BRITISH & EUROPEAN PAINTINGS
MASTERS,
WEDNESDAY 8TH MARCH 2023
SPECIALIST DEPARTMENTS
Please dial +44 (0)1722 followed by the number listed below
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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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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
58
58
DANIEL GARDNER
1750-1805
Portrait of a lady, wearing a pink dress, white fur-lined cloak and white headdress
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
Fishing boats in choppy waters at Portsmouth
Provenance:
Shoshi Preiss, London, where purchased by the present private collector
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
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
German 1846-1927
The Temple of Horus at Edfu, Egypt
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
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
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
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
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)
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
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
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
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
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
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
RSA RSW
Scottish 1855-1936
Gardeners at rest
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
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
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
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
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)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
AUCTION INFORMATION
OPENING HOURS
Castle Street Salerooms
Monday to Friday 9am – 5.30pm
Castle Gate Offices
Monday to Friday 9am – 5.30pm
VIEWING
All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.
REGISTERING WITH US
All first time buyers need to register with us. Once registration is complete you will be provided with a paddle number which can be used in all future sales.
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BIDDING AT AUCTION
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BIDDING IN THE ROOM
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COMMISSION BIDDING
If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.
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BUYER’S PREMIUM
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.
CONDITION REPORTS
The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true.
SALE RESULTS
These will be posted on our website shortly after the sale.
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Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.
EXPORTING YOUR PROPERTY FROM THE UK
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Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand-carried exports.
In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.
PAYMENT AND CLEARANCE
Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.
The following methods of payment may be made:
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Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB.
Account no. 00957707
Sort code 30-97-41
IBAN no. GB20LOYD30974100957707
BIC code LOYDGB21063
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Where practical, payment can be made and purchases collected during the auction.
We reserve the right to add storage charges to all lots not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.
LOT SYMBOLS VAT
Lots marked with a dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.
CITES REGULATIONS
Please note that lots marked λ may be subject to CITES Regulations when exported.
The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/
ARTIST’S RESALE RIGHT / DROIT DE SUITE
Lots marked with a ‡ 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.
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.
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
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.
WHAT THIS PRIVACY NOTICE DOES
PRIVACY NOTICE FOR CUSTOMERS
This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you.
This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.
DATA CONTROLLER AND CONTACT DETAILS
Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and the General Data Protection Regulation (GDPR).
If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details:
• By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU.
• By email – privacyofficer@woolleyandwallis.co.uk
• By telephone – +44 (0)1722 424599
HOW WE COLLECT YOUR PERSONAL DATA
We collect your personal data from the following sources:
• From you when you:
- interact with us before entering into a contract with us, for example when you express your interest in our Services;
- instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions;
- communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account;
- in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.
• From third parties such as:
- other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you;
- thesaleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on thesaleroom.com) of individuals who register for one of our auctions (please see thesaleroom. com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (thesaleroom.com’s payment provider);
- sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided);
- shipping companies whom you hire to collect items you purchased from us.
THE CATEGORIES OF PERSONAL DATA WE COLLECT
We may collect the following personal data about you:
• your name and contact details including address, telephone and email address;
• your image, as captured by CCTV, if you attend our premises;
• personal identification documents, including copies of government-issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details);
• account details and other information relating to your transactions/dealings with us and your use of our Services;
• payment details such as credit card and bank account details;
• credit and payment history (where you open an account with us as a buyer or bidder);
• information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and
• other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.
We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.
THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA
WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU
We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following:
• to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services);
• once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.
In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.
LEGITIMATE INTERESTS
We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following:
• to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance;
• to deal with any concerns or feedback you may have in the performance of the Services;
• for our internal business record keeping and processes;
• to seek advice on our rights and obligations, including obtaining legal advice;
• to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes;
• to customise our website and marketing communications in line with your particular interests or preferences;
• to collect money owed to us or our consignors;
• to carry out background and credit checks in relation to bidders and buyers.
In this respect we will provide your data to the following:
• our professional advisors;
• the-saleroom.com;
• debt collection agencies;
• third parties who assist us with our marketing;
• our website and email management software provider.
LEGAL OBLIGATIONS
We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following:
• to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks;
• in order to assist with investigations (including criminal investigations) carried out by competent authorities;
In this respect we will provide your data to the following:
• external auditors;
• the police and other competent authorities, including HMRC;
CONSENT
We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above. Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.
SPECIAL CATEGORIES OF PERSONAL DATA
We process special categories of personal data for the following reasons:
• if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention);
• if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers);
We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).
INTERNATIONAL TRANSFERS OF DATA
We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.
We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.
PROFILING
We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.
HOW LONG YOUR INFORMATION IS KEPT
We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.
In particular:
• in relation to CCTV images taken when you attend our premises, we will retain these for a few months;
• in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services;
• we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive;
• in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.
YOUR LEGAL RIGHTS
Under the DPA you have the following rights:
• to obtain access to, and copies of, the personal data that we hold about you;
• to require that we cease processing your personal data if the processing is causing you damage or distress;
• to require us not to send you marketing communications.
• to require us to correct the personal data we hold about you if it is incorrect;
• to require us to erase your personal data;
• to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal);
• to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller;
• to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.
Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.
If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk
Woolley & Wallis Salisbury Salerooms Ltd.
51-61 Castle Street, Salisbury, Wiltshire SP1 3SU
Registered in England No.02998482
VAT No: 631 9832 29
VALUATIONS
Valuations are a core part of our business and are usually carried out by a senior specialist or director. Accuracy, speed and above all confidentiality are paramount.
INSURANCE VALUATIONS
Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.
For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.
Woolley and Wallis valuations are accepted by all leading insurance companies.
PROBATE VALUATIONS
We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.
We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.
Contact Amanda Lawrence +44 (0)1722 424509 | valuations@woolleyandwallis.co.uk
FREE AUCTION VALUATIONS
Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleyandwallis.co.uk or call +44 (0)1722 424500.
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
ID may be required even if you have bid with us before.
Signature
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 AUCTIONSArthur William Devis (1762-1822) Portrait of two young men with a globe turned to India (detail)
www.woolleyandwallis.co.uk