHN VARLEY OWS

1778-1842

River landscape with a castle on a hill

Signed J Varley (lower right)

Watercolour heightened with gum arabic 9.2 x 13cm; 3½ x 5in

Provenance: Dr John Percy (1817-1889) (Lugt 1504); Mr McCardie; Mr L.Crispin Warmington; Spink & Son, London; Private Collection, Wiltshire

£100-150

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 67 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE
186
183
185 184

188 187

187

ATTRIBUTED TO JOHN PRESTON NEALE

1780-1847

View of a coastal village with a cart and horse outside an inn and the sea beyond

Watercolour

15.7 x 21.4cm; 6¼ x 8½in

Provenance: Private Collection, Wiltshire

£100-150

188

JAMES STARK

1794-1859

The Free School, Norwich

Pencil and watercolour

18.1 x 22.3cm; 7¼ x 8¾in

Provenance:

Private Collection, Wiltshire

Exhibited:

London, Walker’s Galleries, 42nd Annual Exhibition, 24 June 1946, cat. no.99

£200-300

189

RANDOLPH CALDECOTT

1846-1886

Where Are You Going To My Pretty Maid?

Signed with initials RC (lower centre)

Pen and ink, and watercolour

17.6 x 28.7cm; 7 x 11¼in

Provenance: Private Collection, Wiltshire

£80-120

190

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; And by descent to the present private collector, Wiltshire

£80-120

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices 68 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE
190 189

191

191

EDWARD LEAR

1812-1888

A view on the Nile

Indistinctly inscribed and dated G*zkir Eddomarie* 25 Jan 1854 5½PM (lower left) and numbered 129 (lower right)

Watercolour

6.5 x 14.9cm; 2½ x 5¾in

Provenance: Private Collection, Wiltshire

£600-800

192

AFTER

JEAN-FRANÇOIS MILLET

La Veillée

Reproduction print 14.1 x 11cm; 5½ x 4¼in (image)

Provenance: Private Collection, Wiltshire £50-80

193

HERCULES BRABAZON BRABAZON

1821-1906

View of a church, Altdorf, near Lake Lucerne Signed with initials HBB (lower right) Pastel over pencil

17.7 x 21.2cm; 7 x 8¼in

Provenance: Private Collection, Wiltshire

Exhibited: London, The Pastel Society, no.2 £200-300

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 69 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE
193 192

194

JOHN

CONSTABLE RA

1776-1837

Autograph letter signed ‘John Constable’ to John Fisher, Bishop of Salisbury, dated 13 August 1819

Concerning a possible commission from General and Mrs Rebow at Wivenhoe Park. He also discusses his new-born daughter (Maria Louisa), and asks Fisher to be godfather. He also mentions a picture by Cozens he has sent to Fisher, and that the artist William Collins will be passing through Salisbury.

‘I am under an engagement to paint the portraits of General and Mrs Rebow at Wivenhoe Park…a more lovely little girl at a month old was never seen. We are so proud of her and at the same time so ambitious as to be induced to ask a great favour. It is our united wish to be allowed to name you for her Godfather…I have been so much occupied that I delayed for some time sending you the Cozens…Collins left London today…He intends passing a day at Salisbury in the middle of next week.’

Brown ink on paper, with remnants of black seal

22.7 x 37cm; 9 x 14½in

Unframed

Provenance:

John Marshall;

And by descent to the present private collector, Wiltshire

Literature:

Charles Robert Leslie, Life and Letters of John Constable (London, Chapman and Hall, 1896), p.91;

Ronald Brymer Beckett, John Constable’s Correspondence (Suffolk Records Society, 1964), pp.47-48

John Constable and John Fisher had been friends since the 1790s, when the latter was rector at Langham, Suffolk. Fisher officiated at Constable’s wedding, and has been described as the painter’s closes friend in the 1820s. The bishop was also one of the artist’s most important patrons, purchasing The White Horse, the first of the famous ‘six-footers’.

£2,000-3,000

195

JOHN CONSTABLE RA

1776-1837

Letter to William Hookham Carpenter (1792-1866)

Concerning the return of an upright landscape to the artist and in its place sending an unfinished painting of a mill near Gillingham, Dorset for inspection by William Carpenter and his father James Carpenter. The letter also mentions the potential purchase of the volumes of Shakespeare.

‘Agreeable to your Father’s request I send my man for the upright landscape and take the opportunity of sending the picture of the mill - which may amuse you both for 5 minutes - the spot is in Fisher’s parish Gillingham Dorset....You see my little picture to a disadvantage asthe day is dark and I have by no means done my last to it - I do not say my “best” - as it is a word too much in use - and at least implies something good. The Number of the Volumes of Shakespeare frighten me…’ Brown ink on paper, with traces of black seal

14.3 x 22.8cm; 5½ x 9in

Unframed

Provenance:

John Marshall;

And by descent to the present private collector, Wiltshire William Carpenter was a British antiquary, and Keeper of Prints at the British Museum. His father James was a bookseller on Old Street, and both men were collectors of Constable’s work.

£1,000-1,500

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices 70 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE
195 194

196

196

JOHN CONSTABLE RA

1776-1837

Autograph letter signed ‘John Constable’ to Alaric A Watts (1797-1864), dated 1832

Concerning borrrowing books published by Watts, and inviting him to tea Brown ink on paper 11.1 x 18.9cm; 4¼ x 7½in Unframed but mounted

Provenance: John Marshall; By decent to the present owner Alaric Watts was a poet and journalist.

£800-1,200

197

DAVID COX SNR RWS

1783-1859

A collection of nineteen autograph letters (signed ‘David Cox’), to Richard James Spiers (1806-1877), 1844-1850

Together with David Cox Jnr. (1809-1885); A collection of eleven autograph letters (signed ‘David Cox Jun’ or ‘David Cox’), 1856-1864; a further letter by David Cox Jnr. with a postscript by David Cox Sen; and Scott Wilcox (ed), Sun, Wind, and Rain: The Art of David Cox, exh. cat. (Yale University Press, 2008), in which some of the letters are mentioned (32)

£300-500

197

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 71 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE

198

198

CIRCLE OF JOHN RILEY

Portrait of a nobleman, traditionally identified as James II, half-length, wearing a brown cloak, lace ruff and long wig

Oil on canvas

76.2 x 65.5cm; 30 x 25¾in

Provenance: Sir Benjamin Chapman, Killua Castle, Co. Meath; Private Collection, Wiltshire

£1,500-2,500

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices 72 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE

199

199

FOLLOWER OF JUSTUS SUSTERMANS

Portrait of a young man, half-length, wearing armour and a red cloak Oil on canvas

58.4 x 47.3cm; 23 x 18½in

Provenance: Private Collection, Edinburgh, 1875 (according to label); Private Collection, Wiltshire

£2,000-3,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 73 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE

200

CIRCLE OF ARTHUR DEVIS

Portrait of a gentleman, full-length, in a blue coat and red waistcoat, standing by a chair

Oil on canvas

50.6 x 44.4cm; 20 x 17½in

Unframed

£300-500

201

FRENCH SCHOOL

c.1800

Portrait of a gentleman wearing a blue coat and tricorn hat

Oil on canvas, oval 30.2 x 25cm; 12 x 9¾in

£300-500

202

ENGLISH SCHOOL

Late 18th Century

Portrait of an old man holding a staff

Oil on canvas

61 x 51cm; 24 x 20in

Provenance: Private Collection, Wiltshire

£400-600

74 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE
202 201 200

203

203

ENGLISH SCHOOL

18th Century

Portrait of a gentleman, three-quarter length, wearing a blue coat, white waistcoat and red trousers, leaning on a stick

Oil on canvas

126.5 x 100.6cm; 49¾ x 39½in

Provenance: Private Collection, Wiltshire

£1,500-2,500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 75 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE

204

ENGLISH SCHOOL

c.1810

The Young Scholar

Oil on canvas

23.3 x 18cm; 9¼ x 7in

Provenance: Thos. Agnew & Sons, London Private Collection, Wiltshire

£150-250

205

CONTINENTAL SCHOOL

19th Century

Portrait of a gentleman wearing a black coat and a medal

Oil on panel 15.8 x 14.3cm; 6¼ x 5½in

£150-250

206

ENGLISH SCHOOL

18th Century

Portrait of a cleric in a bag wig

Oil on canvas laid on board, oval 28.4 x 22.5cm; 11¼ x 8¾in

£150-250

207

AMERICAN SCHOOL

1853

Portrait of a gentleman wearing a black coat and an ornate stickpin; Portrait of a lady wearing a green dress and seated on a sofa

A pair, the latter signed with initials and dated AT/1853 (AT in ligature)

Both oil on canvas

Each 31.3 x 26.1cm; 12¼ x 10¼in

Unframed (2)

£200-300

76 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE
206 204 205 207

208

THOMAS BARKER OF BATH

1769-1847

A cavalier giving charity to a family outside a cottage Oil on canvas

78.2 x 64.3cm; 30¾ x 25¼in

Provenance:

Tom Field, Organist of Bath Abbey (d.1831); By family descent to John Marshall; And by descent to the present private collector, Wiltshire

£800-1,200

209

MANNER OF ANGELICA KAUFFMAN

Hebe

Oil on panel, oval

29.1 x 24cm; 11½ x 9½in

Provenance: Private Collection, Wiltshire

£150-250

210

ANTON MAUVE

Dutch 1838-1888

Saddling a horse outside a stable

Signed A Mauve (lower left) Oil on panel 11.9 x 18.1cm; 4¾ x 7¼in

Provenance: Private Collection, Wiltshire

£150-250

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 77 PROPERTY FROM A PRIVATE COLLECTION, WILTSHIRE
209 208 210

211

211

CIRCLE OF MICHIEL JANSZ. VAN MIEREVELT

Portrait of a young lady, half length, wearing a black dress and lace ruff

Oil on panel

62 x 50cm; 24½ x 19¾in

Provenance:

Property from an Irish country house £4,000-6,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
OIL PAINTINGS
78
Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
212 (framed) 212 CIRCLE OF JAN MYTENS Portrait a gentleman and lady, dressed as a musician and shepherdess, seated in a landscape Oil on panel 43 x 63.3cm; 17 x 25in £4,000-6,000
79
212

213 AFTER SIR ANTHONY VAN DYCK

Portrait of the sculptor Georg Petel (1601-1635)

Oil on canvas

64 x 51.4cm; 24 x 20¼in

Provenance:

Property from an Irish country house

After the original in the Alte Pinakothek, Munich (no.406).

£700-1,000

214 MANNER OF PIETER CODDE

Portrait of a gentleman wearing a black doublet;

Portrait of a lady wearing a ruff collar and cap

A pair, both oil on panel

Each 10.6 x 8.1cm; 4¼ x 3¼in (2)

Provenance:

Sotheby’s, London, English and Continental Portrait Miniatures, 25 June 1973, lot 14; The collection of the late John Taylor

£200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
214 213 80

AFTER REMBRANDT HARMENSZ. VAN RIJN

A man in oriental costume

Oil on canvas

73.7 x 62.1cm; 29 x 24½in

Provenance:

Paul Brandt, Amsterdam, as ‘Samuel van Hoogstraten’, where acquired by Mrs Elias-Vaes; Her posthumous sale, Christie’s, Amsterdam, Twenty rooms: The private collection of the late Mrs Elias-Vaes, 27-29 April 2010, lot 294; Sworders, Stanstead, Fine Interiors, 15 December 2021, lot 439, where acquired by the present private collector

Exhibited:

Rotterdam, Historisch Museum, Bezeten bezit, Keuzetentoonstelling uit de verzameling van Mevrouw

W.G. Elias-Vaes te Rotterdam, April - August 1970, no.15, as ‘Samuel van Hoogstraten’

After the original in the collection of the Duke of Devonshire, Chatsworth House.

£1,000-1,500

216

CIRCLE

OF PIETER VAN LINT

The adoration of the shepherds

Oil on panel

25.5 x 32cm; 10 x 12½in

£500-700

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
215
216 215 81

218 CIRCLE OF JOOS VAN CRAESBEECK

Man with a flask Oil on panel 16.1 x 13.6cm; 6¼ x 5¼in

£400-600

217 FOLLOWER OF FRANS FRANCKEN II

The wedding feast at Cana Oil on panel

59.5 x 86cm; 23½ x 33¾in

Provenance:

The collection at Little Egland Manor; Bequeathed to Lady Elsa Bowker; Gifted by her to the previous owner

£3,000-5,000

219

AFTER QUIRIJN VAN BREKELENKAM

An elderly woman eating porridge Oil on panel 30.9 x 23.4cm; 12¼ x 9¼in

After the original in the Dulwich Picture Gallery, London (no.DPG50).

£300-500

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
217 219 218 82

CIRCLE OF FRANS FRANCKEN II

David and Abigail

Oil on canvas

86.9 x 175.4cm;

34¼ x 69in

£1,000-1,500

221

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

£1,500-2,500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
220
221 220 83

222

222

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

£2,000-3,000

223 DUTCH SCHOOL

18th Century

Italianate landscape with travellers on a path, a hilltop town in the distance; Italianate landscape with numerous figures near a pond

A pair, both oil on canvas

Each 49 x 65cm; 19¼ x 25½in (2)

£1,200-1,800

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
223
84

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

£2,000-3,000

AFTER CORNELIS

VAN POELENBURGH

Landscape with the Rest on the Flight into Egypt

Oil on panel

24.9 x 34cm; 9¾ x 13½in

Provenance:

By family descent to the present owner

After the original in the Musée d’árt et d’histoire, Geneva (no.1827-3).

£600-800

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 225
224
225 224 85

FOLLOWER OF JAN GRIFFIER I

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

Oil on panel 27.9 x 35.1cm; 11 x 13¾in £1,000-2,000

227 FOLLOWER OF DAVID TENIERS II

River landscape with figures conversing outside a building

Oil on canvas 39.3 x 55.7cm; 15½ x 22in £600-800

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
226
227 226 86

228 CIRCLE OF JACQUES D’ARTHOIS

River landscape with an elegant hunting party

Oil on canvas

58.8 x 81.4cm; 23¼ x 32in

Provenance: Property from an Irish country house

£1,500-2,500

229 FLEMISH

17th Century

Landscape at night with figures on a path and Antwerp Cathedral in the distance

Oil on canvas

26.6 x 38.9cm; 10½ x 15¼in

Provenance:

Lord Howe, Gopsall Park, Leicestershire, by whom sold 1918 (as Rubens, according to label)

£800-1,200

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
SCHOOL
229 228 87

230 ATTRIBUTED TO THOMAS WYCK

Dutch 1616-1677

View of the Thames at Westminster on Lord Mayor's Day

Oil on canvas

60.9 x 90.9cm; 24 x 35¾in

Provenance:

Willis Group Corporate Collection;

By whom sold, Bonhams, The Willis Associates Sale, 21 February 2008, lot 99, where purchased by the present private collector

The present work is a rare and important view of London, painted in the early 1660s, after the Restoration and before the Great Fire of 1666. Looking north across the Thames, in the distance is the Old Palace of Westminster, including St Stephen's Chapel (which served as the chamber of the House of Commons), Westminster Hall, and Westminster Abbey. On the right hand side we see the Palace of Whitehall, with the Banqueting House prominent.

The Thames itself is packed with vessels of various sizes, and the presence of numerous Livery Company barges, each with their guild banners on display, suggests that the painting depicts the Lord Mayor's Procession. This was an annual event in which the Mayor of London and the aldermen travelled by river from the City to Westminster to be sworn in and then presented to the King. In the centre of the work, firing a salute as the flotilla passes, is a royal yacht, possible the Royal Escape, which Charles II had taken passage on to escape parliamentarian forces during the Civil War.

Very few paintings of London prior to the Great Fire are known. Thomas Wyck was one of the few artists to paint such works, including a view across the Thames from Southwark (at Chatsworth House), and a view of Whitehall and St James's Park (in the Bank of England Museum). Although views of London and the Thames proliferated in the mid 18th Century, with artists such as Canaletto, the present work predates these by almost a century, and provides a fascinating and important early record of the capital.

£15,000-20,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
230 (detail): The Old Palace at Westminster with St Stephen’s Chapel, Westminster Hall and Westminster Abbey
88
230 (detail): The Palace of Whitehall with the Banqueting House. In the foreground are several Livery Company barges, including the barge of the Vintners
Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 230 89
230 (framed)

231 MANNER OF JEAN-BAPTISTE MOREL

Still life with a vase of flowers and fruit on a stone ledge

Oil on canvas

89.4 x 106.1cm; 35¼ x 41¾in

£300-500

232 MANNER OF FRANÇOIS BOUCHER

Fête champêtre; Landscape with elegant figures reclining by a fountain

A pair, both oil on canvas, arched

51.8 x 138.2cm; 20½ x 54½in (2)

£800-1,200

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
232 231 90
Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
233 DUTCH SCHOOL 18th Century River landscape with barges and a ferry Oil on canvas 57.1 x 81.5cm; 22½ x 32in Provenance: Property from an Irish country house £2,000-3,000
234
234 FOLLOWER OF WILLEM VAN DE VELDE THE YOUNGER A rowing boat approaching a man-of-war Oil on panel 33 x 32.7cm; 13 x 12¾in £800-1,200
91
233

235 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 Verbrugghen I); Export Fine Arts, London, where purchased by the present private collector, September 1994 (as Gaspar Pieter Verbrugghen 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. £7,000-10,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
235 92

CARLO MANIERI

Italian act.1662-1700

Still life with fruit in an urn, and flowers in a glass vase, on a table draped with a red and gilt brocaded curtain

Oil on canvas

97.7 x 73.9cm; 38½ x 29in

Provenance: By family descent to the present private collector

We are grateful to Dr Gianluca Bocchi for confirming the attribution of the present work to Carlo Manieri on the basis of photographs. Dr Bocchi dates the work to 1680-1700.

£40,000-60,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 236
236 93

237 FOLLOWER OF CARLO CIGNANI

An allegory of war with putti fighting Oil on canvas 64 x 47.5cm; 25¼ x 18¾in

Provenance:

Property from an Irish country house £1,500-2,500

238 ITALIAN SCHOOL 17th Century

Mary Magdalen reading in a grotto

Oil on canvas 54.9 x 94.2cm; 21½ x 37in £800-1,200

239 FOLLOWER OF JACQUES COURTOIS

An equestrian battle outside castle walls

Oil on panel 37.4 x 49.5cm; 14¾ x 19½in £400-600

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
239 238 237 94

240

FRENCH SCHOOL

18th Century

The Triumph of Galatea Oil on canvas

79 x 109.8cm; 31 x 43¼in

Provenance:

Property from an Irish country house

£1,500-2,500

241 AFTER JEAN ANTOINE WATTEAU

Fête champêtre

Oil on canvas

112.4 x 166cm; 44¼ x 65¼in

After the original, of similar dimensions, in the Staatliche Museen, Berlin (no.474B).

£400-600

242

ITALIAN SCHOOL

18th Century

Putti and a stork

Oil on canvas

50 x 150.3cm; 19¾ x 59¼in, framed with canted corners

Provenance:

Property from an Irish country house

£600-800

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
242 241 240 95

243 ALEXANDRE PAUL JOSEPH VÉRON

French 1773-1838

Le jeu de colin-maillard; Les Plaisirs du Bal

A pair, both oil on panel 35 x 25.8cm; 13¾ x 10¼in; 35.2 x 25.8cm; 13¾ x 10¼in (2)

Provenance:

Richard Green, London; The Power Collection; And by family descent

The former after the original by Nicolas Lancret (1690-1743) in Schloss Sans-Souci, Potsdam. The latter after the original by Jean-Antoine Watteau (1684-1721) in Dulwich Picture Gallery, London (no.DPG156).

£2,000-3,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
243 96

244

244

Mediterranean coastal landscape with fishermen bringing in their nets and an island in the distance

Oil on canvas

55.6 x 114.5cm; 22 x 45in

£2,000-3,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
244 (framed) FOLLOWER OF CHARLES FRANÇOIS LACROIX DE MARSEILLE
97

245

SIR GODFREY KNELLER BT.

German 1646-1723

Portrait of a gentleman, half-length, wearing a blue coat and long wig, in a painted oval

Oil on canvas

76.8 x 63.9cm; 30¼ x 25¼in

£1,500-2,500

246

FOLLOWER OF ROBERT WALKER

Portrait of Oliver Cromwell (1599-1658), wearing a black doublet and white collar

Oil on canvas

66.2 x 49.3cm; 26 x 19½in

£1,000-2,000

247

ATTRIBUTED TO WILLIAM WISSING

Dutch 1656-1687

Portrait of Charles II (1630-1685), three-quarter length, wearing armour and the Garter riband, with a battle in the distance

Oil on canvas

129 x 102cm; 50¾ x 40¼in

Provenance:

Property from an Irish country house

Another version of this work by Wissing is in the Royal Collection (no.RCIN 405881).

£4,000-6,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
246 245 98
Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 247 99

248

ENGLISH SCHOOL

Early 18th Century

Portrait of a lady, half-length, wearing a red and grey cloak

Oil on canvas

74.1 x 61.3cm; 29¼ x 24in

A possible identification to Margaret Jolly (née Whiteside) wife of William Jolly is inscribed to the stretcher.

£700-1,000

249 ENGLISH SCHOOL

Early 18th Century

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

Oil on canvas

74.1 x 61.2cm; 29¼ x 24in

A possible identification to Mary Jolly (née Whiteside) wife of James Jolly is inscribed to the stretcher.

£700-1,200

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
249 248 100

250

250

JOHN THEODORE HEINS

German c.1697-1756

Portrait of Judith Bedingfield (1730-1794) half-length, wearing a blue dress in a painted oval

Signed and dated Heins Fec 1746 (lower left)

Oil on canvas

76.8 x 63.8cm; 30¼ x 25in

Judith Bedingfield married Sir John Rous, 5th Bt (1727-1771) of Henham Hall Suffolk in 1749.

£2,500-3,500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
101

251 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

£1,500-2,500

252 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

£1,000-1,500

253 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.

£3,000-5,000

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252 251 102
Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 253 103

254

JOHN LEWIS REILLY

1835-1903

AFTER THOMAS GAINSBOROUGH

1727-1788

The Blue Boy

Signed and dated John L. Reilly/1922 (to reverse)

Oil on canvas

66.3 x 46cm; 26 x 18in

£300-500

255

CIRCLE OF RALPH EARL

Portrait of a gentleman, traditionally identified as Christopher Inman, three-quarter-length, in a white waistcoat and green coat, a book in his left hand, with a dog, in an interior

Oil on canvas 124 x 99cm; 48¾ x 39in

£500-700

256

AFTER RALPH EARL

Portrait of Roger Sherman (1721-1793), full-length, seated at his desk

Signed with monogram and dated 1859 (centre right)

Oil on canvas

76.4 x 63.7cm; 30 x 25in

£250-350

257

ENGLISH SCHOOL

Early 19th Century

Portrait of Captain John Woodford Chase, three-quarter length, in uniform holding a sword

Oil on canvas 35 x 29.3cm; 13¾ x 11½in

£200-300

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257 256 255 254
104

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

£600-1,000

259 ENGLISH SCHOOL

c.1800

Portrait of a young girl, wearing a white dress and black bonnet, holding a bird Oil on canvas

46.5 x 41cm; 18¼ x 16¼in

£200-300

260 STUDIO OF SIR THOMAS LAWRENCE AND LATER

Portrait study of Lady Amelia Anne Hobart, Viscountess Castlereagh, later Marchioness of Londonderry (1772-1829), wearing a white dress with blue sash Oil on canvas

76.2 x 63.7cm; 30 x 25in

Provenance:

Possibly delivered to Lord Londonderry after the death of the artist, February 1830

Literature:

Possibly Archibald Keightley, The Claims of Works of Art, Books et. under the Estate of the late Sir Thomas Lawrence;

Possibly Kenneth Garlick, Sir Thomas Lawrence (Routledge and Kegan Paul Ltd, London, 1954), Appendix III, p.74, no.101;

Possibly Kenneth Garlick, ‘A Catalogue of the Paintings, drawings and pastels of Sir Thomas Lawrence’ in The Walpole Society, vol.39 (1962-1964), Appendix IV, p.282, no.100

This work is a half-length version of the full three-quarter length painting in the collection of the Marquess of Londonderry (see Kenneth Garlick, Sir Thomas Lawrence: A Complete Catalogue of Oil Paintings, 1989, p.228, no.508a). The list of works remaining in Sir Thomas Lawrence’s studio after his death drawn up by his executor, Archibald Keightley, records a ‘head finished’ of Lady Londonderry. Given that much of the present work, with the exception of the face, appears to consist of later overpaint, it is possible that this is the painting listed by Keightley.

£600-1,000

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258
259
105
260
258

261

ATTRIBUTED TO SIR THOMAS LAWRENCE PRA, FRS 1769-1830

Portrait of the actress Sarah Siddons (1755-1831), wearing a white dress with a red jewel, and a yellow shawl Oil on canvas

91.5 x 71.2cm; 36 x 28in

Provenance:

Monty Bernard, Ryder Street, St. James’s, London Christie’s, London, 13 June 1952, lot 84 (as Sir Thomas Lawrence, Portrait of Mrs Siddons in a white dress and yellow cloak); English Private Collection

Literature:

Probably Bells Weekly Messenger, 30 April 1797; Probably The Morning Chronicle, 2 May 1797; Probably Anthony Pasquin [John Williams], A Critical Guide to the Present Exhibition at the Royal Academy, for 1797… (H. D. Symonds, London, 1797)

Exhibited:

Probably London, Royal Academy, 1797, no.166

In 1797 Sir Thomas Lawrence exhibited a portrait of the famous actress Sarah Siddons (1755-1831) at the Royal Academy. This work has long been believed to be the one recorded by Kenneth Garlick as being in a private collection (see Kenneth Garlick, Sir Thomas Lawrence: A Complete Catalogue of Oil Paintings, 1989, p.264, no.715b). However, there are several inconsistencies between contemporary accounts of the picture at the Royal Academy exhibition of 1797, and that listed by Garlick. In fact, the painting presented here appears more likely to be the 1797 R.A. version portrait of Siddons.

Contemporary accounts of the 1797 painting described it as a full length work (for example Bell’ Weekly Messenger, op. cit.). However, the painting listed by Garlick is a half-length, whereas the present work has clearly been cut down from a larger canvas. Another contemporary account said that the canvas was disfigured, and resembled the inside of a melon (quoted in William T. Whitley, Artists and their friends in England, 1700-1799 (London, Medici Society, 1928, vol.2, p.214). It is impossible to know exactly what this refers to, however, the background of the present work has an unusual ‘veined’ texture which could plausibly be compared to a melon. This texture becomes more prominent in the lower section of the work, and would explain why the canvas was cut down.

When the portrait was exhibited in 1797, it divided the critics. Some though it showed Siddons far younger than in reality.

Anthony Pasquin (op. cit.) said that ‘It is no more like her than Hebe is similar to Bellona. We have here youth, flexibility of feature, and an attempt at the formation of beauty, to denote a lady who is so proverbially stern in her countenance that it approaches savageness’. Although the True Briton praised the portrait, it thought the dress too showy and of a fabric too modern. Pasquin also mentions the unusually red cheeks, that ‘are so betinted with carmine’. All these contemporary comments seem to be more relevant to the present work, than that listed by Garlick, a work in which Siddons looks older and sterner, in a more traditional costume.

Sarah Siddons was probably the best known actress of her generation. Her performances on the stage gave her a celebrity status, and she was a cultural icon. Lawrence had been an admirer of Siddons since his youth, and they became close friends, to the extent that there were rumours they planned to elope. He was also believed to have had affairs with Siddons’ two daughters, Sally and Maria.

£8,000-12,000

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106
261 (framed)
Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 261 107

262

ENGLISH SCHOOL

18th Century

Full cry

Oil on panel 89.3 x 137cm; 35¼ x 54in £2,000-3,000

263

GEORGE MORLAND

1763-1804 A farrier’s shop

Signed and dated G Morland/1793 (lower left)

Oil on canvas 70.3 x 91.9cm; 27¾ x 36¾in £1,500-2,500

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
263 262 108

STUDIO OF SIR JOSHUA REYNOLDS

Portrait of Master Watkin Williams Wynn (1772-1840), later 5th Bt., as the infant St John the Baptist Oil on canvas

39.5 x 46.5cm; 15½ x 18¼in, in a period carved Carlo Maratta style frame

For the larger prime version of this work see David Mannings, Sir Joshua Reynolds, A complete catalogue of his paintings (New Haven and London, 2000), text vol., p.485, no.1946.

£2,000-3,000

265

ATTRIBUTED TO

SIR JOSHUA REYNOLDS

PRA, FRS, FRSA

1723-1792

Wooded river landscape with figures in the foreground

Oil on panel

87.3 x 106cm; 34¼ x 41¾in

Provenance:

Possibly Philip Gore, 4th Earl of Arran (1801-1884) (by 1873); Arthur Gore, 6th Earl of Arran (1868-1958);

And by family descent; From whom purchased by the present owner

Literature:

Possibly Algernon Graves and William Vine Cronin, A History of the Works of Sir Joshua Reynolds (London, 1899), vol. III, p.1238; Possibly David Mannings, Sir Joshua Reynolds, A complete catalogue of his paintings (New Haven and London, 2000), text vol., pp.580-581, cat. no.2208 (untraced)

In their catalogue of Sir Joshua Reynolds’ works, Algernon Graves and William Vine Cronin note ‘The Earl of Arran in 1873 had a very fine oblong landscape with a group of three unfinished children in the middle distance’. Although the recorded dimensions of 35 x 30in do not correspond exactly to the present work, it is possible our painting is the same seen by Graves.

£1,000-1,500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 264
265
109
264

266

PATRICK NASMYTH

Scottish 1787-1831

River landscape with figures on a path and cattle watering

Signed PNasmyth (lower centre)

Oil on canvas

30.8 x 43.8cm; 12¼ x 17¼in

£1,500-2,500

267

ENGLISH SCHOOL

19th Century

River landscape with travellers resting by a path and figures crossing in a ferry

Oil on panel

21.3 x 30.3cm; 8½ x 12in

£300-500

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267 266 110
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268 HENRY PETHER act.1828-1865 View of the Thames at night, with the Middle Temple Library, Temple Stairs, Blackfriars Bridge, and St Paul’s Cathedral in the distance Signed and dated Henry Pether/1861 (lower left) Oil on canvas 56.1 x 96.9cm; 22 x 38¼in £15,000-20,000 268
111
268 (framed)
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269 FOLLOWER OF JOSEPH MALLORD WILLIAM TURNER Carthage Oil on canvas 110.5 x 152cm; 43½ x 59¾in £2,000-3,000 269
112
269 (framed)

1845-1932

Sunset over wetlands

Signed Albert Goodwin (lower left) Oil on canvas

50.5 x 92.5cm; 20 x 36½in

Provenance:

Tennants, Leyburn, Traditional Pictures, 14 November 2020, lot 1064, where purchased by the present private collector £2,000-3,000

Capriccio of the Temple of Trajan at Philae, Egypt

Oil on canvas

51 x 61cm; 20 x 24in £300-500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
270 ALBERT GOODWIN 271 FOLLOWER OF DAVID ROBERTS
113
271 270

272

272

ALFRED POLLENTINE

1836-1890

View of the Molo, Venice, with the Doge’s Palace and Santa Maria della Salute in the distance

Signed and dated APollentine/89 (lower right) Oil on canvas

49.8 x 70cm; 19½ x 27½in

£1,200-1,800

273 FRANK WASLEY

1854-1934

Ancient Rome

Oil on canvas

76.7 x 127.4cm; 30¼ x 50¼in

£1,000-1,500

274

FREDERICK WATERS WATTS

1800-1862

View of Rouen, with the Pont Pierre-Corneille and the cathedral beyond Oil on canvas

60.5 x 81cm; 23¾ x 32in

Provenance:

Christie’s, London, Victorian Pictures, Drawings and Watercolours, 19 December 1991, lot 135; Export Fine Arts, London, where purchased by the present private collector, May 1994

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
£800-1,200 114
Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 274 273 115

275 JOHN EMMS

1844-1912

A bay carriage horse in a loosebox facing left; A bay carriage horse in a loosebox facing right

A pair, the former signed Jno Emms 80 (lower right) Both oil on canvas 40.6 x 53.9cm; 16 x 21¼in; 40.8 x 55cm; 16 x 21¾in (2)

Provenance: Phillips, London, Early British and Victorian Paintings, 7 April 1998, lots 25 and 29 £2,000-3,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
275 116

ABRAHAM COOPER RA

1787-1868

Chestnut hunter before a stable Indistinctly signed (lower left) Oil on canvas

63.5 x 76.2cm; 25 x 30in

Provenance:

Property from an Irish country house

Exhibited: Belfast, Belfast Museum and Art Gallery, Pictures from Ulster Homes, May-July 1961, no.200

£1,000-1,500

277

ABRAHAM COOPER RA

1787-1868

A cavalier on horseback

Oil on canvas

73 x 59.3cm; 28¾ x 23¼in

Exhibited: Possibly, London, Royal Academy, 1842, no. 114

£800-1,200

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 •
of each lot are available on www.woolleyandwallis.co.uk
Framed images
276
276 277 117

278

GEORGE GASCOYNE

1861-1933

‘Phoenix’, standing in a landscape with a gentleman, possibly Guillermo Kemmis

Signed with initials and dated GG 1889 (lower right) and further inscribed “Phenix” (Cymbal -- Belle-Etoile)/ by George Gascoyne (to reverse)

Oil on canvas

70.7 x 91.6cm; 27¾ x 36in

£1,000-1,500

279

JOHN CHARLES MAGGS

1819-1896

The Salisbury to London mail coach passing Stonehenge

Signed J C Maggs (lower left)

Oil on canvas

36 x 66.2cm; 14¼ x 25in

Provenance: P. Polack, London; Bonhams, Oxford, Art & Antiques, 27 March 2013, lot 205

£600-800

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices 279 278
118

280

280

WILLIAM SHAYER 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 £1,500-2,500

280A

WILLIAM SHAYER 1787-1879

Figures resting during the harvest

Signed Wm Shayer (lower left)

Oil on canvas

54.8 x 69.5cm; 21½ x 27¼in £1,000-1,500

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
280A
119

281 EDWARD ARMFIELD 1817-1896

Terriers in a barn

Signed E Armfield (lower right)

Oil on canvas

31.1 x 41.4cm; 12¼ x 16¼in

£300-500

282 CLAUDE CARDON 1864-1937

Morning in the Highlands

Signed Claude Cardon (lower left)

Oil on panel

18.5 x 28.8cm; 7¼ x 11¼in

£150-250

283 ROBERT JOHN HAMMOND act.1882-1911

A shepherd and his flock on a path with a cottage beyond, near Dolgellau, Wales; River landscape with cattle watering near Dolgellau, Wales

A pair, both signed and dated R J Hammond/1898 (lower left), and further signed, dated and inscribed Near Dolgelly/R J Hammond/1898 (to reverse)

Both oil on canvas

Each 35.5 x 53.4cm; 14 x 21in (2) £500-700

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283 282 281 120

284

JAMES HARDY JNR

1832-1889

The day’s bag

Signed with strengthened signature J.Hardy (lower right)

Oil on canvas

63.5 x 77.5cm; 25 x 30½in

£300-400

285

JOSEPH THORS

Dutch 1835-1920

Landscape with a woman and geese by a pond outside a cottage

Signed JTHORS (lower left)

Oil on canvas

30.5 x 45.8cm; 12 x 18in

£300-500

286

ENGLISH SCHOOL

19th Century

River landscape with a woman on a bridge and cattle watering

Traces of a signature (lower right)

Oil on canvas

38.3 x 61.4cm; 15 x 24¼in

£150-250

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286 285 284 121

287 RICHARD ANSDELL RA

1815-1885

The Monastery

Signed and dated RAnsdell 1837 (lower left)

Oil on canvas

96.5 x 127.3cm; 38 x 50in

Provenance:

In the family of the present owner for at least three generations

This painting depicts a scene from The Monastery by Sir Walter Scott (1771-1832). Set in the Hall of Avenel Castle, it centres on the figure of Baron Julian Avenel, holding a goshawk. On the left is Catherine of Newport, his partner, and on the right is Christie of Clinthill, his chief henchman. Amongst the men in the background are Halbert Glendinning and the preacher Henry Warden, whom Christie is about to introduce to the Baron. We are grateful to Sarah Dean (formerly Kellam, née Ansdell) great, great granddaughter of the artist, for confirming the attribution.

£2,500-3,500

288 ENGLISH SCHOOL

19th Century

Capturing the flag

Oil on canvas 23 x 30.6cm; 9 x 12in

£300-500

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288 287
122
Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 289 CIRCLE OF BENJAMIN WEST Early 19th Century The sacrifice of Polyxena Oil on canvas 79.7 x 125.5cm; 31¼ x 49½in
289
£1,000-1,500
123
289 (framed)

290 FERDINAND ROYBET

French 1840-1920

The cavalier standing in an interior

Signed F.Roybet (lower left) and dated 1883 (lower right)

Oil on panel

34.4 x 22.5cm; 13½ x 8¾in

Provenance: Christie’s, New York, 19th Century European Paintings, 21 May 1997, lot 110; Haynes Fine Art, Broadway; Private Collection

£800-1,200

291 HERMANN SONDERMANN

German 1832-1901

A woodcutter counting his coins

Signed and indistinctly dated H Sondermann/***1879 (lower left)

Oil on canvas

61.4 x 46.5cm; 24¼ x 18¼in

£500-800

292 HAYNES KING

1831-1904

Reading the letter

Signed and dated HKing/1862 (lower left)

Oil on canvas 24.6 x 16.8cm; 9¾ x 6½in

£600-800

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292 291 290 124

293

293

PHILIP HERMOGENES CALDERON RA

1833-1898

The Gaoler’s Daughter - A Scene from the French Revolution

Signed with monogram and dated 1858 (lower left)

Oil on canvas

38.8 x 29.7cm; 15¼ x 11¾in

Exhibited: London, Royal Academy, 1858, no.442

The Royal Academy exhibition catalogue quotes the following verse by Henry Wadsworth Longfellow: “No one is so accursed by fate,/No one so utterly desolate,/But some heart, though unknown,/Responds unto his own”.

£2,000-3,000

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125

294

294 WILLIAM ETTY RA

1787-1849

Venus and Cupid in a landscape Oil on board, laid on card 66.9 x 51.5cm; 26¼ x 20¼in

Provenance: Frost and Reed; The Maas Gallery, London, where acquired by the present private collector £6,000-8,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
126

295

WILLIAM ETTY RA

1787-1849

Provenance:

Sotheby’s, London, British & Continental Pictures, 12 October 2005, lot 69 (as Attributed to William Etty); The Maas Gallery, where acquired by the present private collector (as Etty) £6,000-8,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
Two women bathing Oil on panel, in a painted oval 49 x 40cm; 19¼ x 15¾in
127
295

296 GEORGE

HERING

1805-1879

EDWARDS

Mill on the Lake of Como

Signed and dated G E Hering/1844 (lower right)

Oil on canvas

102 x 127.5cm; 40¼ x 50¼in

Provenance:

Export Fine Arts, London, where purchased by the present private collector, October 1989

Exhibited: London, Royal Academy, 1844, no.520

£800-1,200

297 HENRY H. PARKER

1858-1930

Figures and horses returning home near Abbingdon Church Surrey

Signed Henry H Parker (lower right) Oil on canvas

30.5 x 46cm; 12 x 18in

Provenance:

Tennants, Leyburn, 19 July 2002, lot 508; Willow Gallery

£400-600

298 JAMES HAYLLAR

1829-1920

Landscape with a woman hanging washing outside a cottage

Signed and dated James Hayllar/1871 (lower left) Oil on canvas

76.5 x 127.8cm; 30 x 50¼in

Provenance: Frost and Reed, Bristol

£400-600

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298 297 296 128

299

299

ARTHUR JAMES STARK

1831-1902

Landscape with a drover and cattle

Signed Arthur J Stark (lower left)

Oil on canvas

66.5 x 92.6cm; 26¼ x 36½in

£3,000-5,000

300

FOLLOWER OF THOMAS SIDNEY COOPER

Cattle resting under a tree

Bears a signature and dated T Sidney Cooper RA/1867 (lower left)

Oil on panel

45.8 x 35.3cm; 18 x 14in

Provenance: T. Richardson, London

£400-600

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300 129

301

FREDERICK CALVERT

Irish c.1785-c.1845

Fishing boats off Ryde, Isle of Wight

Signed and dated F Calvert/1839 (lower left)

Oil on canvas

45.7 x 61.4cm; 18 x 24¼in

Provenance:

Christie’s, London, Maritime, 2 November 2005, lot 597

£3,000-5,000

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301
130
301 (framed)

Fishing boats in choppy waters at Portsmouth

Provenance:

Shoshi Preiss, London, where purchased by the present private collector

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
302 JAMES WEBB 1825-1895 Signed and dated James Webb/May 1854 (lower left) Oil on canvas 64.2 x 111.9cm; 25¼ x 44in £5,000-7,000 302
131
302 (framed)

303 JOHANNES CHRISTIAAN SCHOTEL

1787-1838

Fishing boats in choppy coastal waters

Signed J C Schotel (lower centre to boat)

Oil on canvas

58 x 73.8cm; 22¾ x 29in

£1,500-2,500

304 ANTHONIE WALDORP

Dutch 1803-1866

A Dutch harbour with a warship firing a salute

Signed A.WALDORP (lower left)

Oil on panel 43.2 x 63.2cm; 17 x 25in

£1,000-1,500

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304 303 132
Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 305 ADRIANUS EVERSEN Dutch 1818-1897 A Dutch town in winter, possibly Haarlem with the Janskerk
Oil on
48.9
£4,000-6,000 305 133
Signed with initials AE (in ligature lower left)
panel
x 40.2cm; 19¼ x 15¾in

306

306

ITALIAN SCHOOL

19th Century

A panoramic view of Constantinople from above Bebek

Signed with initials and dated CR 1885 (lower right) Oil on canvas 115 x 196cm; 45¼ x 77¼in

Provenance:

Christie’s, London, 18 June 1998, lot 213; Christie’s, London, 19th Century Art Including Ottomans and Orientalists, 19 June 2003, lot 2

£12,000-18,000

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134
306 (framed)

German 1846-1927

The Temple of Horus at Edfu, Egypt

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
307 ERNEST KOERNER Signed and dated Ernst Koerner 1888 (lower left) Oil on canvas 100.5 x 150cm; 39½ x 59in £30,000-50,000 307
135
307 (framed)

308

ANGLO-CHINESE SCHOOL

Late 19th Century

A British ship in Chinese coastal waters

Oil on canvas

46 x 59.5cm; 18 x 23½in

£300-500

309

WILLIAM GRAHAM BUXTON

1858-1926

The Dawn of the Day on the Essex coast

Signed and dated W GRAHAM BUXTON 1890 (lower right)

Oil on canvas

67.2 x 97.7cm; 26½ x 38½in

Exhibited: London, Royal Academy, 1890, no.684

£400-600

310

CIRCLE OF RICHARD WHATLEY WEST

Coastal landscape with the remains of a boat on the shore and a village in the distance

Bears a signature and date R W West 1886 (to reverse)

Oil on board

15.4 x 23cm; 6 x 9in

£200-300

311

COLIN HUNTER ARA

Scottish 1841-1904

Fishing boats moored in a harbour

Signed Colin Hunter (lower right)

Oil on board

29.2 x 38.8cm; 11½ x 15¼in

Literature:

Godfrey Bell, Colin Hunter of the Holland Park Circle: His Life and Melbury Road Home (Unicorn Press, 2018), p.238 (illustrated)

£400-600

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136
311 310 309 308

DUTCH

19th Century

Dutch winter landscape with an English ship in a frozen port

Oil on canvas

51 x 61.2cm; 20 x 24in

£800-1,200

JOHANNES

FRANCISCUS

HOPPENBROUWERS

Dutch 1819-1866

Winter landscape with figures skating on a frozen river

Signed indistinctly

J F Hoppenb**** (lower left)

Oil on panel

20.9 x 30.2cm; 8¼ x 12in

Provenance:

Oscar and Peter Johnson Ltd, London

£300-500

1846-1930

A Chelsea pensioner on Cheyne Walk outside Chelsea Old Church and Aldins Coal Wharf

Signed W Greaves (lower left)

Oil on canvas

61.4 x 46.2cm; 24¼ x 18¼in

£500-800

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
312 SCHOOL 314 WALTER GREAVES 313 314
313 137
312

316

315

WILLIAM MAINWARING PALIN

1862-1947

A mother, child and baby in a pram sitting in the shade

Signed W M Palin (lower left)

Oil on canvas

54.9 x 45.9cm; 21½ x 18in

£300-500

316

ENGLISH SCHOOL

19th Century

Study of a mother and child petting a dog

Oil on canvas

60.3 x 44.9cm; 23¾ x 17¾in

£150-250

317

ÉMILE EISMAN-SEMENOWSKY

Polish 1857-1911

Portrait of a young lady wearing a white dress and broad brimmed hat

Signed, dated and inscribed E.Eisman-SEMENOWSKY - PARIS - 1881 (lower centre)

Oil on panel

40.2 x 32.3cm; 15¾ x 12¾in

£300-500

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
317
315 138

HERBERT JAMES DRAPER

1864-1920

Portrait of Yvonne Draper, the artist’s daughter, as a child, standing full-length in a landscape, wearing her christening gown

Signed Herbert Draper (lower right)

Oil on canvas, 1902

121.2 x 68cm; 47¾ x 26¾in

Provenance:

Property of the artist; And by family descent

Literature:

Simon Toll, Herbert Draper 1863-1920: A Life Study (Antique Collector’s Club, 2003), pp.107-108, 187, no.HJD107, plate 62

Exhibited:

Liverpool, Liverpool Autumn Exhibition, 1902, no.916

There is a contemporary photograph of Yvonne Draper wearing the same christening gown. In this period she was also the model for the infant in her father’s painting The Capture, exhibited at the Royal Academy in 1901 (see Toll, HJD108).

£5,000-7,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 •
of each lot are available on www.woolleyandwallis.co.uk 318
Framed images
318
139
318 (framed)

319 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.

£30,000-50,000 319 (framed)

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
140
Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 319 141

320 JOHN BYAM LISTON SHAW 1872-1919

Thou Knowest Not the Works of God Who Maketh All Signed BYAM SHAW (lower right) Oil on panel

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
142
41 x 30.9cm; 16¼ x 12¼in Provenance: Dowdeswell & Dowdeswells, London £2,000-3,000 320

GEORGES JULES VICTOR CLAIRIN

French 1843-1919

Sarah Bernhardt as the Duke of Reichstadt (Napoleon II) in L’Aiglon

Signed, inscribed and dated à Sarah Bernhardt/1900/G.Clarin son ami (lower left) Oil on canvas

85.5 x 109.9cm; 33¾ x 43¼in

Provenance:

Sarah Bernhardt (1844-1923); Ashley John Gallery, Florida; Sotheby’s, New York, Old Master and 19th Century European Art, 28 January 2006, lot 186 Edmond Rostand wrote the play L’Aiglon in 1900. The title, which means The Eaglet, is the nickname of Napoleon Bonaparte’s son, the Duke of Reichstadt (Napoleon II). The scene depicted here is the climax of the play, in which the young man confronts the memory of the Battle of Waterloo.

Sarah Bernhardt (1844-1923), famous for playing male roles, enjoyed a long run as the title character. It was one of her most famous and financially successful dramatic portrayals. She was painted by Georges Clairin on numerous occasions for over 20 years. Their friendship and working relationship will be explored as part of a forthcoming exhibition on Bernhardt at the Petit Palais, Paris later this year.

£4,000-6,000

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
321 321
143
321 (framed)

322

WILLIAM MUSSILL

Austrian 1828-1906

Study of wild flowers

Signed W Musill (lower right)

Oil on canvas

37 x 45.4cm; 14½ x 17¾in

£1,000-1,500

323 B. ERTAS

Late 19th/Early 20th Century

Still life with poppies in a vase

Signed B ERTAS (lower right)

Oil on canvas

63.3 x 50.5cm; 25 x 20in

£300-500

324

RICARDO MARTÍ AGUILÓ

Spanish 1868-1936

Still life with flowers, a pitcher and bowl on a tabletop

Signed Ricardo Marti (lower right)

Oil on canvas

64.3 x 49.5cm; 25¼ x 19½in

Provenance: Sotheby’s, London, Nineteenth Century European Paintings, Drawings and Watercolours, 17 March 1993, lot 42;

Christie’s, London, 19th Century European Art, 5 April 2001, lot 42; Private Collection, London

£500-800

325

ELOISE HARRIET STANNARD

1829-1914

Strawberries, cherries and a cabbage leaf in a basket on a stone ledge

Signed and dated E H Stannard/1891 (lower left)

Oil on canvas

35.6 x 25.4cm; 14 x 10in

£4,000-6,000

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
324 323 322 144
Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk 325 145

326 JOSÉ

WEISS

1859-1919

Looking towards Stoke

Signed Jose Weiss (lower left)

Oil on panel 19 x 26.8cm; 7½ x 10½in

Provenance:

In the family of the present owner for at least 70 years

£200-300

327 JOSÉ

WEISS

1859-1919

Spring Evening

Signed Jose Weiss (lower right)

Oil on panel 19.3 x 26.8cm; 7½ x 10½in

Provenance:

In the family of the present owner for at least 70 years

£200-300

328 JOSÉ

WEISS

1859-1919

On the Seine, France

Signed Jose Weiss (lower right)

Oil on panel 25.3 x 38cm; 10 x 15in

Provenance: In the family of the present owner for at least 70 years

£200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
328 326 327 146

American 1841-1916

View of a country garden with a rowing lake and a house beyond

Signed and dated Enneking 90 (lower right)

Oil on canvas laid on board 22.4 x 31cm; 8¾ x 12¼in £1,000-1,500

exh.1903-1936

Elegant figures in a park

Oil on panel

20.8 x 27cm; 8¼ x 10½in

Exhibited: London, Goupil Gallery Salon, 1911, no.101 (as ‘Evening Sketch’)

£200-300

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
329 JOHN JOSEPH ENNEKING
330 329
330 DAVID S. NEAVE
147

Weighing Anchor

Signed M.Sinclair (lower right) and inscribed Weighing Anchor (to reverse)

Oil on canvas

30.8 x 25.5cm; 12¼ x 10in

£300-500

Late 19th Century

A young girl washing her hands in an interior

Signed and dated A.Morrison '94 (lower left)

Oil on canvas

47.5 x 35.6cm; 18¾ x 14in

£300-500

Late 19th Century Mountain landscape with women minding the cattle

Signed indistinctly A VA**/ (lower right)

Oil on canvas

33.5 x 49.6cm; 13¼ x 19½in

£400-600

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
333 SWISS SCHOOL 331 MAX SINCLAIR act.1864-1910
333
332 331
332 A. MORRISON
148

RSA RSW

Scottish 1855-1936

Gardeners at rest

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
334
ROBERT GEMMELL HUTCHISON Signed and dated R G Hutchison 83 (lower right) Oil on canvas 91.4 x 61.3cm; 36 x 24¼in
334 149
Provenance: By descent to the present owner £3,000-5,000

335

335

BRITISH SCHOOL

Early 20th Century

Still life with lilacs in a yellow bowl

Oil on canvas 46 x 56cm; 18 x 22in

£200-300

French 1856-1920

Still life with apples, grapes and two glasses of wine

Signed and dated VLecomte 77 (upper right, VL in ligature)

Oil on canvas 29.8 x 40.6cm; 11¾ x 16in

£400-600

337

1854-1937

The Kitten has had the cream

Signed and dated WILSON HEPPLE 1910 (lower right)

Oil on canvas board 20.3 x 29.8cm; 8 x 11¾in

Provenance: Sotheby’s, London, 19th Century Paintings and Watercolours, 13 February 2002, lot 316

£150-250

19th Century

Portrait of a young girl, full length, wearing a blue dress and holding a rose and a basket of fruit

Oil on canvas 92 x 71.4cm; 36¼ x 28in

Unframed

£200-300

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
338 337 336 336 VICTOR LECOMTE WILSON HEPPLE 338 ENGLISH SCHOOL
150

339

ALEXANDER MORTIMER

Late 19th/Early 20th Century

Coastal landscape with gulls by the cliffs and a steamship in the distance; Coastal with waves crashing against the cliffs and gulls circling

A pair, the former signed A Mortimer (lower left), the latter signed and dated A Mortimer 09 (lower left)

Both oil on canvas

Each 44.8 x 24.6cm; 17¾ x 9¾in (2)

£300-500

340

HEINRICH RASCH

German 1840-1913

Mending nets on the beach

Signed and indistinctly inscribed Heinrich Rasch *** (lower right)

Oil on panel

18.6 x 30.4cm; 7¼ x 12in

£400-600

341

MANNER OF EDWIN HAYES

Coastal landscape at dusk with figures watching the boats from the shore

Bears a signature and date E Hayes/65 (lower left)

Oil on board

14.1 x 35.3cm; 5½ x 14in

Provenance:

From the Estate of H.R. Yorke-Davies

£100-150

342

WILLIAM LANGLEY

act.1880-1920

Coastal landscape with gulls flying above the dunes

Signed William Langley (lower right)

Oil on canvas

51 x 76.5cm; 20 x 30in

£100-200

Lots marked ‡ may be subject to an additional fee - please see ARR information on page 161 • Framed images of each lot are available on www.woolleyandwallis.co.uk
342 341 340 339 151

INDEX OF ARTISTS

Cardon, Claude 282

Cignani, Carlo, Follower of 237

Clairin, Georges Jules Victor 321

de Clerck, Hendrick, Attributed to 47

Codde, Pieter, Manner of 214

Collingwood Smith, William 116

Constable, John 194, 195, 196

Continental School 18th Century 7

Continental School 19th Century 205

Cook, Thomas 28

Cooper Gotch, Thomas 122

Cooper, Abraham 276, 277

Cooper, Thomas Sidney, Follower of 300

Cotman, John Sell 179, 180

Courtois, Jacques, Follower of 239

Cox Jnr, David 109, 110

Cox Snr, David 166, 167, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 197

Cox, Snr, David, Attributed to 168

Van Craesbeeck, Circle of 218

Cruikshank, Isaac Robert 71

Egbert Lievensz. van der Poel 224

Egley, William, Circle of 15

Eisman-Semenowsky, Émile 317

Emms, John 275

English School 316

English School 17th Century 1, 5

English School 18th Century 8, 9, 13, 17, 202, 203, 206, 248, 249, 262

English School 19th Century 16, 93, 101, 125, 161, 182, 204, 257, 259, 267, 286, 288, 316

Ertas, B. 323

Etty, William 294, 295

Eversen, Adrianus 305

F

Ferrière, François 12

Fielding, Newton Smith Limbird 141

Finart, Noël-Dieudonné 62

Flemish School 17th Century 229

Francia, Francois-Thomas-Louis 181

Francken II, Frans, Circle of 220

Francken II, Frans, Follower of 217

Fraser, Robert Winchester 81

Danemark, Marie du 129, 130

Devis, Arthur William, Circle of 251

Devis, Arthur, Circle of 200

Devis, Arthur, Follower of 252

Downman, John 59

Draper, Herbert James 36, 318, 319

Duncan, Edward 83, 84, 144

Durrant, John 88

Dutch School 17th Century 2

Dutch School 18th Century 223, 233

Dutch School 19th Century 312

Van Dyck, Anthony, After 213

French School 17th Century 6

French School 18th Century 18, 30, 240

French School 19th Century 18, 61, 69, 201

Frost, William Edward 111, 112

Fulleylove, John 70

Earl, Ralph, After 256

Earl, Ralph, Circle of 255

Edwards Hering, George 296

152
A
124
324
34
Charles Frederick 102 Allingham, Helen 153 Amato, A. 65 American School 19th Century 207 Anderson, William 79
School Late 19th Century 308
Richard
Jacques, Circle of 228 B Baptista, Marciano Antonio 134 Bardill, Ralph William 114 Barker of Bath, Thomas 208 Barnes, Robert 160 Barton, Rose Mary 162 de Batz, Marthe 126 Beaumont, Frederick Samuel 159 Beer, John 138 Bellini, Filippo, Circle of 41 Boggio, Emilio 94
François, Manner of 232 Bouvier, Augustus Jules 157
Brabazon, Hercules 148, 193
Brekelenkam, Quirijn, After 219 Bridgman,
Arthur 67 Bright, Henry 118 British School Early 20th 335 Brown, K. C. 142 Bulleid, George Lawrence 123 Burgess, William 77 Buxton, William Graham 309 C Caldecott, Randolph 189 Calvert, Frederick 301
Alexander, Edwin John
Aguiló, Ricardo Martí
Aldin, Cecil
Allbon,
Anglo-Chinese
Ansdell,
287 Armfield, Edward 281 Arnee Frank, William 85 d’Arthois,
Boucher,
Brabazon
Van
Frederick
D
E
G
Gainsborough, Thomas 165
Gainsborough, Thomas, Circle of 258 Gardner, Daniel 58 Gascoyne, George 278
Goodwin, Albert 270 Gore, Charles 54 Greaves, Walter 314 Griffier I, Jan, Follower of 226 H Haghe, Louis 32 Hammond, Gertrude Demain 158 Hammond, Robert John 283 Hardwicke Lewis, John 75 Hardy Jnr, James 284 Hayes, Edwin, Manner of 341 Hayllar, James 298 Heinrich, Franz 96 Heins, John Theodore 250 Hepple, Wilson 337 Hermogenes Calderon, Philip 293 Hills, Robert 73 Hla, M. T. 136 Hoare, William 60 Hoeterickx, Emile 131 Hogarth, William, After 29 Hogarth, William 27 Holland, Thomas 128 Holman Hunt, William 33, 121 Hone, Nathaniel 11 Hoppenbrouwers, Johannes Franciscus 313 Hough, William B. 127 Howard, S 86 Howitt, Samuel 72 Hudson, Thomas 253 Hunter, Colin 311 I Italian School 17th Century 238 Italian School 18th Century 44, 242 Italian School 19th Century 306 J Jansz. Begeyn, Abraham 51 Johnson, Cornelius, Manner of 3
Gemmell Hutchison, Robert 334 Gerritsz Decker, Cornelis 222 Gibson, David 10

INDEX OF ARTISTS

K Kate, Mari ten 154, 155, 156

Kauffman, Angelica, Manner of 209

King, Haynes 292

Kirkpatrick, Joseph 151, 152

Kneller Bt, Godfrey 245

Koerner, Ernest 307

L Labruzzi, Carlo 95

Lacroix de Marseille, Charles

François, Follower of 244

Lambrechts, Jan Baptist 221

Langley, William 342

Laporte, John 53

Laurence Hart, J 143

Lawrence, Thomas, Attributed to 21, 261

Lawrence, Thomas and Later, Studio of 260

Le Cave, Peter

Lear, Edward

Lecomte, Victor 336

Leeson Rowbotham, Thomas Charles 80,

Leitch, Richard 105 Lewis Reilly, John 254

Van Lint, Pieter, Circle of 216

Linnell, James Thomas

Liston Shaw, John Byam 320

M

Maggs, John Charles 280

Maguire, Thomas Herbert 30A

Manieri, Carlo 236

Martino, M. 64

Mauve, Anton 210

Meynell Rheam, Henry 106

Van Mierevelt, Michiel Jansz, Circle of 211

Millet, Jean-François, After 192

Milner Kite, Joseph 140

Poussin,

Redmond, Thomas, Circle of 14

Reni, Guido, Follower of 50

Reynolds, Joshua, Attributed to 265

Reynolds, Joshua, Studio of 264

Riley, John, Circle of 198

Van Rijn, Rembrandt Harmensz, After 215

Robert, Follower of Walker, 246

Roberts, David, Follower of 66, 271

Robertson, Andrew 22

Ronner-Knip, Henriëtte 137

Rosse, Susannah-Penelope, Circle of 4

Roybet, Ferdinand 290 S

Sacchi, Andrea, Circle of 45

Schongauer, Martin 26

Schotel, Johannes Christiaan 303

Scottish School 19th Century 74, 76

Shayer, William 279

Sinclair, Max 331

Smart, John 20

Smith, Thomas Noel 113

Smythe, Edward Robert 139

Snyders, Frans, Circle of 49

Sondermann, Hermann 291

van Staaten, Louis 132

Stanfield, Clarkson 68

Stannard, Eloise Harriet 325

Stannard, Sylvester 115

Stark, Arthur James 299

Stark, James 119, 120, 188

Stöckler, Emanuel 97

Sunderland, Thomas 78

Sustermans, Justus, Follower of 199

Swiss School Late 19th Century 333

Turner, Joseph Mallord, Follower of 269 V

Van de Velde, Willem, Follower of 234

Vanderbank, John 164

Varley, Cornelius 56

Varley, John 57, 82, 185, 186

Verbeeck, Pieter Cornelisz 163

Verbruggen II, Gaspar Pieter 235

Véron, Alexandre Paul Joseph 243 Vickers, Alfred Gomersal

Watts, Frederick Waters

Watteau, Jean Antoine, After 241 Webb, James 302

Weiss, José 326, 327, 328

West, Benjamin, Circle of 289

West, Richard Whatley, Circle of 310 West, William 145

Wildens, Jan, Circle of 52

Williams, Charles Sidney 135

Winter, Holmes Edwin

de Wint, Peter 183, 184

Wissing, William, Attributed to 247 Woodlock, David 150

Taylor, Charles Jnr. 89, 90, 91

Teniers II, David, Follower of 227

Thors, Joseph 285

Zuccari family, Circle of 46

153
55
191
92
146
104
231 Morland,
263 Morrison, A 332 Mortimer, Alexander 339 Müller, William James 108 Mussill, William 322 Myers, Hannah 19 Mytens, Jan, Circle of 212 N Nasmyth, Patrick 266 Neale, John Preston, 187 Neave, David S. 330 Nicol, Erskine 107 Northern European School 17th Century 40 O Odevaere, Joseph Denis, Attributed to 43 P Palamedesz, Anthonie, Follower of 48 Palin, William Mainwaring 315 Parker, Henry H. 297 Parsons, Beatrice Emma 149 Payne, Charles Johnson, Snaffles 37, 38 Peake, James 24 Pether, Henry 268 Plimer, Andrew 23 Van Poelenburgh, Cornelis, After 225 Pollentine, Alfred 272 Porter, Robert Ker 63
Mole, John Henry 98, 99 Moore, Henry 103,
Morel, Jean-Baptiste, Manner of
George
42
147
Nicolas, Follower of
Price Boyce, George
100 R Rasch, Heinrich 340
Prout, John Skinner
T
133 W Waldorp,
304 Walters,
87 Ward,
35 Wasley,
273
274
117 Viotti, Giulio
Anthonie
George Stanfield
James
Frank
Cornelius 190
Z

MODERN BRITISH & 20TH CENTURY ART

WEDNESDAY 7TH JUNE 2023

CLOSING DATE FOR ENTRIES 12TH APRIL

Mary Fedden OBE, RA, RWA (1915-2012) Gin

Signed and dated Fedden 1998 (lower left) Watercolour, bodycolour and printed collage 19.2 x 26cm

Provenance:

Christie’s, South Kensington, 20th Century British Art, 28 April 1999, lot 232; Bonhams, London, Modern and Contemporary - British and Continental Painting and Sculpture, 22 March 2000, lot 109; Vincent Kosman Fine Art, Edinburgh Estimate £3,000 - 5,000*

ENQUIRIES

Victor Fauvelle | +44 (0)1722 446961 | vf@woolleyandwallis.co.uk

*Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

CLARICE CLIFF, ART DECO & DESIGN

WEDNESDAY 22ND & THURSDAY 23RD MARCH 2023

ENQUIRIES

Michael Jeffery | +44 (0)1722 424505 | mj@woolleyandwallis.co.uk

*Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

A selection from a ‘Circus’ pattern dinner service designed by Dame Laura Knight and manufactured by Clarice Cliff, 1934 Estimates £800 - 1,200* (tureen) & £500 - 800* (plates)
ENQUIRIES Mark Yuan Richards | +44 (0)1722 411854 | myr@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price FURNITURE, WORKS OF ART & CLOCKS TUESDAY 4TH & WEDNESDAY 5TH APRIL 2023 A collection of 19th century coquilla nut figural snuff boxes Estimate £400 - 600* each
ENQUIRIES Rupert Slingsby | +44 (0)1722 424501 | rs@woolleyandwallis.co.uk Lucy Chalmers | +44 (0)1722 424594 | lc@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price SILVER & OBJECTS OF VERTU TUESDAY 18TH & WEDNESDAY 19TH APRIL 2023
A rare George II silver-gilt coronation canopy bell, by Francis Garthorne, London circa 1727 Estimate £7,000 - 10,000*

FINE JEWELLERY

THURSDAY 20TH & FRIDAY 21ST APRIL 2023

An impressive late 19th century diamond parure, comprising a necklace, earrings, a brooch and a stomacher Estimate £50,000 - 70,000*

ENQUIRIES

Samuel Hug | +44 (0)1722 424586 | jewellery@woolleyandwallis.co.uk

*Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

WEDNESDAY 26TH APRIL 2023

ENQUIRIES

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

*Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price BRITISH & CONTINENTAL CERAMICS & GLASS
A rare commemorative wine glass, engraved with the hot air balloon of James Sadler of Oxford Estimate £500 - 800*

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160

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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 ‡ 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.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS

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 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4%) 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. (As at 31st December 2020. Please refer to SOFAA website for updates to the Terms and Conditions).

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.

OF BUSINESS

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.

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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 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4%) 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

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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 ‡ symbol are potentially subject to the levy.

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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;

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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

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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.

A345 Castle Rd PortwayBeehivePark&Ride A345 A36 Chu r c h ll Way A36 Old Sarum SALISBURY AMESBURY Sarum Business Park O d Sarum Park E N S W Kia Motors Westover Garage MARLBOROUGH & SWINDON Storage works WOOLLEY & WALLIS Salisbury Salerooms WOOLLEY & WALLIS Castle Gate Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU Woolley & Wallis Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX VIEWING HERE AUCTION HERE 167 SALISBURY MILL ROAD NEW STREET FISHERTONST WYNDHAMROAD SCOTS LN BEDWIN ST WINCHESTER ST CHIPPER LN SALT LN ASHLEYROAD ST ANN ST SOUTH WESTRD HULSERD CASTLE STRE E T NEW CANAL CATHEDRAL A360DEVISES RD A36(T)CHURCHILL WAYWEST A36 CHURCHILLWAYNORTH C A S T L E R D A 3 4 5 COOMBE RO A D A36(T)CHURCHILLWAYSOUTH A 3 6 ( T ) CHURCHILLWAYEAST A36(T) SOUTHAMPTONROAD HARNHAMROAD A3094 NEW HARNHAMROAD DOWNTONROADA338 WILTONRDA36 CENTRAL CAR PARK AMESBURY & MARLBOROUGH LONDON, ANDOVER & WINCHESTER WILTON & WARMINSTER A338 BOURNMOUTH & RINGWOOD A354 DORCHESTER WEYMOUTH & BLANDFORD SOUTHAMPTON WOOLLEY & WALLIS SALEROOMS
Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.
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

WEDNESDAY 8TH MARCH 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 25% 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

168 Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: +44 (0)1722 424500 PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order Brief Description of lot Price excluding buyer’s premium & VAT

AUCTION CALENDAR

MARCH

8th Old Masters, British & European Paintings

22nd Clarice Cliff, Art Deco & Design

APRIL

4th & 5th Furniture, Works of Art & Clocks

18th & 19th Silver & Objects of Vertu

20th & 21st Fine Jewellery

26th English & European Ceramics & Glass

MAY

17th Medals & Coins, Arms & Armour

23rd & 24th Asian Art, Chinese Paintings & Japanese Works of Art

JUNE

7th Modern British & 20th Century Art

21st Fine Arts & Crafts (Including Martin Ware)

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

SOLD FOR £68,750*

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR UPCOMING AUCTIONS
Arthur William Devis (1762-1822) Portrait of two young men with a globe turned to India (detail)

www.woolleyandwallis.co.uk

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