Woolley & Wallis Auctioneers by Park Communications

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS

WEDNESDAY 5TH MARCH 2025

SPECIALIST DEPARTMENTS

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

PAINTINGS

Victor Fauvelle 446961

Ed Beer 446962

Victoria Sturgeon 446970

Heidi Easton 446970

20TH CENTURY DESIGN

Michael Jeffery 424505

Zoe Smith 446955

AFRICAN & OCEANIC ART | ANTIQUITIES

Will Hobbs 339752

Georgina Way 446980

Molly O’Reilly

ASIAN ART

John Axford MRICS 424506

Alexandra Aguilar 424583

Freya Yuan-Richards 424589

Jeremy Morgan +44 (0)7812 601098

Michelle Yu 424571

Olivia Jones 424591

Nelson Chui 424591

BRITISH AND CONTINENTAL CERAMICS & GLASS

Clare Durham 424507

Hollie Morrison 446964

CHINESE PAINTINGS & CALLIGRAPHY

Freya Yuan-Richards 424589

Michelle Yu 424571

FURNITURE, WORKS OF ART & CLOCKS

Mark Yuan-Richards 411854

Neil Grenyer MRICS 446974

Jim Gale 339161

Sarah Stone 339161

Victoria Elwell 339161

JAPANESE WORKS OF ART

Alexandra Aguilar 424583

Olivia Jones 424591

JEWELLERY

Marielle Whiting FGA 424595

Jonathan Edwards FGAA (Consultant) 424504

Sarah Lancaster

MEDALS & COINS, ARMS & ARMOUR

Ned Cowell 341469

Georgina Way 446980

Molly O’Reilly

SILVER

Rupert Slingsby 446956

Archie Swann 446959

Jacob Carpenter 446957

Becky Tilly-Trickett

VALUATIONS FOR INSURANCE & PROBATE

Jeremy Lamond MRICS FRSA 424502

Neil Grenyer MRICS 446972

Frances Woodhams

Hannah Farthing (Trainee valuer)

CLIENT SERVICES

Ruth Pike (Client Services Manager) 424500

Sarah Bennie

Julie Langstaff

Gemma Pointer

Riin Rohtla-Szeverenyi

Demi Jueno-Chapman

MARKETING

Chloe Davie

ACCOUNTS

Ania Antkowiak

BOARD OF DIRECTORS

John Axford MRICS

Chairman

Natalie Milsted FCCA

Managing Director

ASSOCIATE DIRECTORS

Alexandra Aguilar

Ed Beer

Ned Cowell

Clare Durham

Victor Fauvelle

Will Hobbs

Michael Jeffery

Jeremy Lamond MRICS FRSA

Rupert Slingsby

Marielle Whiting FGA

Freya Yuan-Richards

Mark Yuan-Richards

446951

424565

Front Cover: Lot 339 Back Cover: Lot 329 Catalogue £12.00 (£15.00 by post)

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS

WEDNESDAY 5TH MARCH 2025

10.00AM

AT OUR CITY CENTRE SALEROOMS, SP1 3SU

PAINTINGS

VIEWING AT OUR OLD SARUM GALLERIES

Unit 1B, Castle Gate Business Park Old Sarum, Salisbury SP4 6QX

VIEWING

Saturday 1st March 10.00am – 1.00pm

Monday 3rd March 10.00am – 4.00pm

Tuesday 4th March 10.00am – 4.00pm

Wednesday 5th March By appointment

Victor Fauvelle +44 (0)1722 446961 vf@woolleys.live Ed Beer +44 (0)1722 446962 eb@woolleys.live

Victoria Sturgeon +44 (0)1722 446970 vs@woolleys.live

Heidi Easton +44 (0)1722 446970 he@woolleys.live

DIRECTIONS TO THE OLD SARUM GALLERIES

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

VIEWING

Saturday 1st March 10.00am – 1.00pm

Monday 3rd March 10.00am – 4.00pm

Tuesday 4th March 10.00am – 4.00pm

Wednesday 5th March By appointment

THE AUCTION ON 5TH MARCH WILL TAKE PLACE AT OUR CITY CENTRE SALEROOMS

51-61 Castle Street, Salisbury SP1 3SU

BUYER’S PREMIUM

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

TELEPHONE BIDDING

Requests for telephone bidding cannot be accepted after 5pm on Tuesday 4th March.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

COLLECTION OF LOTS

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

Collection of sold and unsold lots must be within 21 days of the sale –failure to collect within this time may result in storage fees.

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

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

LIVE ONLINE BIDDING - FREE OF CHARGE

bid.woolleyandwallis.co.uk

Please register by 5pm on Tuesday 4th March.

Instagram: @woolleyandwallispaintings @woolleyandwallissalerooms

Facebook: @woolleyandwallis

Pinterest: Woolley and Wallis

PORTRAIT MINIATURES

18th Century

Portrait miniature of an officer in uniform and with powdered hair

Oval, in a gilt metal frame, the glazed reverse revealing the initial W over a hair back

67 x 55mm

Provenance:

Dr. J.O.P. Edgcumbe

£150-250

DUTCH SCHOOL

Early 18th Century

Portrait miniature of a gentleman wearing a red cloak, lace collar and long wig

On copper, oval, in a gilt metal frame

78 x 65mm

£100-150

ATTRIBUTED TO CHRISTIAN FRIEDRICH ZINCKE

German 1683-1767

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

Enamel on copper, oval, in a gilt metal frame

48 x 39mm

£500-700

ENGLISH SCHOOL

c.1800

Portrait miniature of a young officer in uniform

On card, oval, in a rectangular ebonised wooded frame

76 x 62mm

Provenance:

Dr. J.O.P. Edgcumbe

£100-150

18th Century

Portrait miniature of a gentleman in profile, wearing a blue coat

Oval in a gilt metal frame

48 x 39mm

£150-250

6 λ CARBONARA fl.1808

Portrait miniature of Gabriel V. Ludlow, seated full-length before a pillar, beside a globe, and a table strewn with maps and books, wearing black pantaloons and jacket, with white shirt and cravat

Signed and dated Carbonara 1808 (centre to column)

Oval, in a rectangular ebonised wooden frame

71 x 57mm

£300-500

7 HENRY PIERCE BONE 1779-1855

AFTER SIR MARTIN ARCHER SHEE

1769-1850

Portrait miniature of Mr Proctor, wearing a dark red cloak

Signed, dated and inscribed George Proctor aetat 27/London July 1810/ Painted by Henry Bone ARA/Enamel painter to the King/Prince of Wales/ After MA Shee RA (to the counter enamel according to label)

Enamel on copper, oval, in a rectangular wooden frame

86 x 71mm

The squared drawing for this work is in the collection of the National Portrait Gallery, London (no.NPG D17641).

£600-800

CIRCLE OF SPOILUM

Portrait miniature of Mr Cole, wearing a blue coat and white waistcoat

Oval, in a red leather case

59 x 48mm

£100-150

CIRCLE OF SPOILUM

Portrait miniature of a gentleman, wearing a blue coat and white waistcoat

Oval, in a gilt metal frame

63 x 51mm

£100-150

ENGLISH SCHOOL

18th Century

Portrait miniature of a gentleman wearing a green coat

Roundel, in an ebonised square frame

50 x 50mm

£150-250

11 λ CIRCLE OF PETER MAYR

Portrait miniature of a gentleman wearing a brown coat, blue waistcoat and powdered wig

Roundel, in a gilt metal frame

48 x 48mm

Provenance:

Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 4 September 2024, lot 618, where purchased by the present private collector

£100-150

14 λ

ENGLISH SCHOOL

c.1800

Portrait miniature of Mr Smith aged 20, wearing a blue coat and white stock

Rectangular, in an ebonised wooden frame

74 x 57mm

£150-250

17 λ

ROBERT HENDERSON

1826-1904

Portrait miniature of a young lady wearing a white dress

Signed with initials, dated and inscribed Dickinsons/R.H.1891 (centre left)

Oval, in a gilt metal frame, the glazed back revealing a silk reverse, in a red leather case

170 x 90mm

Provenance:

Rev Mother Abbess of the Convent of Poor Clares, Sclerder, Cornwall (according to card)

£150-250

12 λ ENGLISH SCHOOL

c.1800

Portrait miniature of a gentleman, wearing a black coat

Oval in a gilt metal frame

58 x 45mm

£150-250

λ FRENCH SCHOOL

c.1800

Portrait miniature of a gentleman wearing a black coat

Oval, in a gilt metal brooch frame, the glazed reverse revealing a hair back

71 x 58mm

Provenance:

Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 4 September 2024, lot 640, where purchased by the present private collector

£120-180

15 λ

ÉDOUARD DELATOUR

Belgian 1816/17-1863

Portrait miniature of a gentleman wearing a black coat

Signed Ed de Latour (centre right)

Oval, in a gilt metal brooch frame, the reverse inscribed A gift of affection from I Alex to his dear sister Sarah

34 x 26mm

Provenance:

Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 4 September 2024, lot 638, where purchased by the present private collector

£100-150

16 λ CIRCLE OF JEREMIAH MEYER

Portrait miniature of a lady, traditionally identified as Lady Mary Wortley Montagu (1689-1762)

Oval, in a gilt-painted pieced wooden frame with scroll decoration

45 x 39mm

£200-300

18 λ

ENGLISH SCHOOL

19th Century

Portrait miniature of a lady wearing a white dress and white bonnet with pink bows

Rectangular in a gilt metal frame

92 x 72mm

£100-150

19 λ ALBERT THEER

Austrian 1815-1902

Portrait miniature of a boy wearing a blue jacket, a red and white striped shirt and a red ribbon

Signed, dated and inscribed Albert Theer/Wien 1884 (centre right)

Circular, in a gilt metal frame 55mm diameter

Provenance: Bonhams, London, Portrait Miniatures & Silhouettes, 2 September 2008, lot 197; Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 4 September 2024, lot 651, where purchased by the present private collector

£120-180

PRINTS

20

GIOVANNI BATTISTA PIRANESI

Italian 1720-1778

Veduta del Castello dell’Acqua Felice (Wilton-Ely 187)

Etching, from Vedute di Roma (Roman edition)

40.6 x 61.4cm; 16 x 24¼in (plate); 43.3 x 65.8cm; 17 x 26in (sheet)

Provenance: Woolley & Wallis, Salisbury, Old Masters, British & European Paintings, 1 March 2022, lot 177

£100-150

22

ADOLPHE VARIN

French 1821-1897

AFTER FRANÇOIS FLAMENG

French 1856-1923

Isola Bella; Compiegne

21

GEORGE KEATING 1762-1842

AND WILLIAM WARD 1766-1826

AFTER GEORGE MORLAND 1763-1804

A Party Angling; The Anglers Repast

A pair, both mezzotint

45.6 x 55.2cm; 18 x 21¾in; 45.3 x 55.7cm; 17¾ x 22in (plate) (2)

£100-150

Two, from Les Etapes de Napoleon, both coloured engraving heightened with hand colouring and gum arabic

59.5 x 78cm; 23½ x 30¾in; 59.5 x 79.7cm; 23½ x 31¼in (image)

Together with After Adrien Moreau (French 1843-1906); Aux Tuileries; Photogravure with hand colouring; 39.1 x 49.6cm; 15½ x 19½in (image) (3)

£100-150

JAMES ABBOTT MCNEILL WHISTLER RBA

American 1834-1903

Billingsgate

Etching

15.2 x 23.7cm; 6 x 9¼in (plate)

£200-300 24

JAMES ABBOTT MCNEILL WHISTLER RBA

American 1834-1903

Battersea Dawn (Cadogan Pier)

Etching and drypoint

11.3 x 15.2cm; 4½ x 6in (plate)

£200-300

JAMES ABBOTT MCNEILL WHISTLER RBA

American 1834-1903

Chelsea

Etching and drypoint

12.3 x 20.5cm; 4¾ x 8in (image)

£200-300

JAMES ABBOTT MCNEILL WHISTLER RBA

American 1834-1903

En Plein Soleil

Etching and drypoint

10 x 13.4cm; 4 x 5¼in (sheet)

£200-300

CHARLES JOHNSON PAYNE (SNAFFLES)

1884-1967

Tally-Ho Back

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

Coloured print

23.8 x 37.5cm; 9¼ x 14¾in (image)

£100-200

PERCY HENRY MARTINDALE

1869-1943

AFTER JOHN SINGER SARGENT

American 1856-1925

Sir Edward Partington (1836-1925), JP, DL, 1st Lord Doverdale

Signed by both artists and inscribed John S Sargent Edward Partington

Percy H Martindale (in pencil to margin)

Mezzotint

53.2 x 42.7cm; 21 x 16¾in (plate)

HERBERT DICKSEE RE 1862-1942

Waiting

Signed Herbert Dicksee (in pencil to margin)

Etching

21.2 x 43cm; 8¼ x 17in (plate)

Provenance: Richard Haworth, Blackburn

£300-500 31

28 Φ

CHARLES JOHNSON PAYNE (SNAFFLES)

1884-1967

Gunners

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

Coloured print with hand colouring

19 x 43cm; 7½ x 17in

£300-500

Provenance: By family descent from the sitter; Property of a deceased estate

£200-300

A COLLECTION OF ART HISTORY REFERENCE BOOKS

Including Timothy Hyman and Patrick Wright (ed.), Stanley Spencer; Max de Bruijn and Remco Raben (ed.), The World of Jan Brandes, 1743-1808: Drawings of a Dutch Traveller in Batavia, Ceylon and Southern Africa; Jean Bouret, Henri Rousseau; Stanley Booth, Sir Alfred Munnings; and The Imperial Collection of Audubon Animals, and others (approx.150)

£200-300

32 ITALIAN SCHOOL

16th Century

A leaf from an antiphonal with Historiated initial ‘V’ enclosing a depiction of Jacob sending Joseph to find his brethren, with further depictions from the life of Jacob around the border

Illuminated manuscript on vellum

46.1 x 32.7cm; 18¼ x 12¾in

Provenance:

Sir Francis Cook, 1st Bt, 1st Viscount Monserrate (1817-1901), Doughty House, Richmond;

By descent to his son Wyndam Francis Cook (1860-1905); By descent to Humphrey Wyndham Cook (1893-1978); By whom sold Christie’s, London, 10 July 1925, lot 495, where purchased by Alfred de Pass (1861-1952); By whom gifted to the Royal Institution of Cornwall, Truro; By whom sold Christie’s, London, 30 November 1965, lot 173;

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

£2,000-3,000

NORTHERN EUROPEAN SCHOOL

16th Century

Extensive landscape with a city and a bay beyond

Pen and brown ink, and silverpoint

36.6 x 52.3cm; 14½ x 20½in

Provenance:

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

£4,000-6,000 33

GIOVANNI BATTISTA PIRANESI

Italian 1720-1778

The Round Tower (Wilton-Ely 28)

Etching and engraving, from Carceri d’Invenzione, first edition

54.5 x 41.5cm; 21½ x 16¼in (plate)

Provenance:

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

According to a label, the watermark is Briquet 13165.

£8,000-12,000

FRANCISCO GOYA

Spanish 1746-1828

Ni Asi La Distingue (Even Thus He Cannot Make Her Out)

Etching and aquatint, plate 7 from Los Caprichos 21.7 x 15.2cm; 8 x 6in (plate)

Provenance:

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

£300-500

FRANCISCO GOYA

Spanish 1746-1828

La Filiacion (The Filiation)

FRANCISCO GOYA

Spanish 1746-1828

Quien Mas Rendido? (Which of them is the more overcome?)

Etching, aquatint and drypoint, plate 27 from Los Caprichos 19.6 x 15.1cm; 7¾ x 6in (plate)

Provenance:

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

£300-500

Etching and aquatint, plate 57 from Los Caprichos 21.9 x 15.4cm; 8½ x 6in (plate)

Provenance:

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

£300-500

FRANCISCO GOYA

Spanish 1746-1828

No Te Escaparas (You Will Not Escape)

Etching and aquatint, plate 72 from Los Caprichos

21.7 x 15.2cm; 8½ x 6in (plate)

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

£300-500

FRANCISCO GOYA

Spanish 1746-1828

No Grites, Tonta (Don’t Scream Stupid)

Etching and aquatint, plate 74 from Los Caprichos 21.6 x 15.4cm; 8½ x 6in (plate)

Provenance:

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

£300-500

40 ATTRIBUTED TO THOMAS STOTHARD RA 1755-1834

Figures by a fountain Watercolour 27.3 x 20.4cm; 10¾ x 8in

Provenance:

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

£300-500 END OF COLLECTION

DRAWINGS AND WATERCOLOURS

CIRCLE OF FRANÇOIS RYCKHALS

Wooded landscape with travellers on a path

Black chalk

17 x 20.3cm; 6¾ x 8in

Unframed

£150-250

ITALIAN SCHOOL

c.1700

The Sacrifice of Iphigenia

Black chalk

23 x 13.6cm; 9 x 5¼in

£200-300

ITALIAN SCHOOL

c.1700

Study of an allegorical figure, possibly Fortitude

Black chalk 27 x 15.3cm; 10½ x 6in

£200-300

ATTRIBUTED TO FRANZ HOCHECKER

German 1730-1782

River landscape with figures below a mill

Bears an inscription 1827 WE Frankfurt N20 Hochecker (to verso)

Pen and brown ink within black framing lines 18 x 22.7cm; 7 x 9in

Unframed

Provenance: William Esdaile (1758-1837) (L.2617)

£150-250

ITALIAN SCHOOL

16th Century

Study of a pilgrim, possibly St James the Greater Inscribed Giannantonio Regillo da Pordenone (lower centre by The Reliable Venetian Hand)

Pen and brown ink

16.8 x 11.4cm; 6¾ x 4½in

Unframed

Provenance:

The anonymous 18th century Venetian collector of drawings known as the Reliable Venetian Hand

£150-250

MANNER OF SIMONE CANTARINI

St Francis adoring the Christ Child

Pen and ink, pencil and wash

15.5 x 12.6cm; 6 x 5in

£100-150

FOLLOWER OF DOMENICO PIOLA

The Tribute Money

Pen and brown ink and wash, and black chalk

19.8 x 26.8cm; 7¾ x 10½in

£200-300

GIOVANNI BATTISTA BUSIRI Italian 1698-1757

Coastal landscape with travellers by a bay

Pen and brown ink

17.5 x 23.6cm; 6¾ x 9¼in

£400-600

50 AFTER SIR JOSHUA REYNOLDS

Portrait of Mrs Jane Braddyll

Pastel

65.2 x 56cm; 25¾ x 22in

After the original in The Wallace Collection, London (no.P47).

£200-300

49 AFTER JOHANN BAPTIST LAMPI THE ELDER

Duchess Elisabeth of Württemberg, three-quarter length, wearing a blue dress seated in an interior Pastel on paper laid on canvas

145.5 x 108.1cm; 57¼ x 42½in

Provenance: The Collection of the late Robin de Beaumont (1926-2023)

After the original oil in Kunsthistorisches Museum, Vienna (no.8781).

£500-700

51 ATTRIBUTED TO JOSEPH SLATER

1782-1837

Portrait of a young man wearing a blue coat and white waistcoat; Portrait of a young man wearing a blue coat with gold buttons and a black stock

A pair, both coloured chalks with watercolour Each 21.4 x 17.5cm; 8½ x 6¾in (2)

Provenance: Trim Bridge Galleries, Bath

£150-250

TOMMASO PIROLI 1752-1824

AFTER JOHN FLAXMAN RA 1755-1826

Ulysses Killing the Suitors; The Departure of Briseis from the Tent of Achilles; Address to Venus (from The Supplicants)

Three, each inscribed along lower edge

Each pencil

Largest 19.2 x 31.8cm; 7½ x 12½in; Smallest 20.2 x 19cm; 8 x 7½in (3)

£200-400

GEORGE BRYANT CAMPION 1795-1870

The Kitchen and Women’s Hut at Chobham Camp

Signed G.B.Campion (lower right); and further inscribed and dated Kitchen & Women’s Hut/Camp Chobham 53 (lower left)

Pencil and watercolour heightened with white 33.5 x 50cm; 13¼ x 19¾in

Provenance:

Alister Mathews, Dorset where purchased by the previous private collector, August 1968

£150-250

CIRCLE OF THOMAS UWINS

Before a cricket match

Pencil

10.2 x 13.7cm; 4 x 5½in

£100-150

MANNER OF THOMAS ROWLANDSON

The auction

Pen and ink with watercolour

16.9 x 24.2cm; 6¾ x 9½in

£80-120

57 AFTER RENÉ LESSON

Two hummingbirds sitting on a branch

Pencil and watercolour

14.5 x 8.2cm; 5¾ x 3¼in

£200-300

ITALIAN SCHOOL

19th Century

A Curlew; A Heron; A Hawk; A Grouse

Four, each indistinctly inscribed (lower centre)

Each pencil, watercolour and bodycolour

Each 52.8 x 42.8cm; 20¾ x 16¾in (4)

£1,000-1,500

ATTRIBUTED TO GEORGE EDWARDS 1694-1773

A Water Ousel; A Toucan

Two, the first inscribed Water Ousel (lower right)

Both pencil, gouache and watercolour

Each 26.5 x 21.5cm; 10½ x 8½in, framed as one (2)

Provenance:

Frost & Reed, Bristol, where purchased by the previous private collector, August 1965; And by descent

£1,000-1,500

ATTRIBUTED TO GEORGE EDWARDS 1694-1773

A Brambling; A Jay

Two, both pencil, watercolour and bodycolour

24.3 x 20.4cm; 9½ x 8in; 24.3 x 20.2cm; 9½ x 8in, framed as one (2)

Provenance:

Frost & Reed, Bristol, where purchased by the previous private collector, September 1965; And by descent

£1,000-1,500

ATTRIBUTED TO GEORGE EDWARDS 1694-1773

A Wryneck on a branch

Pencil, watercolour and gouache

27.3cm x 22cm; 10¾ x 8¾in

Provenance:

Frost & Reed, Bristol, where purchased by the previous private collector, December 1965; And by descent

£1,000-1,500

HENRY THOMAS ALKEN

1785-1851

Taking a fence

Pencil and watercolour

22.6 x 32cm; 8.9 x 12.6in

Provenance:

Blaise Preston Ltd, where purchased by the previous private collector, January 1973; And by descent

£200-300

63 AFTER JAMES POLLARD

The Bedford Times: Changing of Horses at the Old White Lion

Pencil and gouache

With stamped inscription THE MAIL COACH CHANGING HORSES/J. POLLARD/1825 (lower centre)

37.3 x 50cm; 16¾ x 19¾in

Provenance:

£200-300

& Johnson, London

ENGLISH SCHOOL

Early 19th Century

A sportsman and three setters in a landscape

Pencil and watercolour heightened with bodycolour

22 x 32cm; 8¾ x 12½in

Provenance:

Frost & Reed, where purchased by the previous private collector

March 1965

£120-180

65 ANTHONY DEVIS

1729-1817

1782-1855

Study of Arundel Castle

Signed, dated and inscribed Arundel castle Ki.G. 1810 Richenda Guerney 1810 (lower left)

Pencil

27.5 x 43.4cm; 10¾ x 17in

£400-600

Two figures on a wooded path

Pencil, pen and ink, and watercolour 22 x 31.1cm; 8¾ x 12¼in

£100-200

RICHENDA CUNNINGHAM (NÉE GURNEY)

FRANÇOIS LOUIS THOMAS FRANCIA

French 1772-1839

Powick Bridge, Worcestershire

Watercolour with scratching out

33.1 x 28.7cm; 13 x 11¼in

Provenance: Walker’s Galleries, London, 1952

£200-300

ATTRIBUTED TO FRANZ EDMUND WEIROTTER

Austrian 1733-1771

Landscape with figures by a ruined castle, a lake beyond Pen and black ink and watercolour

18.9 x 26cm; 7½ x 10¼in

Unframed

£200-300

THOMAS SHOTTER BOYS RWS

1803-1874

St Mary’s Tower, York

Inscribed St Mary’s Tower (lower right)

Pencil and watercolour heightened with white 12 x 15.2cm; 4¾ x 6in

Provenance: Thos Agnew & Sons, London

£200-300

ENGLISH SCHOOL

19th Century View of a town in the Roman Campagna with a ruined aqueduct Black chalk and watercolour

23.7 x 36.7cm; 9¼ x 14½in

£100-200

THOMAS SHOTTER BOYS

1803-1874

Edgar Tower, Worcester

Pencil and watercolour

16.3 x 28.3cm; 6½ x 11¼in

Provenance: Bernard Squire, London

£200-300

JOHN VARLEY

OWS

1778-1842

Travellers resting on a path with a church beyond Watercolour with scratching out 18.1 x 26.4cm; 7¼ x 10½in

Provenance: Westwood Collection; John Spink

£300-500

JOHN VARLEY OWS

1778-1842

JOHN VARLEY

OWS

1778-1842

A shepherd and his flock on a path near a ruined tower

Signed and dated J Varley/1835 (lower right)

Watercolour 10.3 x 12.8cm; 4 x 5in

Provenance: Given to C.P.Allen by his father Peter Allen (according to label)

£100-150

Lake landscape with a figure resting on a hill and cows grazing beyond Pencil and watercolour 17.5 x 26.2cm; 6¾ x 10¼in

£150-250

JOHN VARLEY

OWS

1778-1842

The Thames near Windsor Castle

Signed J.Varley (lower left) and further signed and inscribed Windsor/J.Varley (to verso according to label)

Watercolour

14.7 x 11.4cm; 5¾ x 4½in

£100-150

SAMUEL COOK

1806-1859

Extensive river landscape with figures near a ruined abbey

Signed S.COOK (lower left)

Pencil and watercolour 33 x 50cm; 13 x 19¾in

£150-250

FRANCIS NICHOLSON OWS

1753-1844

Italianate river landscape with figures resting on the bank

Pencil and watercolour

53.4 x 76cm; 21 x 30in

£300-500

DAVID COX SEN. RWS

1783-1859

The end of the day

Watercolour

18 x 27cm; 7 x 10¾in

Provenance: The Palser Gallery, Stratford-on-Avon

£400-600

ATTRIBUTED TO WILLIAM WARD ARA

1766-1826

Sky study above the Alps, from Givry Watercolour heightened with bodycolour on blue paper

9.3 x 24.4cm; 3½ x 9¾in

Provenance: Phillips, London, Watercolours, Drawings and Original Illustrations, 4 October 2001, lot 18

£150-250

JOHANN CHRISTIAN WIRSING

German 1767-c.1805

River landscape with a figures and animals by a thatched cottage; River landscape with animals watering by a mill

A pair, the latter signed C.I.C.Wirsing pinx (lower left)

Both gouache

Each 16.3 x 22.6cm; 6½ x 9in (2)

£150-250

THOMAS BUSH HARDY RBA

1842-1897

The Thames with the Tower of London

Signed and dated T.B.Hardy 1888 (lower left)

Watercolour heightened with white

27.8 x 55.4cm; 11 x 21¾in

£100-200

THOMAS BUSH HARDY RBA 1842-1897

In the North Sea; A Grey Morning

A pair, both signed and dated T.B. Hardy 1891 (lower left)

Both pencil and watercolour

Each 23.5 x 33.6cm; 9¼ x 13¼in (2)

Provenance:

Appleby Brothers, London, where purchased by the previous private collector, June 1973; And by descent

£150-250

WILLIAM PURSER 1785-1856

Margate Harbour

Signed W Purser (lower left)

Pencil and watercolour

12.2 x 18.6cm; 4¾ x 7¼in

Provenance: Sofia Frank Antiques, London; J. Morton Lee, Hampshire

£200-300

ALFRED VICKERS 1786-1868

Hamburg Harbour from the Elbe

Pencil and watercolour heightened with scratching out

23.6 x 37.3cm; 9¼ x 14¾in

£100-200

NICHOLAS POCOCK 1740-1821

A Royal Navy frigate of 44-guns getting underway off Port Royal, Jamaica

Signed and dated N Pocock 1784 (lower left)

Pen and black ink, and watercolour

40 x 60cm; 11¾ x 23½in

£250-350

GEORGE CHAMBERS JR. 1829-1878

View of the Thames with St Pauls Cathedral and The Monument

Signed and dated G.Chambers/75 (lower left)

Pencil and watercolour heightened with white

37.8 x 55.4cm; 14¾ x 21¾in

£800-1,200 86

AFTER CLARKSON STANFIELD 1793-1867

Lake Pamvotis with the Aslan Pasha Mosque, Ioannina

Watercolour heightened with white 9.5 x 13.7cm; 3¾ x 5½in

Provenance: William Drummond, London

£200-300

WILLIAM MARLOW 1740-1813

The Severn at Worcester

Signed W.Marlow (lower right)

Pen and ink, and watercolour

37 x 77.7cm; 14½ x 30½in

Provenance: Walker’s Galleries, London

£200-300

JOHN WILLIAM INCHBOLD 1830-1888

Boats on a continental lake

Signed I W INCHBOLD (lower right) and indistinctly PA** (lower left)

Watercolour heightened with white 24 x 34.2cm; 9½ x 13½in

£300-500

THOMAS MILES RICHARDSON JUN. RWS

1813-1890

Looking up Glen Strae on Loch Awe, Argyllshire

Signed and dated T M Richardson/1881 (lower right) and further signed, inscribed and dated No 3./”Looking up Glen Strae.”/on Loch Awe-/ Argyllshire-/T M Richardson/London - 1881 (to label)

Pencil and watercolour heightened with white and scratching out

32.6 x 64.2cm; 12¾ x 25¼in

Provenance:

Christie’s, South Kensington, Interiors, 3 September 2013, lot 435

£700-1,000

WILLIAM CALLOW RWS

1812-1908

St Peter’s, Powick, Worcestershire

Signed W Callow (lower left)

Watercolour

16.9 x 35.9cm; 6¾ x 14½in

Provenance:

Walker’s Galleries, London, 1934

£150-250 91

CHARLES VINCENT BARBER

1784-1854

Figures outside a cottage with St John’s Deritend beyond Watercolour

16 x 21.5cm; 6¼ x 8.5in

£100-150

JAMES HOLLAND

1799-1870

Rue Traversière, Honfleur

Inscribed and indistinctly dated Honfleur *5 (lower right)

Watercolour

17.5 x 26cm; 6¾ x 10¼in

£200-300

93 WILLIAM JAMES MÜLLER

1812-1845

Landscape with children by a stream

Signed WMuller (lower left)

Watercolour heightened with white

30.5 x 47.3cm; 12 x 18¾in

Provenance:

Lord Clwyd (according to label)

£100-200

94 MYLES BIRKET FOSTER RWS

1825-1899

Feeding the chickens outside a cottage in Witley, Surrey

Signed with monogram (lower left)

Pencil and watercolour heightened with bodycolour 16.2 x 21.3cm; 6¼ x 8¼in

Provenance:

Painted for the artist’s mother (according to label)

£800-1,200

95 ARTHUR CLAUDE STRACHAN

Scottish 1865-1938

Ducks outside a cottage; Chickens outside a cottage

A pair, both signed CLAUDE STRACHAN (lower right)

Both watercolour heightened with bodycolour

Each 18.2 x 26.4cm; 7¼ x 10½in (2)

£150-250

96 FRENCH SCHOOL

19th Century

The Temple of Hera II at Paestum

Pencil and grey wash

59.8 x 90.2cm; 23½ x 35½in

£300-500

EDWARD WILLIAM COOKE RA

1811-1880

A collection of 89 pencil drawings of Egyptian landscapes, river views and artefacts including: Dendera; The Gate of the Nile; Philae; Gebel El Silsilah; Gebel Abu Foda; Keneh; Bibbeh; Views and architectural studies of Venice and figure studies and architectural studies executed in Rouen, Avignon, Capua, Rome, Ravello, Ferrara, Urbino, Florence, and Trento including: The catacombs of Saint Sebastian, Rome; The Sistine Chapel, Rome; St Peter’s, Rome; San Antonio, Padua; Door of Santa Maria del Orto, Venice; San Polo, Venice; San Marco, Venice; Details of Palazzo Pisani, Venice; and Capitals in the Palazzo Ducale, Venice

The majority inscribed with titles, some annotated with notes and some dated variously 3 October 1851 to 27 February 1874, some with annotated with numbers (verso)

Pencil, some within a pencil border

17.5 x 10.1cm; 6¾ x 4in and smaller Unframed (89)

Provenance:

Anonymous sale, Sotheby’s, London, 10 July 1997, lot 147 as an album of sketches

£400-600

SIR EDWIN HENRY LANDSEER RA

1802-1873

The Wolf

Pencil

6.8 x 8.5cm; 2½ x 3in

Provenance:

Thomas Agnew and Sons Ltd., London; Woolley and Wallis, Salisbury, Old Masters, British and European Paintings, 7 March 2018, lot 267 (part lot)

£300-500

100

SIR EDWIN HENRY LANDSEER RA

1802-1873

Study of a peasant woman, Bruges

Pencil

11.8 x 9cm; 4¾ x 3½in

Provenance:

Thomas Agnew and Sons Ltd., London; Woolley and Wallis, Salisbury, Old Masters, British and European Paintings, 7 March 2018, lot 267 (part lot)

£300-500

SIR EDWIN HENRY LANDSEER RA

1802-1873

Studies of a lion and a lion’s paws

Pencil

13.5 x 22cm; 5¼ x 8¾in

Provenance:

Woolley and Wallis, Salisbury, Old Masters, British and European Paintings, 7 March 2018, lot 267 (part lot)

£200-300

101

WILLIAM HUGGINS

1820-1884

Study of the head of a lion; Study of a standing tiger

Two, the former signed W.Huggins (to mount), the latter signed W.Huggins (lower right)

Both pencil

16.6 x 14cm; 6½ x 5½in; 15.4 x 19.8cm; 6 x 7¾in, framed as one (2)

Provenance:

James Keating, Liverpool, 1841; John Gregory and Amelia Jones; By descent to their daughter Amy Jones; By whom given to her niece, A.K. Munro, 1939 (the above according to label)

£400-600

102

FOLLOWER OF JEAN-AUGUSTEDOMINIQUE INGRES

Study of a girl at a piano

Pencil

15.4 x 11.2cm; 6 x 4½in

£100-150

103

FRENCH SCHOOL

19th Century

Study of an elegant couple walking

Black chalk

16 x 9.6cm; 6¼ x 3¾in

£100-150

104 JEAN LOUIS ERNEST MEISSONIER

French 1815-1891

Study of a crowd

Signed, dated and indistinctly inscribed E Meissonier/ ** fais a l’institute 1879 (lower left)

Pen and ink

7.4 x 21.6cm; 3 x 8½in

£150-250

105

MANNER OF JAN VERKOLJE

A scholar in 17th Century dress standing by a window

Pen and brown ink and wash

25.8 x 19.1cm; 10½ x 7½in

£100-150

106

VALENTINE WALTER BROMLEY 1848-1877

Oberon and Titania

Signed VWBromley 1874 (lower right)

Gouache

21.5 x 16.3cm; 8½ x 6½in

Engraved: Charles Mottram, 1865

£600-800

107 SIR EDWARD JOHN POYNTER PRA

1836-1919

Studies of a boy holding a scroll, and of a hand

With studio stamp (Lugt 874, lower right)

Black and white chalk

29.4 x 24.3cm; 11½ in x 9½in

Provenance:

Sabin Galleries, London, where purchased by the previous private collector, December 1973; And by descent

£200-400

108

KATE GREENAWAY 1846-1901

The confirmation

Pencil

5.7 x 3.8cm; 2¼ x 1½in

Provenance:

Chris Beetles, London

£150-250

109 CONSTANTIN GUYS

French 1802-1892

Study of two ladies wearing cloaks; Study of two ladies in evening dress

Two, both pen and black ink with grey wash

23.4 x 15.8cm; 9¼ x 6¼in; 17 x 12.2cm; 6¾ x 4¾in (2)

Provenance: The latter Gaspard-Félix Tournachon, ‘Nadar’ (1820-1910) (L.1929); Dr Gustav Delbanco (1903-1997); And by family descent

£150-250

110 HORACE MANN LIVENS

1862-1936

Study of chickens

Signed and dated H M Livens 96 (lower right)

Gouache

26 x 35.5cm; 10¼ x 14in

£200-300

111 RICARDO FLORES

French 1878-1918

Portrait of Captain R D Lace, of The Black Watch

Signed and inscribed Ricardo Flores/Captain/3rd The Black Watch/ Commdg No 6 Inf Lab Cop/B.E.F (lower right)

Black chalk

39.3 x 23.4cm; 15½ x 9¼in

£100-150

112 WILLIAM LEE HANKEY RWS

1869-1952

Two sisters in an interior

Signed W LEE HANKEY (lower right)

Watercolour

34.4 x 21.1cm; 13½ x 8¼in

£300-500

113 WILLIAM HARRIS WEATHERHEAD

1843-1903

Lost in Thought

Signed and dated W.H.Weatherhead /89 (lower right) and inscribed Lost in thought (lower centre)

Watercolour heightened with white 24.7 x 33.9cm; 9¾ x 13¼in

Provenance:

Phillips, Knowle, 27 November 1996, where purchased by the present private collector

£150-250

116 FRANCES E. NESBITT

1864-1934

A picnic on the Nore

Inscribed On the Nore (lower right)

Watercolour

17 x 22cm; 6¾ x 8¾in

Provenance: Bourne Gallery, 1993

£100-150

114 ALFRED AUGUSTUS

GLENDENING JUN. 1861-1907

By Tranquil Waters

Signed with monogram and dated 1896 (lower right)

Watercolour heightened with white

47.4 x 71.9cm; 18¾ x 28¼in

£200-300

117 WILLIAM WYLD

1806-1889

115 FRÉDÉRIC DE HAENEN

French 1853-1928

Peter’s Square, St. Petersburg, with the Bronze Horseman and St. Isaac’s Cathedral beyond Signed F de Haenen (lower left)

Pencil, watercolour and bodycolour

23.8 x 18.4cm; 9¼ x 7¼in

£200-300

Barges on the Elbe at Dresden

Signed WWyld (lower right)

Watercolour heightened with white and scratching out 11.7 x 18.2cm; 4½ x 7¼in

Provenance:

Sotheby’s, London, Eighteenth and Nineteenth Century British Drawings and Watercolours, 9 March 1989, lot 105

£100-200

118

MARY WEATHERILL

1834-1913

View of Stavanger, Norway

Watercolour heightened with white

9.5 x 14.6cm; 3¾ x 5¾in

£120-180

120

HECTOR CAFFIERI

1847-1932

Unloading the catch

Signed H.Caffieri (lower left)

Watercolour heightened with white

56.6 x 44.6cm; 22¼ x 17½in

£200-400

119

HERCULES BRABAZON BRABAZON

1821-1906

The Grand Canal, Venice

Signed with initials, HBB (lower left)

Watercolour heightened with white 13.9 x 22.2cm; 5½ x 8¾in

£300-500

121

HECTOR CAFFIERI

1847-1932

Waiting for the catch

Signed H Caffieri (lower right)

Pencil and watercolour

35.7 x 52.7cm; 14 x 20¾in

£200-400

122

WILLIAM TATTON WINTER

1855-1928

The Shadowed Road

Signed TATTON WINTER (lower left)

Watercolour

34.3 x 43.7cm; 13½ x 17½in

£100-200

123

JOHN OSWALD STEWART

c.1820-1885

A traveller resting by a path

Signed, dated and inscribed

J.OSWALD STEWART/Lamlash

1870 (lower right)

Gouache

44.7 x 32cm; 17½ x 12½in

£300-400

124

DOUGLAS ALEXANDER

1871-1945

Morning light over a lake and mountains; Sunset on the Corrib, Connemara; Near Recess, Connemara; Evening Light, Connemara

Four, each signed Douglas/Alexander (lower left)

Each pencil and watercolour

Largest 26.4 x 37cm; 10½ x 14½in; Smallest 24.6 x 36cm; 9¾ x 14¼in

Three unframed (4)

£300-500

123

122

125

ALBERT GOODWIN 1845-1932

Vesuvius viewed from fortifications at dusk

Signed Albert Goodwin (lower right) and inscribed Vesuvius (lower left)

Watercolour heightened with white and scratching out

25.1 x 36.5cm; 9¾ x 14¼in

Provenance:

Frank S. Schwarz & Son, Philadelphia

£1,500-2,000

126

ALBERT GOODWIN 1845-1932

Coastal landscape at dusk

Signed and dated 1906/Arthur Goodwin (lower right) and inscribed Ashore (lower left)

Gouache

24.2 x 31.2cm; 9½ x 12¼in

£600-800

127

ALBERT GOODWIN 1845-1932

On the Medway

Signed Albert Goodwin (lower right) and inscribed On the Medway (lower left)

Pencil and watercolour with scratching out

22.5 x 28.8cm; 8¾ x 11¼in

£500-800

128

ARTHUR MELVILLE 1855-1904

Chief Lafete in his State Canoe

Signed Arthur Melville (lower left), and inscribed Chief Lafete in his State Canoe/Bida Water Chief (to backing board)

Watercolour

54.2 x 77.1cm; 21¼ x 30¼in

Unframed

Provenance:

Property of a deceased estate

£12,000-18,000

129

J. S. BARROW 19th Century

The Clipper Scow Schooner ‘Ocean Wave’; The Yacht ‘America’

A pair, the former inscribed The Clipper Scow Schooner “Ocean Wave”/from Baltimore to London (lower centre); the latter inscribed The far-famed yacht “America”, from Boston (lower centre)

Both pencil, watercolour and bodycolour

Each 20 x 26.6cm; 7½ x 10½in (2)

£200-300

130

GEORGE ARNOLD

Late 19th/Early 20th Century

Making for Port

Signed GEORGE ARNOLD (lower left)

Watercolour

25.2 x 36.2cm; 10 x 14¼in

£200-300

131

MAUNG TUN HLA

Burmese 1874-1946

Lake landscape with the Mandalay Palace in the distance; River landscape with fishing boats

Two, both signed M.T.Hla (lower right)

Both watercolour

Each 19.8 x 25.2cm; 7¾ x 10in

Unframed (2)

£300-500

132

ANGELOS GIALLINA

Greek 1857-1939

The Temple of Olympian Zeus, Athens

Signed A Giallina (lower left)

Pencil and watercolour

25.5 x 42.6cm; 10 x 16¾in

£600-800

133

ALBERTO PROSDOCIMI

Italian 1852-1925

View of the Cannaregio Canal with Palazzo Surian Bellotto, Venice

Signed A.Prosdocimi.F (lower left)

Watercolour

22.8 x 34.4cm; 9 x 13½in

£250-350

135

CHARLES EDMUND ROWBOTHAM

1856-1921

View of Lake Como; View of Lake Thun

Two, the former signed Chas Rowbotham (lower left), the latter signed and dated Chas Rowbotham 1904 (lower right)

Both watercolour and bodycolour

13.3 x 19.6cm; 5¼ x 7¾in; 14.3 x 20.3cm; 5¾ x 8in

Unframed (2)

£100-150

CHARLES EDMUND ROWBOTHAM

1856-1921

Figures on a road near Castellammare, Bay of Naples

Signed and dated Chas Rowbotham/1904 (lower left)

Gouache

16.5 x 31.7cm; 6½ x 12½in

Unframed

£100-150

136

COMPANY SCHOOL

Early 19th Century

Grey francolin; Kingfisher; Indian myna; Oriental magpie-robin

Four, each variously inscribed in English and Devanagari

Each pencil, watercolour and gouache

Each 24 x 19.4cm; 9½ x 7¾in (4)

Provenance: Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985; And by descent to Dominique Markham, Ilmington Grange, Warwickshire

£2,000-3,000

137

COMPANY SCHOOL

Early 19th Century

Scarlet minivet; Nightingale; Kingfisher; Rosy starling

Four, each variously inscribed in English and Devanagari

Each pencil, watercolour and gouache

Each 24 x 19.4cm; 9½ x 7¾in (4)

Provenance: Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985; And by descent to Dominique Markham, Ilmington Grange, Warwickshire

£2,000-3,000

138

COMPANY SCHOOL

Early 19th Century

Purple sunbird; Green and blue exotic bird; Quail; Golden oriole

Four, each variously inscribed in English and Devanagari

Each pencil, watercolour and gouache

Each 24 x 19.4cm; 9½ x 7¾in (4)

Provenance:

Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985; And by descent to Dominique Markham, Ilmington Grange, Warwickshire

£2,000-3,000

139

COMPANY SCHOOL

Early 19th Century Coppersmith barbet; Red avadavat; Indian nightingale; Rosefinch

Four, each variously inscribed in English and Devanagari

Each pencil, watercolour and gouache

Each 24 x 19.4cm; 9½ x 7¾in (4)

Provenance: Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985; And by descent to Dominique Markham, Ilmington Grange, Warwickshire

£2,000-3,000

COMPANY SCHOOL

Early 19th Century

Indian pied myna; Quail; Indian house sparrow; Sandgrouse

Four, each variously inscribed in English and Devanagari

Each pencil, watercolour and gouache

Each 24 x 19.4cm; 9½ x 7¾in (4)

Provenance: Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985; And by descent to Dominique Markham, Ilmington Grange, Warwickshire

£2,000-3,000

141

COMPANY SCHOOL

Early 19th Century Kingfisher; Brahminy starling; Shrike; Indian wagtail

Four, each variously inscribed in English and Devanagari

Each pencil, watercolour and gouache

Each 24 x 19.4cm; 9½ x 7¾in (4)

Provenance: Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985; And by descent to Dominique Markham, Ilmington Grange, Warwickshire

£2,000-3,000

142 COMPANY SCHOOL

Early 19th Century

Indian jay; Emerald dove; Black and white bird on a tree stump

Three, each variously inscribed in English and two in Devanagari

Each pencil, watercolour and gouache

Each 19.4 x 24cm; 7¾ x 9½in (3)

Provenance:

Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985;

And by descent to Dominique Markham, Ilmington Grange, Warwickshire

£1,500-2,500

143

COMPANY SCHOOL

Early 19th Century

Black hooded oriole; Indian golden oriole

Two, both variously inscribed in English and Devanagari

Both pencil, watercolour and gouache

Each 23.8 x 19.4cm; 9¼ x 7¾in (2)

Provenance: Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985; And by descent to Dominique Markham, Ilmington Grange, Warwickshire

£1,500-2,500

144

COMPANY SCHOOL

Early 19th Century

Tern; Indian treepie

Two, both variously inscribed in English and Devanagari

Both pencil, watercolour and gouache

29.6 x 22.1cm; 11¾ x 8¾in; 23.9 x 32.8cm; 9½ x 13in (2)

Provenance: Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985; And by descent to Dominique Markham, Ilmington Grange, Warwickshire

£800-1,200

145

COMPANY SCHOOL

Early 19th Century

Four studies of Indian plants

Four, each variously inscribed in English and Devanagari

Each pencil and watercolour

Largest 23.9 x 19.3cm; 9½ x 7½in; Smallest 22.1 x 17.4cm; 8¾ x 6¾in (4)

Provenance: Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985; And by descent to Dominique Markham, Ilmington Grange, Warwickshire

£1,500-2,500

146

COMPANY SCHOOL

Early 19th Century

Four studies of Indian plants

Four, each variously inscribed in English and Devanagari

Each pencil and watercolour

24 x 19.3cm; 9½ x 7½in; 22.1 x 17.5cm; 8¾ x 6¾in (4)

Provenance: Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985; And by descent to Dominique Markham, Ilmington Grange, Warwickshire

£1,500-2,500

147

COMPANY SCHOOL

Early 19th Century

Four studies of Indian plants

Four, each variously inscribed in English and Devanagari

Each pencil and watercolour

Largest 23.7 x 19.4cm; 9¼ x 7¾in; Smallest 22 x 17.5cm; 8¾ x 6¾in (4)

Provenance:

Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985; And by descent to Dominique Markham, Ilmington Grange, Warwickshire

£1,500-2,500

148

COMPANY SCHOOL

Early 19th Century

Four studies of Indian plants

Four, each variously inscribed in English and three in Devanagari

Each pencil and watercolour

Largest 24 x 19.4cm; 9½ x 7¾in; Smallest 21.4 x 13.6cm; 8½ x 5¼in (4)

Provenance: Lady Victoria Waymouth, from whom acquired by Henry Michael Markham, Belgravia, c.1985; And by descent to Dominique

£1,500-2,500

Markham, Ilmington Grange, Warwickshire

149

SIR JAMES LILLYMAN CALDWELL

1770-1863

Tipu Sultan’s Hill Fort at Savendroog

Signed with initials and inscribed Captured by assault after breaching/The Hill Fort of Savendroog/in the Mysore JLC (to verso)

Pencil, pen and ink, and watercolour

41.4 x 59.8cm; 16¼ x 23½in

Unframed

£800-1,200

150

SIR JAMES LILLYMAN CALDWELL

1770-1863

Temple at Ambasamudram, near Tirunelveli, Tamil Nadu

Signed with initials, dated and inscribed Ambarsumdrum/Tinivally Dct June/1808 JLC (lower left)

Pencil, pen and ink, and grey wash

38.1 x 59.8cm; 15 x 23½in

Unframed

£800-1,200

151

PATNA SCHOOL

19th Century

A holy man and a cow; A holy man dressed in blue holding a fan; Two holy men, one holding a bowl of fire; A religious figure holding a bell; Three religious figures, one holding a tambourine

Five, each indistinctly inscribed Each watercolour

Largest 21.2 x 18.3cm; 8¼ x 7¼in; Smallest 20.8 x 17.8cm; 8¼ x 7in

Unframed (5)

£600-800

OIL PAINTINGS

Portrait of a noblewoman, wearing a black dress, lace ruff, and a red ribbon in her hair

Oil on canvas, octagonal

88.8 x 93.7cm; 35 x 36¾in

Unframed

Provenance:

Purchased in Antwerp by the previous American private collectors, early 1980s; By whom sold Case Auctions, Tennessee, 27 January 2018, lot 307

£4,000-6,000

152

CIRCLE OF JAN VAN RAVESTEYN

153

ENGLISH SCHOOL

18th Century

Portrait of Henry VIII, in a painted oval Oil on panel

24.2 x 19.5cm; 9½ x 7¾in

£300-500

154

ENGLISH SCHOOL

18th Century

Portrait of a lady, traditionally identified as Mary, Queen of Scots, bust-length, in a dark green coat with a white fur collar and trim, braided hair, a black cap, and wearing a pearl necklace Oil on panel, oval

32 x 26.5cm; 12½ x 10½in

£300-500

155 AFTER SIR PETER PAUL RUBENS

Self-portrait of the artist wearing a broad brimmed hat Oil on canvas

41 x 31.2cm; 16¼ x 12¼in

After the original in The Royal Collection (no.RCIN 400156).

£300-500

156

ENGLISH SCHOOL

18th Century

Portrait of Sir Walter Raleigh (c1552-1618), bust-length, in a red coat and lace ruff, with a black hat, in a painted oval

Oil on panel

22.7 x 18cm; 9 x 7in

£300-500

157 MANNER OF ANTHONIS MOR

Portrait of Emperor Maximilian II (1527-1576), half-length, wearing a black doublet and the Order of the Golden Fleece

Oil on canvas

72.8 x 60.4cm; 28¾ x 23¾in

Unframed

£2,000-3,000

158 DUTCH SCHOOL

17th Century

Portrait of a lady, half-length with a lace ruff, a pearl necklace and a pearl earring, in a painted oval

Oil on panel

67.5 x 30cm; 26½ x 11¾in

£600-800

159 ARNOLD HOUBRAKEN

Dutch 1660-1719

Portrait of a lady, three-quarter length, wearing a gold dress and blue wrap, seated by a pedestal, a landscape beyond Oil on canvas

42.3 x 32.3cm; 16¾ x 12¾in

Provenance: Phillips, London, 6 July 1993, lot 111

£300-500

CIRCLE OF MARC BAETS

River landscape with peasants outside cottages

Oil on panel

13 x 13.1cm; 5 x 5¼in

160

ATTRIBUTED TO JAN WIJNANTS

Dutch 1631-1684

Figures in a dune landscape

Bears a monogram (lower right)

Oil on canvas laid on panel

35.1 x 44cm; 13¾ x 17¼in

Provenance:

Possibly London, 13 February 1904, no.25 (to Lesser); By family descent to the present owner

Literature:

Possibly Cornelis Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century (London, 1927), no.619;

Possibly K. Eisele, Jan Wijnants: Ein

Niederländischer Maler der Ideallandschaft im Goldenen Jahrhundert (Stuttgart, 2000), no.U53

There is another version of this work, firmly attributed to Wijnants by Eisle, with an almost identical composition with the exception of the resting traveller (see Eisle, op. cit., no.315). However, examination of the image from when that version last appeared on the market, suggests that this figure was at one point present, and was either a pentimento, or had subsequently been overpainted.

£700-1,000

£400-600 162

DUTCH SCHOOL

18th Century

River landscape with travellers by a mill

Oil on panel

20 x 26.7cm; 7¾ x 10½in

£100-200

163

JACOB VAN DER DOES II

Dutch 1661-1699

Extensive river landscape with a hunting party in the woods and a village beyond

Signed D:vanden:does. f (lower left)

Oil on panel

58.5 x 83cm; 23 x 32¾in

Provenance:

Woolley and Wallis, Salisbury, Oil Paintings, Watercolours & Prints, 23 March 2011, lot 182

£1,000-1,500

164

FOLLOWER OF JAN WILDENS

Hunters resting by a path with a town beyond; Figures conversing on a path near a cottage

A pair, both oil on panel

23.2 x 19.8cm; 9¼ x 7¾in; 23.5 x 20.4cm; 9¼ x 8in (2)

£800-1,200

165 CIRCLE OF DAVID TENIERS II

A village festival outside an inn Oil on canvas

27.1 x 36.3cm; 10¾ x 14¼in

Provenance: Woolley and Wallis, Salisbury, Fine Old Masters & 19th Century Paintings, 10 December 2014, lot 121

£1,000-1,500

166

FOLLOWER OF DAVID TENIERS II

A woman seated outside a cottage grooming a cat Bears a monogram (lower centre) Oil on panel

24.8 x 34.6cm; 9¾ x 13½in

Provenance: Fievez, Brussels, 8 May 1929; By family descent to the present owner

£800-1,200

167 ABEL GRIMMER

Flemish c.1570-1618/19

Landscape with peasants near a lakeside castle

Oil on canvas

31.2 x 43.9cm; 12¼ x 17¼in

Provenance:

Heuvel Gallery, Brussels, 1930; Pieter de Boer, Amsterdam, 1934; By family descent to the present owner

Exhibited:

Amsterdam, Pieter de Boer, Helsche en Fluweelen Brueghel, February-March 1934, no.120

Literature:

R. de Bertier de Sauvigny, Jacob et Abel Grimmer (Belgium 1991), p.288, no.8

This fine example of Abel Grimmer’s work is typical of his small scale landscapes populated with charming vignettes of rural life. Many of these works formed series, such as the Four Seasons, or the Twelve Months. Reine de Bertier de Sauvigny writes that our work was probably a pair with a depiction of Winter (op.cit. p.289, no.11). Grimmer’s work demonstrates the influence his father Jacob, and that of Pieter Bruegel the Elder. However, Abel’s work is highly personal and distinctive, showing a stylisation of nature and architecture, combined with a perceptive and individualised rendering of rural life.

£15,000-20,000

167

167 (framed)

168 FOLLOWER OF CLAUDE GELLÉE, CALLED CLAUDE LORRAIN

The Falls of Tivoli Oil on canvas

75.7 x 92.7cm; 29¾ x 36½in

£600-1,000

169 AFTER CLAUDE GELLÉE, CALLED CLAUDE LORRAIN

The Mill Oil on canvas

71.2 x 91.5cm; 28 x 36in

The present work derives from Claude Lorrain’s original in the Doria Pamphilj.

£700-1,000

170

FOLLOWER OF GASPARD DUGHET, CALLED GASPARD POUSSIN

Mountainous landscape with figures resting by a monument

Oil on canvas

114.6 x 155.2cm; 45 x 61in

£4,000-6,000

170 (framed)

170

171

ROMAN

SCHOOL

Late 17th Century

Madonna and Child Oil on canvas

51.8 x 42.4cm; 20½ x 16¾in

£1,500-2,500

172

FLEMISH

SCHOOL

18th Century

Two bathers by a river Oil on canvas

10.3 x 9.7cm; 4 x 3¾in

Unframed

£100-150

173 AFTER SIR PETER PAUL RUBENS

Madonna and Child with St Elizabeth and the Infant St John Oil on canvas laid on panel

44.5 x 33.4cm; 17½ x 13¼in

The present work derives from Rubens’ original in the Museo Nacional Thyssen-Bornemisza, Madrid (no.349).

£600-800

174 VENETIAN SCHOOL

c.1700

The Exposition of Moses Oil on canvas

41.1 x 51cm; 16¼ x 20in

Unframed

Provenance:

Woolley and Wallis, Salisbury, Old Masters, British & European Paintings, 4 September 2019, lot 206, where purchased by the present private collector

£800-1,200

175

AFTER CHARLES LE BRUN

The Family of Darius before Alexander Oil on panel, roundel

81.1 x 82.3cm; 32 x 32in, with an intrinsic frame

£200-300

176

MANNER OF HIERONYMUS JANSSENS

Figures feasting and making music in an interior

Oil on panel, hexagonal

84.5 x 82cm; 33¼ x 32¼in, with an intrinsic frame

£200-300

177

FOLLOWER OF PIERRE-PAUL PRUD’HON

Cupid and Psyche

Oil on paper laid on board

22.5 x 19.9cm; 8¾ x 7¾in

£200-300

178

ITALIAN SCHOOL

c.1800

Portrait of a female artist, half-length, holding a porte-crayon and a red chalk study, in a painted oval Oil on canvas

83.4 x 63cm; 32¾ x 24¾in

£700-1,000

179

ITALIAN SCHOOL

18th Century

Tronie of a man wearing a head scarf Oil on paper laid on panel

14.8 x 10.8cm; 5¾ x 4¼in

£200-300

180

ATTRIBUTED TO LUDWIG

WILHELM BUSCH

German 1703-1772

Portrait of a bearded man Oil on panel

24.9 x 20.2cm; 9¾ x 8in

£300-500

182 JOHANNES VOLLEVENS I

Dutch 1649-1728

Portrait of a lady, three-quarter length, wearing a blue dress, standing in a landscape with a spaniel

Signed Jan Vollevens (lower left to plinth)

Oil on canvas

111.2 x 88.8cm; 43¾ x 35in

Provenance:

Bonhams, London, Old Master Paintings, 11 July 2001, lot 46; Private Collection Yorkshire;

The Period Face, Somerset, where acquired by the present private collectors, 2010

£1,500-2,500

181 BARTHOLOMEUS MEYBURGH

Dutch 1628-1708/1709

Portrait of a lady, three-quarter length, wearing a silver dress and pearl necklace and earring, seated in a park landscape

Signed B Meiburgh fecit (lower left)

Oil on canvas

119.5 x 93.2cm; 47 x 36¾in

£1,500-2,500

183 CIRCLE OF JOHN RILEY

Portrait of a gentleman, half-length, wearing an armoured breastplate, brown cloak, and long wig, a landscape beyond Oil on canvas

93.7 x 75.8cm; 37 x 29¾in

£1,000-1,500

184 FOLLOWER OF SIR PETER LELY

Portrait of a gentleman, traditionally identified as the poet Samuel Butler (1613-1680), half-length, wearing a brown cloak, in a painted oval

Oil on canvas

76.6 x 64cm; 30¼ x 25¼in

£600-800

185 ENGLISH SCHOOL

Mid 17th Century

Portrait of a gentleman, half-length, wearing armour in a painted oval Oil on canvas

76.3 x 63.6cm; 30 x 25in

£300-500

186

STUDIO OF SIR PETER LELY

Portrait of Letitia, later Lady Russell (c.1645-1721), three-quarter-length, seated in a landscape, wearing a brown dress and a blue cloak, holding a garland of leaves

Oil on canvas

125.1 x 102cm; 49¼ x 40¼in

Provenance:

By family descent to the present owner

The present portrait depicts Letitia Russell, daughter of the Hon. Edward Russell, second son of the 4th Earl of Bedford. Her first husband was Colonel Thomas Cheke (1628-1688) with whom she had two children. Following his death, she married in 1690 her cousin the Hon. Robert Russell, who was styled Lord Russell from 1694. Another version of the work by Sir Peter Lely, formerly the property of the Marquess of Downshire, was sold at Sotheby’s, London, 6 April 2022, lot 37.

£2,000-3,000

187 CIRCLE OF CHARLES COLLINS

Chinese pheasants and fruit by a tree stump

Oil on canvas

96.5 x 70.5cm; 38 x 27¾in

£1,000-1,500

188 WILLIAM JONES OF BATH

act.1764-1779

Still life with a basket of strawberries and other fruit on a marble ledge within a niche

Signed and dated W.Jones/1779 (centre right)

Oil on canvas

46 x 38.5cm; 18 x 15¼in

£400-600

189 CIRCLE OF PIETER FAES

Still life with roses, carnations, grapes and peaches with a butterfly on a table-top Oil on panel

45.5 x 33.8cm; 18 x 13¼in

Provenance:

Sotheby’s, London, 26 April 2001, lot 503, where purchased by the previous owner; Bonhams, Knightsbridge, Old Master Paintings, 2 May 2012, lot 126

A signed version of this work, dated 1798, was offered at Sotheby’s, New York, 29 January 1999, lot 133.

£800-1,200

190

190 CIRCLE OF JAKOB BOGDANI

Still life with fruit and flowers on a stone ledge

Bears a signature J.Bogdani (lower right)

Oil on canvas

76.5 x 63.7cm; 30 x 25in

Provenance:

Cooling Galleries, London; The Collection of Henry F. Pulitzer, The Pulitzer Gallery

£4,000-6,000

191

AFTER CHARLES-FRANÇOIS GRENIER DE LACROIX, CALLED LACROIX DE MARSEILLE

View of Pozzuoli in the Gulf of Naples

Indistinctly signed and dated * De V**anson pinxit/1795 (lower left) Oil on canvas

47.8 x 63.3cm; 18¾ x 25in

£800-1,200

192 FOLLOWER OF CLAUDE-JOSEPH VERNET

Coastal landscape with choppy waters, and fishermen bringing in the catch

Oil on canvas

69.3 x 98.1cm; 27¼ x 38½in

Provenance: Believed to have been in the family of the present owner since the early 19th century

£400-600

193

CIRCLE OF WILLEM VAN DE VELDE II

Shipping in an inlet Oil on copper

8.3 x 9.6cm; 3¼ x 3¾in

£700-1,000

194

194 FOLLOWER OF ABRAHAM STORCK

A Dutch man-o-War firing a salute to announce her arrival off Genoa Oil on canvas

103.1 x 183.5cm; 40½ x 72¼in

£3,000-5,000

195 FOLLOWER OF PETER MONAMY

A Squadron of the Red beating up the Channel past Dover Castle in choppy seas, the flagship flying the flag of the Vice-Admiral of the Red in command

Oil on canvas

100.6 x 146.4cm; 39½ x 57¾in

£1,500-2,000 195

196

ENGLISH SCHOOL

18th Century

Portrait of a gentleman, traditionally identified as a member of the Richards family of Devon, three-quarter length, wearing a blue coat and waistcoat, standing in an interior

Oil on canvas

119.5 x 102cm; 47 x 40¼in Unframed

Provenance: By family descent from the sitter; Property of a deceased estate

£1,000-1,500

198 ENGLISH SCHOOL

18th Century

197

ENGLISH SCHOOL c.1700

Portrait of Col. Edward Thornycroft, three-quarter length, wearing armour and a long wig, a castle ablaze beyond Oil on canvas

37.3 x 28.6cm; 14¾ x 11¼in

£300-500

Portrait of a nobleman, half-length, wearing Coronation robes and a powdered wig

Oil on canvas

68 x 52cm; 26¾ x 20½in

£300-500

199 CIRCLE OF ENOCH SEEMAN

Portrait of a lady, three-quarter length, wearing a silver coloured dress, holding a shepherdess’ staff and hat

Oil on canvas

127.4 x 102.1cm; 50¼ x 40¼in

£2,000-3,000

200

ENGLISH SCHOOL

18th Century

Portrait of a lady, traditionally identified as a member of the Richards family of Devon, three-quarter length, wearing a blue dress and red cloak, a landscape beyond Oil on canvas

120.6 x 95.7cm; 47½ x 37¾in

Unframed

Provenance: By family descent from the sitter; Property of a deceased estate

£800-1,200

201

ENGLISH SCHOOL

Early 18th Century

Portrait of a lady, half-length, wearing a brown dress, in a painted oval Oil on canvas

76.5 x 61.9cm; 30 x 24¼in

£500-800

202

ENGLISH SCHOOL

Early 18th Century

Portrait of a lady, traditionally identified as Jane Spencer, three-quarter length, wearing a silver coloured dress and blue wrap, standing in a landscape

Oil on canvas

120 x 94.7cm; 47¼ x 37¼in

Provenance: By family descent from the sitter; Property of a deceased estate

£1,000-1,500

203

ENGLISH SCHOOL

18th Century

Portrait of a gentleman, traditionally identified as the Earl of Mansfield, half-length, wearing a brown coat and powdered wig

Oil on canvas

33 x 29.2cm; 13 x 11½in

£200-300

204

ENGLISH SCHOOL

18th Century

Portrait of a gentleman wearing a blue coat and red turban, in a painted oval

Oil on canvas

61 x 48.8cm; 24 x 19¼in

£800-1,200

205 CIRCLE OF FRANCIS HAYMAN

Portrait of a young girl offering cherries to her dog

Oil on canvas

63.7 x 76.5cm; 25 x 30in

Provenance:

The Groves of Castle Grove, Donegal; By descent to Commander Peter Campbell; And by descent to the present owner

£1,000-1,500

206 CIRCLE OF SIR JOSHUA REYNOLDS

Portrait of a young boy wearing a red jacket with a white collar Oil on canvas

36.5 x 43.5cm; 14¼ x 17¼in

Provenance: English Private Collection

The present work depicts the same boy as a portrait featured on the BBC television series Fake or Fortune, subsequently sold at Bonhams, London (Old Master Paintings, 6-12 February 2024 lot 61). Although conservation of the Fake or Fortune work revealed it to date from 1831, it is believed that it relates to a lost original by Joshua Reynolds.

£1,000-2,000

208

ENGLISH SCHOOL

18th Century

Full cry

Oil on panel

54.9 x 78.8cm; 18 x 31in

£200-300

207 AFTER JOHN WOOTTON

King William III stag hunting with an extensive river landscape beyond Oil on canvas

104.3 x 155.2cm; 41 x 61in

After the original of 1729 (see Sotheby’s, London, Old Masters Evening Sale, 3 December 2019, lot 2).

£2,000-3,000

209 STUDIO OF RICHARD WILSON

The White Monk Oil on canvas

43.5 x 59cm; 17 x 23¼in

Provenance: Col. Maurice Harold Grant (1872-1962); Mrs R. Stone; Christie’s, London, 22 June 1979, lot 454; Property of a Deceased Estate, by whom sold Phillips, 13 April 1999, lot 94, where purchased by the present private collector (as Richard Wilson)

£800-1,200

210 JOHN INIGO RICHARDS RA 1731-1810

Lower Richmond Road, Mortlake; The Old White Hart, Mortlake

A pair, both oil on canvas

Each 42.4 x 59.8cm; 16¾ x 23½in (2)

£2,000-3,000

211 CIRCLE OF THOMAS GAINSBOROUGH

Portrait of a lady, traditionally identified as Miss Sparrow, but possibly H.R.H. Duchess of Gloucester and Edinburgh (1736-1807), half-length in a painted oval, wearing an ermine trimmed blue gown

Oil on canvas

30.7 x 24.3cm; 12 x 9½in

Provenance:

Henry Joseph Pfungst (1844-1917); His posthumous sale, Christie, Manson & Woods, London, Catalogue of the Collection of Works by Thomas Gainsborough…, 15 June 1917, lot 77 (as Gainsborough), where purchased by Connell & Sons, London; English Private Collection; Chiswick Auctions, London, Happy & Glorious: God Save The King, 4 May 2023, lot 1, where purchased by the present owner (as Portrait of a lady said to be the Duchess of Gloucester)

Literature:

Catalogue of the Pfungst collection of drawings & studies by Thomas Gainsborough (London, 1915), no.37 (illustrated);

Hugh Belsey, Thomas Gainsborough (Yale University Press, 2019), vol.2, p.777, no.832c (whereabouts unknown)

The present work is a small version of Thomas Gainsborough’s portrait of a lady, who has traditionally been identified as Miss Sparrow, today in the Metropolitan Museum of Art, New York (see Hugh Belsey, Thomas Gainsborough (Yale University Press, 2019), no.832). As Belsey has written the identity of the sitter ‘remains elusive’. She acquired the identification of Miss Sparrow in 1870 when Gainsborough’s portrait was engraved, although there is no further information about how this identification was arrived at. A 19th-century copy identifies her as the Duchess of Gloucester. Maria Walpole, Duchess of Gloucester certainly sat for Gainsborough three times (see Belsey, nos.403-405). The label on the back of our work, which dates from its time in the Pfungst collection, conflates the two possible sitters, reading ‘Miss Sparrow married the Duke of Gloucester’ but this is erroneous.

Gainsborough himself painted several small versions of his portraits, which would have been easier to travel with (see for example Belsey nos 36 & 915). The Duke and Duchess of Gloucester travelled extensively throughout Europe, having been banished from the court for marrying in secret.

£1,000-2,000

212 FOLLOWER OF ANGLICA KAUFFMAN

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

Oil on canvas

76.4 x 63.8cm; 30 x 25in, framed as an oval

£800-1,200

213 CIRCLE OF THOMAS GAINSBOROUGH

Portrait of Simon Crook (1722-1801), half-length, wearing a brown coat and waistcoat, and powdered wig, in a painted oval

Oil on canvas, c.1763

76.9 x 64.4cm; 30¼ x 25¼in

Provenance:

By descent from the sitter the Rev Henry S. C. Crook, 6 Darlington Street, Bath; His posthumous sale, James Rainey, Bath, 14 October 1884, lot 286; Where purchased by John Stone, Solicitor, 6 Westgate Buildings, Bath; By descent to the previous owner; By whom sold, Aldridge’s, Bath, Fine Art & Interiors, 30 November 2021, lot 348, where purchased by the present owner

Simon Crook was an apothecary in Abbey Street, Bath. He served on Bath City Council from 1754 to 1791, and was the mayor in 1778. In 1763 he was depicted in the satirical print The Knights of Baythe, or the One Headed Corporation The present work dates from the same period, and an old stamp on the back of the original canvas, dated 1763, was discovered during recent conservation. 1763 was the year Thomas Gainsborough’s death was erroneously reported by The Bath Journal. However, Gainsborough was seriously ill, and he did not work in his studio for the last 3 months of that year. Crook was a neighbour of Gainsborough, who also lived in Abbey Street from 1760 until 1766, when he moved to The Circus. During his Bath period Gainsborough painted several apothecaries, including Thomas Haviland (c.1761), James Haviland (c.1770), and Dr Rice Charleton (c.1764).

£2,000-3,000

214 CIRCLE OF THOMAS GAINSBOROUGH

Portrait of Sarah Jarman (née Wyersdale) (1696-1773), half-length, wearing a black dress with white fichu and bonnet, within a painted oval Oil on canvas

75.6 x 63.6cm; 29¾ x 25in

Provenance:

Private Collection, Somerset; Private Collection

Sarah Wyersdale married John Jarman of Parsonage Farm, Bishop’s Hull Somerset.

£600-800

215 CIRCLE OF JOHN HOPPNER

Portrait of Colonel George Gun (d.1827), half-length, wearing the uniform of the Gunsborough Union Oil on canvas

73.1 x 61.2cm; 28¾ x 24in, framed as an oval

Provenance:

By family descent from the sitter

£1,000-1,500

217 ENGLISH SCHOOL

Early 19th Century

216

ENGLISH SCHOOL

c.1800

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

Oil on canvas

76.3 x 63.6cm; 30 x 25in

£400-600

Portrait of a George Aikin (1774-1847), half-length, wearing a brown coat

Oil on canvas

61.2 x 50.9cm; 24 x 20in

Provenance:

By family descent from the sitter; Property of a deceased estate

According to an inscription on the reverse, the sitter was the agent to the Duke of Bedford.

£300-500

218

ATTRIBUTED TO SIR THOMAS LAWRENCE PRA, FRS AND LATER 1769-1830

Portrait of Elizabeth Knight (née Spelman) (1762-1800), half-length, wearing a fur-lined red dress, seated in an interior Oil on canvas

91.3 x 71cm; 36 x 28in

Provenance:

By family descent from the sitter to Philippa Baumgartner (née Knight); By family descent to John Percy Baumgartner (1812-1903); By family descent to R. B. Beart; By family descent to Mrs P. V. Pigot, Northwich (by 1951); Private Collection

Literature:

Probably Kenneth Garlick, Sir Thomas Lawrence (London, 1954), p.45 (as unfinished and with incorrect size);

Probably Kenneth Garlick, “A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence” in The Walpole Society, vol. 39, 1964, p.117 (as unfinished and with incorrect size)

Elizabeth Spelman was the wife of Samuel Knight of Milton House, Cambridge. She died suddenly on 17th June 1800 “after a few hours illness only” (Milton Church, Cambridge). Knight was one of Thomas Lawrence’s earliest patrons. In 1777, when Lawrence was only eight years old, he drew a miniature of Knight’s neighbour Charles Pepys, and the drawing remains in the Knight family collection (see Garlick, 1964, p.240). Garlick records that Lawrence’s portrait of Elizabeth was unfinished, and the present work was clearly completed by a later hand.

£1,000-2,000

219

FOLLOWER OF WILLIAM BEECHEY

Portrait of a naval officer, half-length, in uniform Oil on canvas

76.6 x 63.8cm; 30¼ x 25in

£500-800

220

FOLLOWER OF SIR THOMAS LAWRENCE

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

Oil on canvas

76.5 x 63.7cm; 30 x 25in

£500-800

221

CHARLES MARTIN POWELL

1775-1824

A Dutch ship-of-the-line lying at anchor and drying her sails, with smaller Dutch craft closer inshore

Signed CMPowell (lower left)

Oil on canvas laid on panel

49.3 x 66.5cm; 19½ x 26¼in

£2,000-3,000

222 NICHOLAS MATTHEW CONDY

1818-1851

The 2nd rate HMS Canopus entering the Hamoaze at Plymouth

Signed and dated N.M.Condy/1839 (lower right), and further signed, dated and inscribed H.M.S.Canopus 80/N.Condy Jun Pinx/1839 (to reverse)

Oil on canvas

55.5 x 45.3cm; 21¾ x 17¾in

HMS Canopus, originally Le Franklin and a French prize captured at the Battle of the Nile in 1798, was renamed and recommissioned into the Royal Navy and enjoyed a distinguished career during the remaining years of the Napoleonic Wars. Laid up in reserve for a long period after 1815, she was refitted in 1834 but required major repairs in 1839 when she was docked in Plymouth until 1842 when she returned to sea. After several harbour based roles thereafter, she was finally broken up in 1887.

£2,000-3,000

223 ENGLISH SCHOOL

19th Century

HMS Royal George at anchor in a naval dockyard, probably Portsmouth, with other elements of the fleet close by

Oil on canvas

101.1 x 126.1cm; 39¾ x 49¾in, framed as an oval

This work depicts the famous flagship Royal George, completed for sea in 1756, but which foundered at Spithead on 29th August 1782 with the loss of hundreds of lives in the worst peacetime disaster in the history of the Royal Navy.

£600-800

224 HENRY REDMORE

1820-1888

A full-rigged merchantman and two smaller vessels battling a heavy swell

Signed H Redmore (lower left)

Oil on canvas

60.4 x 101.5cm; 23¾ x 40in

£500-800

225

ATTRIBUTED TO JOHN WARD OF HULL 1798-1849

A fishing boat and other vessels in coastal waters; Shipping in a calm

A pair, both oil on panel

Each 12.5 x 18cm; 5 x 7in (2)

£800-1,200

226 THOMAS LUNY 1759-1837

On the Teign above Shaldon Bridge

Signed and dated Luny 1832 (lower left)

Oil on board

30.6 x 40.4cm; 12 x 16in

£1,200-1,800

227 CIRCLE OF CLARKSON STANFIELD

Wreckers salvaging a floating mast from a wrecked vessel, off a harbour entrance Oil on canvas

36 x 51.3cm; 14¼ x 20¼in

Provenance: Acquired by the previous private collector in the mid 1950s; And by family descent

Exhibited: Belfast, Belfast Museum and Art Gallery, Pictures from Ulster Homes, May-July 1961, no.208 (as Richard Parkes Bonington)

£500-700

228 WILLIAM TURNER OF OXFORD

1789-1862

Landscape with figures and cattle near the Rufus Stone, The New Forest

Oil on canvas

57.2 x 70.2cm; 22½ x 27¾in

Exhibited: Possibly London, New Forest Exhibition, 1875

£700-1,000

229 WILLIAM JAMES MÜLLER

1812-1845

A shepherdess and her flock above Llyn Padarn with Dolbadarn Castle in the distance

Signed and inscribed W Müller 1836 (lower left)

Oil on canvas

53.4cm x 73.7cm; 21 x 29in

Provenance: By family descent to the present owner

£1,000-1,500

230 FOLLOWER OF ALEXANDER NASMYTH

Lake landscape with a figure boating and mountains beyond Oil on canvas

64.1 x 76.9cm; 25¼ x 30¼in

£300-500

231

ALEXANDER NASMYTH

Scottish 1758-1840

The fishing party, Loch Katrine Oil on canvas

68.4 x 89cm; 27 x 35in

Provenance:

Rt. Hon. Charles Hope; By descent to his grandson, Rev. David Robertson; Beaton-Brown Fine Paintings, London

£4,000-6,000

231

231 (framed)

232

EDWIN COOPER 1785-1833

A grey cob with liveried groom, leading a bay hunter before a rubbing down house

Signed and dated En Cooper /Pinxt 1819 (lower left)

Oil on canvas

62.5 x 87.8cm; 24½ x 34½in

Provenance: Possibly T. Saul Esq, 1819; Col Morris Exton, Walford Hall, Shrewsbury; With David Messum, Buckinghamshire, 1985

Literature:

David Messum, Autumn Catalogue 1985, p.5, illustrated

Exhibited: Possibly, Norwich Society of Artists, 1819, no. 29, ‘Portrait of a Hunter and Pony’

£2,000-3,000

232

232 (framed)

233 WILLIAM HUGGINS

1820-1884

Wounded But Not Defeated

Signed and dated W Huggins 1840 (lower left) Oil on canvas

60.7 x 71.5cm; 24 x 28¼in

Provenance:

Miss Purnell Edwards, Stancombe Park, Dursley; Sotheby’s, Belgravia, 6 December 1977, lot 189; Arthur Ackermann & Peter Johnson, London; Private Collection

£3,000-5,000

233 (framed)

233

234

ENGLISH SCHOOL

19th Century

Fishermen off the coast Oil on panel

20.2 x 25.6cm; 8 x 10in

£400-600

235

CIRCLE OF WILLIAM LIONEL WYLLIE

Shipping in Southampton Water Bears a signature W.L Wyllie (lower left) Oil on canvas

61 x 92cm; 24 x 36¼in

£600-800

236

ENGLISH SCHOOL

19th Century

Fishermen off The Needles, Isle of Wight Oil on panel

25.7 x 37.8cm; 10 x 14¾in

£200-300

237

JAN FREDERIK SCHÜTZ

1817-1888

A fishing boat near a jetty

Signed J F Schutz (lower left) Oil on panel

29.3 x 50.2cm; 11½ x 19¾in

£600-800

238 ALFRED MONTAGUE 1832-1883

Fishing boats on a blustery day on an estuary

Signed and dated A Montague

1861 (lower left)

Oil on canvas

43 x 76.3cm; 17 x 30in

Provenance: Hartley Fine Arts, 22 April 2004, where purchased by the present private collector

£600-800

239 JAMES MEADOWS SNR. 1798-1864

Fishing boats in choppy coastal waters

Signed and indistinctly dated J MEADOWS Snr/185* (lower right)

Oil on canvas

30 x 58cm; 12 x 22in

Provenance: Stephen Garratt Fine Paintings, London, October 1987

£300-500

240 JAMES EDWIN MEADOWS 1828-1888

Fishing boats near Hastings

Signed and dated Jas.E/ Meadows/1885 (lower left)

Oil on canvas

40.8 x 61cm; 16 x 24in

£400-600

241 ENGLISH SCHOOL

19th Century Coastal landscape with fishermen raising the sails

Oil on panel 19.1 x 23.2cm; 7½ x 9¼in

£150-250

242

JAMES WEBB 1825-1895

Cadiz Harbour

Signed and dated J. Webb 72 (lower left)

Oil on canvas

19.4 x 39.2cm; 7¾ x 15½in

£700-1,000

243

WILLIAM THORNLEY act.1858-1898

Coastal landscape with steamships anchored

Signed WThornley (lower left)

Oil on canvas

25 x 40.4cm; 9¾ x 16in

£500-800

244 ENGLISH SCHOOL 19th Century

Shipping in choppy waters

Oil on board

17.1 x 24.8cm; 6¾ x 9¾in

£150-250

245 CARL BILLE Danish 1815-1899

A fishing boat hauling in its nets

Signed and dated Carl Bille 1880 (lower left)

Oil on canvas

42.5 x 67.3cm; 16¾ x 26½in

£200-300

246

WILLIAM HENRY WILLIAMSON 1820-1883

Fishing boats near Ventnor, Isle of Wight, at dawn; Choppy waters near Ventnor, Isle of Wight, at dusk

A pair, the former signed and dated W.H.Williamson/1868 (lower left), the latter signed W H Williamson (lower left)

Both oil on canvas

25.2 x 45.6cm; 10 x 18in; 25.5 x 45.7cm; 10 x 18in (2)

£500-700

247 HENRY MOORE RA, RWS 1831-1895

A tugboat pulling a ship off the cliffs at sunset

Signed with initials HM (lower right)

Oil on canvas

51 x 76.5cm; 20 x 30in

£400-600

248

EDWARD HOYER

act. c.1870-1890

Shipping in moonlight

Signed and dated EDW.HOYER/80 (lower right)

Oil on canvas

39.6 x 48cm; 15½ x 19in

£200-400

COLIN HUNTER ARA 1841-1904

East Anglian river landscape with a figure repairing a boat and a wherry beyond

Signed Colin Hunter (lower left)

Oil on board

23.6 x 32.3cm; 9¼ x 12¾in

£150-250

250

JOHN FREDERICK

HERRING JNR.

1815-1907

A farmyard with carthorses, pigs, goats, chickens and cows

Signed J. F Herring (lower centre)

Oil on canvas

51 x 76cm; 20 x 30in

Provenance: Sotheby’s, Billingshurst, Southern Counties’ Views, Selected Watercolours and Oil Paintings, 21 October 1997, lot 231

£1,500-2,500

251

WILLIAM VIVIAN TIPPETT

1833-1910

Landscape with cattle resting under a tree

Signed and dated W.V.Tippet./75 (lower right)

Oil on canvas

46.1 x 61.2cm; 18¼ x 24in

£200-300

252

JOSEF HEICKE

Austrian 1811-1861

Cows resting

Signed and dated F Heicke/1851 (lower left)

Oil on paper, laid on board

21 x 29.9cm; 8¼ x 11¾in

£150-250

253

HENRY THRING SHAYER 1825-1894 AND CHARLES WALLER SHAYER 1826-1914

The Ploughman’s Lunch

Oil on canvas

84 x 114.6cm; 33 x 45in

Provenance:

The Boydell Galleries, Liverpool; Cambridge Fine Art, Cambridge

£2,000-3,000

254

JAN EVERT MOREL

Dutch 1835-1905 AND FRANZ VAN SEVERDONCK

Dutch 1809-1889

Wooded landscape with figures and sheep by a river and a town in the distance

Signed and inscribed JC.Morel ft/Les Moutons par/F VanSeverdonck (lower left), and further inscribed and dated The undersigned declares that this picture/has been painted by himself to the order/of Mr A D Hugretter - of Antwerp/Amsterdam 83./J.E.Morel (on the reverse) Oil on canvas

28.3 x 37.2cm; 11¼ x 14¾in

Provenance:

Anonymous sale, Phillips, London, 1 December 1998, lot 2, where purchased by the previous owner; By whom sold, Bonhams, London, British and European Art, 13 November 2018, lot 141

£200-300

255

HENRY BEALL 19th Century

A timber wagon in a winter landscape

Signed and dated Henry Beall 1883 (lower left) Oil on canvas

51.1 x 76.5cm; 20 x 30in

£300-500

257

FRANK RAWLINGS OFFER

1847-1932

The West Quay Yacht Club, Southampton at dusk; Figures on a path near an estuary

A pair, the former signed FR Offer (lower left), the latter FR Offer (lower right)

Both oil on board

Each 19 x 36.8cm; 7¾ x 14½in (2)

£800-1,200

256

ENGLISH SCHOOL

19th Century

Figures near Ventnor, Isle of Wight

Oil on board

40 x 74.4cm; 15¾ x 29¼in

The present work derives from an engraving in Thomas Roscoe’s Summer Tour to the Isle of Wight (1843).

£400-600

258 BUCKLEY OUSEY 1850-1889

A woman sitting on the dunes; Bringing in the catch

A pair, both signed and dated B Ousey 1887 (lower right)

Both oil on canvas

40.9 x 66.5cm; 16 x 26¼in; 41.2 x 65.8cm; 16¼ x 26in (2)

£600-800

259

259 GEORGE CLARKSON STANFIELD 1828-1878

Figures outside the walls at Givet

Signed and dated George C Stanfield 1867 (lower left)

Oil on canvas

51 x 76cm; 20 x 30in

Provenance: Sotheby’s, London, Victorian Pictures, 4 June 1997, lot 135

£1,000-1,500

260 ENGLISH SCHOOL 19th Century

The Thames by moonlight with St Paul’s Cathedral

Signed indistinctly *W**d** (lower left)

Oil on panel

25.9 x 46.1cm; 10¼ x 18¼in

£150-250

261 AFTER BENJAMIN HERRING

On Her Majesty’s Service

Oil on canvas

51.7 x 41.2cm; 20 x 16¼in

Provenance: The Parker Gallery, London

£800-1,200

262 JOHN CHARLES MAGGS

1819-1896

The London to York Royal Mail coach

Signed and dated J C Maggs/1881 (lower left)

Oil on canvas

61.3 x 91.6cm; 24¼ x 36in

Provenance:

Property of a Deceased Estate

£400-600

263 HEYWOOD HARDY 1842-1933

The Meet Signed Heywood Hardy (lower right) Oil on canvas

55.5 x 91.4cm; 21¾ x 36in

Provenance: Private Collection

Exhibited: London, Richard Green

£10,000-15,000

263

263 (framed)

264

EDWARD WILLIAM COOKE RA 1811-1880

Coastal landscape with fisherfolk on a path above a cove

Signed and dated E.W.Cooke.RA.1875 (lower right)

Oil on canvas

54.9 x 73.4cm; 21½ x 29in

£800-1,200

265

ARTHUR H DAVIS c.1847-1895

The River Stour from Tuckton, Christchurch, Hampshire

Signed Arthur Davis (lower right to boat), and further signed and inscribed The River Stour from Tuckton/Christchurch Hants/Arthur H Davis (to reverse)

Oil on canvas

46 x 77.4cm; 18 x 30½in

£300-500

266

JOHN ENOCH BROOKES act.1864-1873

Old Farm Building at Burford; Cottage at Snitterfield, near Warwick

A pair, the former signed and inscribed Old Farm Building/at Burford/By J.E.Brookes (to reverse), the latter signed and inscribed Cottage At Snitterfield/Near Warwick/By J.E.Brookes (to reverse)

Both oil on canvas

31 x 45.8cm; 12¼ x 18in; 30.6 x 45.9cm; 12 x 18in (2)

£300-500

267

HENRY LEONIDAS ROLFE

1823-1881

Salmon and brown trout on a riverbank

Signed and dated H L Rolfe 1867 (lower right) Oil on canvas

30.8 x 45.8cm; 12¼ x 18in

Provenance: Phillips, 10 September 1969, lot 85

£300-500

268

GEORGE ARMFIELD

1808-1893

Three terriers surrounding a trapped rat

Signed and dated G Armfield 1850 Oil on panel

19.5 x 25.4cm; 7¾ x 10in

£200-300

269

CIRCLE OF JAMES HARDY JNR

The day’s bag

Oil on canvas

42.5 x 53.2cm; 16¾ x 21in

£250-450

270 GIOVANNI BATTISTA CANEVARI

Italian 1789-1876

Portrait of Geraldine Laura Hutchings (1811-1869), half-length, wearing a black dress and holding a posy of flowers

Signed and dated GB Canevari f./Roma 1848 (centre left) and inscribed Portrait/of/Geraldine Laura Hutchings/wife of/Hubert Hutchings/by Canevari/taken at Rome 1847 (to label)

Oil on canvas

76 x 63.4cm; 30 x 25in, framed as an oval

Provenance:

By family descent from the sitter, Sandford Orcas Manor, Dorset; Dukes, Dorchester, Sandford Orcas Manor: Auction of the Contents, 6 March 2024, lot 387 (as Canaciari)

£1,000-1,500

271 CONTINENTAL SCHOOL

19th Century

Portrait of a young gentleman, wearing a black coat, white waistcoat and silk cravat

Oil on canvas

61.5 x 51 cm; 24¼ x 20in, framed as an oval

£300-500

272

JESSICA HAYLLAR

1858-1940

Portrait of a lady, wearing a black dress and lace collar and bonnet, seated in an interior

Signed and dated Jessica Hayllar/1906 (lower right)

Oil on canvas

68.5 x 51cm; 27 x 20in

£100-200

273 J. HARRISON

act.1845-1865

Portrait of a lady, full-length, wearing a pink dress, standing in a garden

Signed and dated J Harrison/ Pinxt/1847 (lower right)

Oil on canvas

80.4 x 54.8cm; 31¾ x 21½in

Provenance:

Sotheby’s, London, Victorian Paintings, 3 October 1984, lot 144, where purchased by the previous private collector; And by descent

£400-600

274 ENGLISH SCHOOL

c.1860-1870

Portrait of Sophia Frances Quantock, wearing a black dress, seated in an interior

Oil on board

21 x 18cm; 8¼ x 7in

Provenance: Frost & Reed

£200-300

275 OSCAR WILSON

1867-1930

Portrait of a young lady

Signed Oscar Wilson (lower right)

Oil on panel

38.1 x 24cm; 15 x 9½in

£500-800

276 ELLIS WILLIAM ROBERTS

1860-1930

Portrait of The Hon Alice Bennett Sidebottom (née Partington) (1862-1933), half-length, wearing a white dress, seated in a landscape

Signed Ellis/Roberts (lower left)

Oil on canvas

76 x 63.6cm; 30 x 25in

Provenance: By family descent from the sitter; Property of a deceased estate

£200-300

Italian 1849-1926

An amusing tale

Signed F Brunery (lower right)

Oil on canvas

65.7 x 55.3cm; 25¾ x 21¾in

Provenance: Phillips, London, 19th Century European Paintings and Watercolours, 27 March 1990, lot 106

£6,000-8,000 277

277 FRANÇOIS BRUNERY

278

278 FRANÇOIS BRUNERY

Italian 1849-1926

A playful pest

Signed F.Brunery (lower right)

Oil on canvas

61.2 x 50.3cm; 24 x 19¾in

Provenance: Phillips, London, 19th Century European Paintings and Watercolours, 27 March 1990, lot 120

£5,000-8,000

279 WALTER DENDY SADLER

1854-1923

The Introduction

Signed W Dendy Sadler (lower left)

Oil on canvas

87.5 x 122.9cm; 34½ x 48½in

Provenance:

Kurt E. Schon Fine Art, New Orleans

£1,500-2,500

280 JOSEF DANHAUSER

Austrian 1805-1845

A merry dance

Signed Jos Danhauser/1844 (lower right)

Oil on panel

46 x 55.2cm; 18 x 21½in

Provenance:

By family descent to the present owner

£1,000-1,500

281

CHARLES CHRISTOPHER COVENTRY act.1799-1819

Infant Washerwoman

Signed and dated C C Coventry 1809 (to table stretcher)

Oil on canvas

91.5 x 71.8cm; 36 x 28¼in

Provenance: Stebbings, Liverpool, 1829 (Lugt 12200a), lot 153

Exhibited:

London, Royal Academy, 1809, no.275

Literature:

Public Ledger and Daily Advertiser, 23 May 1809, p.2

£1,000-1,500

282

ANTONIO BIANCHI

Italian b.1875

A flirtation

Signed A.BIANCHI (lower left)

Oil on canvas

73.9 x 120.5cm; 29 x 47½in

£500-800

French 1819-1886

Le petit-déjeuner

Signed and dated Edouard Frère 1884 (lower left)

Oil on panel

40.6 x 34.1cm; 16 x 13½in

£3,000-5,000

283 PIERRE ÉDOUARD FRÈRE

283A

JAMES DRUMMOND RSA Scottish 1816 -1877

Cromwell’s Bartizan, Edinburgh

Signed and dated Drummond 1861 (lower right) Oil on canvas

91.1 x 134.7cm; 35¾ x 53in

Provenance: Phillips & MacConnal Ltd., London Private Collection

Exhibited: Edinburgh, Royal Scottish Academy, 1861, no.358

Literature: The Art Journal, vol.VII, 1861, p.86

When the present work was exhibited in 1861 at the Royal Scottish Academy, The Art Journal described it as “the best work of its class in the exhibition”. James Drummond has depicted Oliver Cromwell after the Battle of Dunbar, surveying the surrounding countryside.

£4,000-6,000

283A (framed)

283A

Signed T R Miles (lower left) and further signed and inscribed “Fresh Gale in the North Sea”/T R Miles (to reverse) Oil on canvas 101.9 x 76.6cm; 40 x 30¼in £2,000-3,000

284 THOMAS ROSE MILES 1844-1916

Fresh Gale in the North Sea

285

THOMAS ROSE MILES

1844-1916

Morning, Tor Bay

Signed T R Miles (lower left) and further signed and inscribed “Morning”,/Tor Bay T R Miles (to reverse) Oil on canvas

102.1 x 76.6cm; 40¼ x 30¼in

£2,000-3,000

286

HENRY THOMAS DAWSON

1841-c.1896

Boats by a jetty on a windy day

Signed with monogram and dated 1865 (lower right)

Oil on canvas

79.2 x 63.6cm; 31¼ x 25in

£1,500-2,000

287

HENRY THOMAS DAWSON

1841-c.1896

Vessels laid up in the river, including a two-funnelled paddle steamer, an old hulk beyond and with a coaling jetty close by

Signed with monogram and dated 1875 (lower left)

Oil on canvas

41 x 61.5cm; 16¼ x 24¼in

£700-1,000

288

HENRY DAWSON 1811-1878

Two merchant barques sailing in tandem at sunset

Signed and dated H Dawson/1840 (lower left)

Oil on canvas

70.6 x 107cm; 27¾ x 42in, framed with an arched top

£2,000-3,000

289

HENRY THOMAS DAWSON 1841-c.1896

HMS Britannia leaving the fleet anchorage with other ships of War beyond

Inscribed H Dawson/No 1 (to reverse)

Oil on canvas

81.6 x 107.6cm; 32¼ x 42¼in

£800-1,200

290

ALFRED AUGUSTUS GLENDENING SNR. 1840-1921

Windsor Castle from the Thames at dusk

Signed with initials and dated A A G 81 2 (lower right)

Oil on canvas

61.1 x 91.3cm; 24 x 36in

Provenance: Property of a Deceased Estate

£800-1,200

291

WALTER HEATH WILLIAMS 1835-1905

River landscape with figures on a path, and a fisherman on the bank

Oil on canvas

61.3 x 92.1cm; 24¼ x 36¼in, framed with an arched top

£800-1,200

292

ROBERT MANN act.1869-1892

Warwick Castle from the Avon; Figures on a lane at Shottery, near Stratford-upon-Avon

A pair, the former signed R.MANN (lower left) and further signed and inscribed Warwick Castle/ Robert Mann (to reverse), the latter signed R.MANN (lower left) and further signed and inscribed Lane at Shottery/Nr Stratford on Avon/ Robert Mann (to reverse)

Both oil on canvas

30.6 x 46cm; 12 x 18in; 31 x 46cm; 12¼ x 18in (2)

£300-500

293

GEORGE TURNER 1843-1910

A Quiet Spot for a Perch, Near Barrow-on-Trent

Signed and dated Geo Turner 77 (lower right) and further signed, inscribed and dated “A Quiet Spot for a Perch”/near Barrow-on-Trent/Geo.Turner/Walnut Tree House/Barrow on-Trent-near Derby/1877/ Painted on the Spot (to reverse and stretcher)

Oil on canvas

46 x 76.8cm; 18 x 30¼in

Provenance:

Phillips, Bath, 27 April 1992, where purchased by the present private collector

£700-1,000

294

GEORGE TURNER 1841-1910

Harvesting near Barrow-on-Trent

Signed and dated Geo Turner /86 (lower left), and further signed, dated and inscribed “Harvesting near Barrow -on-Trent/Geo Turner/Barrow-on-Trent/near Derby/1887 (to reverse)

Oil on canvas

51 x 76.5cm; 20 x 30in

£600-800

295

GEORGE TURNER

1841-1910

Landscape with a shepherd and a dog watching their flock, near Tonge, Leicestershire

Signed Geo Turner (lower left)

Oil on canvas

40.8 x 61cm; 16 x 24in

£600-800

296 EDMUND JOHN NIEMANN 1813-1876

Italianate landscape at dusk with figures and animals by a pond and a town in the distance

Signed Niemann (lower right)

Oil on canvas

46 x 61cm; 18 x 24in

£400-600

297

PETER GRAHAM 1836-1921

River Landscape

Signed and dated Peter Graham 1873 (lower right)

Oil on canvas

62.5 x 93cm; 24.5 x 36¾in

£1,000-1,500

298

DAVID BATES 1840-1921

Landscape with travellers on a riverside path

Signed and dated David Bates 1903 (lower right)

Oil on canvas

60.9 x 91.3cm; 24 x 36in

£700-1,000

299

BENJAMIN WILLIAMS LEADER RA 1831-1923

A haycart crossing The Stour

Signed and dated B.W.LEADER 1902 (lower left)

Oil on canvas

30.8 x 46cm; 12¼ x 18in

Provenance: Christie’s, London, Victorian & Traditionalist Pictures, 8 June 2006, lot 361

£700-1,000

300 BENJAMIN WILLIAMS LEADER RA 1831-1923

Surrey Pine trees

Signed and dated B W LEADER

1905 (lower left) Oil on canvas

102.2 x 76.5cm; 40¼ x 30in

Provenance:

Christie’s, London, British and Victorian Pictures, 9 September 1999, lot 104; Kurt E. Schon Fine Art, New Orleans

£2,000-3,000

301

CIRCLE OF THOMAS SWORD GOOD

Landscape with two shepherds under cloudy skies

Oil on canvas

76.1 x 60.9cm; 30 x 24in

£300-500

302

ENGLISH SCHOOL 19th Century

A young woman sewing in a doorway

Oil on canvas

54.3 x 42.4cm; 21¼ x 16¾in

£400-600

303 HENRY BROOKS act.1884-1894

Mrs Ridout and the Coombe Express

Signed H Brooks (lower left)

Oil on canvas

35.6 x 53.5cm; 14 x 21in

Mrs Ridout operated as the proprietress of a carrier business, conveying goods between the village of Coombe Bissett and The Shoulder of Mutton Inn, Salisbury. Her donkey car was known as ‘The Coombe Express. Another version of the present work, by Henry Brooks’ brother Frank, is in the Salisbury and South Wiltshire Museum (no.SBYWM:1999.42).

£400-600

304

THOMAS WADE

1828-1891

Figures waiting by a gate

Signed with monogram and dated 1866 (lower left)

Oil on canvas

75.3 x 60.1cm; 29¾ x 23¾in

£300-500

304A AFTER GUSTAV RICHTER

Portrait of a Neapolitan Boy Oil on canvas

44 x 30.9cm; 17¼ x 12¼in

£100-150

305

GEORGE AUGUSTUS HOLMES

c.1826-1911

First Encounters

Signed and dated GA Holmes/1881

Oil on canvas

54.2 x 74.5cm; 21¼ x 29¼in

Provenance: Christie’s, London, Victorian Pictures, 2 June 1989, lot 122

£1,200-1,800

306

GEORGE AUGUSTUS HOLMES

c.1826-1911

Firm Friends

Signed and dated GA Holmes/79 (lower right) and further signed, inscribed and dated Firm Friends/G.A.Holmes/1879 (to reverse)

Oil on canvas

49.1 x 63.9cm; 19¼ x 25¼in

£800-1,200

307

EDWARD LADELL

1821-1886

Still life with strawberries, peaches, greengages and a melon on a ledge

Signed with monogram and dated 1862 (lower left)

Oil on canvas

31.9 x 43.3cm; 12½ x 17in

Provenance: P. Polak, London

£3,000-5,000

308

ADELHEID DIETRICH

German 1827-1891

Still life with a basket of flowers within a stone archway; Still life with a basket of fruit and flowers within a stone archway

A pair, the former signed, dated and inscribed gem.n.A.N.v.Adelheid Dietrich/1851 d 21/0 (lower right), the latter signed and dated 1849 n.d. N gem Adelheid Dietrich (along top edge) Both oil on canvas

45.9 x 55.6cm; 18 x 21¾in; 45.7 x 57.2cm; 18 x 22½in (2)

Provenance: Phillips, London, 19th Century European Paintings & Watercolours, 27 March 1990, lots 41 & 42

£10,000-15,000

309

JAN JACOB COENRAAD SPOHLER

Dutch 1837-1894

River landscape with fishermen at dusk

Signed J J C Spohler (lower right)

Oil on panel

19.2 x 15.2cm; 7½ x 6in

£800-1,200

310 CHARLES LEICKERT

Belgian 1816-1907

River landscape with fishermen at dusk

Signed Ch Leickert (lower left)

Oil on panel

26.8 x 34.5cm; 10¼ x 13½in

£600-800

311

PIETER CORNELIS DOMMERSEN

Dutch 1834-1908

The Zandhoek, Amsterdam

Signed and indistinctly dated P C Dommersen 189* (lower right)

Oil on canvas

30.3 x 40.4cm; 12 x 16in

£700-1,000

312

HENRIK WILLEM MESDAG

Dutch 1831-1915

Bomschuiten in the breakers and fisherfolk on a beach, at night

Signed and dated H W Mesdag 1895 (lower right)

Oil on panel

48.7 x 35.5cm; 19¼ x 14in

Provenance: Christie’s, Amsterdam, 19th Century European Pictures, Watercolours and Drawings, 30 October 1996, lot 226

£4,000-6,000

313 KARL GEORG NAUMANN

German 1827-1902

An encounter on the shore

Signed and dated C Naumann 1890 (lower left)

Oil on panel

40.3 x 29.5cm; 15¾ x 11½in

Unframed

£1,000-1,500

314 EDWARD F. D. PRITCHARD

1809-1905

Winter landscape with figures skating on a frozen river

Signed and dated Pritchard 1847 (lower left)

Oil on canvas

61.5 x 46cm; 24¼ x 18in, framed with an arched top

£200-300

315 FREDERIK ROHDE

1816-1886

Winter landscape with a hunter on a tree-lined path

Signed and indistinctly dated F Rohde 1875 (lower left)

Oil on canvas

36.1 x 30cm; 14¼ x 11¾in

Provenance: W. H. Patterson, London

£300-500

316

CORNELIUS VAN LEEMPUTTEN

1841-1902

Chickens and ducks by a bridge; Chickens and ducks by a pond

A pair, the former signed Corneille Van Leemputten (lower right), the latter signed and dated Corneille Van Leemputten 64 (lower left)

Both oil on panel

18.2 x 24.2cm; 7¼ x 9½in; 17.8 x 24.4cm; 7 x 9¾in (2)

£200-300

317 PIERRE-JEAN-EDMOND CASTAN

French 1817-1892

The Basket Makers

Signed and dated Edmond Castan 1885 (lower left)

Oil on canvas

88.7 x 116.5cm; 35 x 45¾in, framed with an arched top

Provenance:

Phillips, London, 19th Century European Paintings and Watercolours, 27 March 1990, lot 135

£2,000-3,000

318 DUTCH SCHOOL

19th Century

Extensive landscape with figures on a path

Oil on paper

28.4 x 45cm; 11 ¼ x 17¾in

£300-500

319 H W L HAUS

19th Century

Wooded landscape with figures by thatched cottages

Signed HWL HAUS (lower left)

Oil on panel

24.5 x 28cm; 9¾ x 11in

£200-400

320 A.J. STEFF

19th Century

Highland cattle

Signed A J Steff (lower left)

Oil on canvas

55.8 x 75.4cm; 22 x 29¾in

£400-600

322

ENGLISH SCHOOL

19th century

Cattle watering in a Highland landscape

Oil on canvas

45.7 x 76.6cm; 18 x 30¼in

£200-300

321 WALTER J WATSON

1879-1937

Highland landscape with cattle

Signed and dated Walter.J.Watson.1929 (lower right)

Oil on canvas

51 x 76.4cm; 20 x 30in

£300-500

323 H COLE

Late 19th Century

Water meadows near Broxbourne, Hertfordshire

Signed H Cole (lower left) and further signed, dated and inscribed Nr Broxbourne/Herts//H Cole 94 (to reverse)

Oil on canvas

62 x 107cm; 24½ x 42in

£200-300

324

GILBERT HALL

19th Century Isaac Walton and Charles Cotton fishing on the banks of a river

Signed and dated G H A Hall/1869 (lower right), and further signed and inscribed Gilbert Hall/Walton & Cotton (to stretcher)

Oil on canvas

76.5 x 114.4cm; 30 x 45in

£800-1,200

325

WILLIAM MELLOR

1851-1931

Mountainous river landscape with a heron on the rocks

Signed William Mellor (lower right)

Oil on canvas

91 x 71cm; 28 x 36in

£300-500

326

JAMES BURRELL SMITH 1822-1897

Mountainous river landscape

Signed and dated J.B.Smith/1869 (lower right)

Oil on canvas

90.3 x 66.9cm; 35½ x 26¼in

£600-800

327

EDWARD PRITCHETT 1807-1876

The Doge’s Palace from the Piazzetta, Venice; Figures by the Biblioteca Marciana, Venice, with the Grand Canal and Santa Maria della Salute beyond A pair, both signed E.Pritchett (lower right)

Both oil on canvas

61.4 x 51cm; 24¼ x 20in (2)

Provenance: Lady Genesta Hamilton (née Heath) (1899-1990); By descent to Lady Moyra Campbell (née Hamilton) (1930-2020); And by descent to the present owner

£7,000-10,000

327

328

ARTHUR JOSEPH MEADOWS

1843-1907

Feeding the pigeons, Venice

Signed and dated Arthur Meadows/1898 (lower left)

Oil on panel

25.5 x 30.6cm; 10 x 12in

£1,500-2,500

329 RUBENS SANTORO

Italian 1859-1941

Gondolas on The Grand Canal, Venice with the Dogana and Santa Maria della Salute beyond

Signed Rubens Santoro (lower right)

Oil on canvas

42.5 x 33.7cm; 16¾ x 13¼in

Provenance:

MacConnal-Mason, London

Rubens Santoro was one of the most successful and widely exhibited Italian painters of his generation. His atmospheric celebrations of Venice’s architecture and waterways are his most beloved works, and his bright and vibrant palette reflects his preference to paint away from the studio.

£20,000-30,000

333

330

ATTRIBUTED TO FRANCIS MOLTINO

1818-1888

Venice with Santa Maria della Salute

Bears a signature and date

David Roberts 1847 (lower left)

Oil on canvas

61 x 106.8cm; 24 x 42in

£500-700

331 DAFRI F. POIRET

French 20th Century

Cairo street with figures, a donkey and a camel rider; Cairo street with figures near a mosque

Two, the former signed and inscribed Dafri Poiret/CAIRO (lower right), the latter signed and inscribed Dafri Poiret CAIRO (lower left)

Both oil on board

36.9 x 27.9cm; 14½ x 11in; 40 x 30.5cm; 15¾ x 12in (2)

£300-500

332 ENRICO ALTRUI

Italian 19th Century

A figure on a path near Florence; A figure on a path near Rome

A pair, the latter signed Altrui 1879 (lower centre)

Both oil on board

22.7 x 26.7cm; 9 x 10½in (2)

£500-800

333 Φ ANTOINE BOUVARD

French 1875-1956

A gondola on a Venetian canal

Signed Bouvard (lower right)

Oil on canvas

50.5 x 66.cm; 19¾ x 26in

£2,000-3,000

334 Φ HARRY MILEHAM 1873-1957

The Finding of Moses

Signed with monogram and dated 1895 (lower right) Oil on canvas

102 x 127cm; 40¼ x 50in

Provenance: By family descent from the artist

Exhibited: London, Royal Academy, 1896, no.977; London, Leighton House Museum; Hove, Hove Museum and Art Gallery; Canterbury, Royal Museum and Art Gallery, Harry Mileham, 1995

Literature:

The Graphic, 28 December 1895; The Magazine of Art, vol. 19, February 1896, p.157 (illustrated) Patrick Mileham (ed.), Harry Mileham 1873-1957: A Catalogue (1995), pp.14, 15, 22, 49, 52, illustrated pl.11

£5,000-8,000

335 335 Φ HARRY MILEHAM 1873-1957

The Pardoner’s Prologue (from The Canterbury Tales)

Signed and dated Harry.R.Mileham.1924 (lower left)

Oil on canvas

67.4 x 165cm; 26½ x 65in

Provenance:

By family descent from the artist

Exhibited:

Brighton, Brighton Arts Club, 1925, no.4; London, The New Society of Artists, 1925; London, Leighton House Museum; Hove, Hove Museum and Art Gallery; Canterbury, Royal Museum and Art Gallery, Harry Mileham, 1995

Literature:

The Connoisseur, September 1925, p.55; Patrick Mileham (ed.), Harry Mileham 1873-1957: A Catalogue (1995), pp.16, 44-47, 50, 66, illustrated on cover an pl.39; Michael Alexander, Medievalism: The Middle Ages in Modern England (Yale University Press, 2007), p.64 (illustrated)

£5,000-8,000

These works by Harry Mileham, offered at auction here for the first time, are two of the most significant paintings of his career. The Finding of Moses was the painting for which he was awarded the Gold Medal and Travelling Studentship by the Royal Academy. This was the premier prize at the Royal Academy Schools, and Frederic Leighton had the casting vote.

The Pardoner's Prologue, was painted almost 30 years later and, in the words of Helen Cooper, "this work represents the apex of Mileham’s achievement in historical and literary interpretation”. The painting demonstrates Mileham's minute reading of Chaucer's text, with details such as the Miller's white coat and blue hood, or the Pardoner's long hair, conforming with the source. His attention to detail extended beyond the text, as the Pardoner's reliquary is based on one in the Victoria and Albert Museum, and the Host's keys are based on those of the medieval Town Hall in Calais.

335 (framed)

336

SOLOMON JOSEPH SOLOMON RA RBA 1860-1927

Garden at St. John’s Wood in the evening

Oil on canvas

99.1 x 73.1cm; 39 x 28¾in

Provenance: Glen House, Bruton

Exhibited: Possibly London, Ben Uri Gallery, Solomon J Solomon RA, October-November 1990, no.8 £2,000-3,000

337

SOLOMON JOSEPH SOLOMON RA, RBA 1860-1927

Portrait of a noblewoman and her son standing in an interior

Signed with monogram (lower right)

Oil on canvas

68.8 x 51.2cm; 27 x 20¼in

Provenance: Glen House, Bruton

£2,000-3,000

338

EDWIN HARRIS 1855-1906

Portrait of a young lady wearing a white dress and bonnet

Signed Edwin Harris (lower left) and inscribed By Edwin Harris/Painted 1904/Picture of a little/girl of Cleeve Prior/Worcestershire (to reverse)

Oil on panel

39.3 x 31.5cm; 15½ x 12½in

£2,500-3,500 338

339

THOMAS BENJAMIN KENNINGTON 1856-1916

Portrait of Anne Struthers (née Kennington) (1884-1962), the artist’s daughter, wearing a white and pink dress, seated in an interior

Signed and dated T.B.Kennington 06 (lower right) Oil on canvas

111.7 x 86.7cm; 44 x 34¼in

Provenance: By family descent from the artist

£8,000-12,000

340

ALFRED EDWARD EMSLIE

1848-1918

Heading Home

Signed AEEmslie (lower right AEE in ligature)

Oil on canvas

72.6 x 91.7cm; 28½ x 36in

Provenance:

Woolley and Wallis, Salisbury, Paintings, 28 September 2011, lot 293

£2,000-3,000

341 HORACE HENRY CAUTY

1846-1909

Waiting for the catch at Clovelly Pier

Signed and dated H H Cauty 1883 (lower left)

Oil on canvas

112.3 x 87.4cm; 44¼ x 34½in

Provenance:

Halls, Shrewsbury, 16 March 2011, lot 230

£3,000-5,000

344

ROBERT GEMMELL HUTCHISON RSA RSW

Scottish 1855-1936 Gossip

Signed R G Hutchison (lower right) and inscribed Gossip (lower left) Oil on canvas

30.1 x 45.8cm; 11¾ x 18in

£400-600

345

EDWARD ARMITAGE RA 1817-1896

An allegorical figure with vine leaves in her hair

Signed with initials and dated EA/1879 (lower left)

Oil on canvas

42.1 x 28.7cm; 16½ x 11¼in

£400-600

342

EDWIN HARRIS 1855-1906

A fisherman

Signed E Harris (lower left)

Oil on panel

20 x 15.2cm; 7¾ x 6in

£1,000-1,500

343

DAVID WOODLOCK 1842-1929

The sower

Signed and dated D.Woodlock/92 (lower left)

Oil on canvas

60.1 x 50.6cm; 23¾ x 20in

£300-500

346

ENGLISH SCHOOL

Late 19th Century

The still pond

Oil on canvas

75.8 x 51 cm; 29¾ x 20in

Provenance: Believed to have been purchased at Mallams, Oxford (as William Henry Margetson)

£200-300

347 Φ

ALFRED GRENFELL HAIGH

1870-1963

Portrait of Primer with Walter Earl as jockey

Signed and dated A G Haigh 1910 (lower left) and inscribed PRIMER (W.EARL) (lower right)

Oil on canvas

51.3 x 61.3cm; 20¼ x 24¼in

Primer was owned by the Duke of Portland and trained by William Waugh. Walter Earl rode him to victory in the Hardwicke Stakes at Royal Ascot in 1909.

£800-1,200

348

WILLIAM MARSDEN

19th Century

A pack of hounds outside a country house

Signed W Marsden (lower right)

Oil on canvas

64.5 x 90.1cm; 25¼ x 35½in

Unframed

£200-300

349 CHARLES

E. GATEHOUSE

1866-1952

Portrait of a Labrador, ‘Whisky’

Signed C.Gatehouse (lower left)

Oil on board

22.3 x 14.7cm; 8¾ x 5¾in

£200-300

350 ENGLISH SCHOOL

Late 19th Century

Study of a young lady seated holding an album

Oil on canvas

32.6 x 24.9cm; 12¾ x 9¾in

£200-300

351 BRITISH SCHOOL

c.1900

Portrait of a lady in profile wearing a white dress

Oil on canvas

41 x 30.7cm; 16¼ x 12in

Provenance: Chiswick Auctions, London, British & European Fine Art, 17 March 2020, lot 322

£200-300

352

CONTINENTAL SCHOOL

Late 19th Century

Still life with fruit on a ledge

Oil on canvas

60.4 x 90.1cm; 23¾ x 35½in

£200-300

353

CONTINENTAL SCHOOL

Late 19th Century

Still life with flowers in a bowl

Indistinctly signed (lower right)

Oil on canvas

66.7 x 146cm; 26¼ x 57½in

£300-500

354 C. COOK act.1855-1860

Still life with fruit on a marble ledge

Signed and dated C.Cook/53 (lower left)

Oil on canvas

35.8 x 35.8cm; 14 x 14in

£200-300

355

EMILY BEATRICE BLAND

1864-1951

Still life with flowers in a jug

Signed E.B.Bland (lower right)

Oil on canvas

35.8 x 45.6cm; 14 x 18in

£200-300

356

EMILY BEATRICE BLAND 1864-1951

A garden in bloom

Signed E.B.Bland (lower left)

Oil on canvas

31.3 x 37.9cm; 12¼ x 15in

£120-180

357

19th Century

Resting by a river; The Morning Walk

A pair, each signed G.Lunell Brown (lower left)

Both oil on canvas

101.5 x 128cm; 40 x 50½in; 101.5 x 127.4cm; 40 x 50¼in (2)

£2,000-3,000

357

GEORGE LUNELL BROWN

358

KEELEY HALSWELLE

1831-1891

Goring Lock, with the Goring and Streatley Bridge beyond

Signed and dated Keeley Halswelle 1882 (lower left)

Oil on canvas

58.2 x 36.4cm; 23 x 14¼in

£500-800

360

WILLIAM BRADLEY LAMOND RBA

Scottish 1857-1924

Landscape with a figure by a river, a mill beyond

Signed and dated W B Lamond 89 (lower left) Oil on canvas

25.5 x 35.6cm; 10 x 14in

Provenance:

The Swan Gallery, Sherborne; Private Collection

£300-500

359

SIR ALFRED EAST RA 1849-1913

Reflections

Signed ALFRED EAST (lower right) Oil on canvas

61.3 x 91.7cm; 24¼ x 36in

Provenance: T. & R. Annan & Sons, Glasgow

£700-1,000

361 W. WILSON

act.1885-1892

Shell seekers on the shore at sunset

Signed W.Wilson (lower left) Oil on canvas

38.9 x 55.9cm; 15¼ x 22in

Provenance:

Biddle & Webb, Birmingham, 1 March 1991, where purchased by the present private collector

£500-700

362

GEORGE HYDE POWNALL 1866-1939

London Bridge

Signed Geo Hyde P (lower right), and further signed and inscribed London Bridge/Geo Hyde P (to reverse)

Oil on board

14.8 x 22.5cm; 5¾ x 8¾in

£1,500-2,500

363

GEORGE HYDE POWNALL 1866-1939

Parliament Square, St Margarets Church and Westminster Abbey

Signed Geo Hyde P (lower right) and further signed and inscribed Parliament Sq/ St Margarets Ch & the Abbey/Geo Hyde (to reverse)

Oil on board

14.9 x 22.4cm; 5¾ x 8¾in

£1,500-2,500

364

FRENCH SCHOOL

19th Century

The quarry cart Oil on panel

31.9 x 47.9cm; 12½ x 18¾in

£200-300

366

FRENCH SCHOOL

19th Century

River landscape with a figure boating Bears a signature J.C.Cazin (lower left)

Oil on canvas

24 x 29.1cm; 9½ x 11½in

£150-250

365 CZECH SCHOOL

Late 19th Century

Hanging out the washing outside a cottage Oil on canvas

36.3 x 25.6cm; 14¼ x 10in

Provenance: Návarov Castle

£200-300

367

CLAUDE CARDON

1864-1937

River landscape with cows and ducks

Signed CLAUDE CARDON (lower left)

Oil on canvas

35.2 x 53.4cm; 13¾ x 21in

£500-800

368

ALBERT GABRIEL RIGOLOT

French 1862-1932

Lake landscape with figures boating

Signed ARigalot (lower left, AR in ligature)

Oil on canvas

98.1 x 163.5cm; 38½ x 64¼in

£3,000-5,000

369

BEAVERIE

French 19th Century

River landscape with figures conversing by the bank

Signed BEAVERIE (lower right)

Oil on canvas

91.3 x 143.6cm; 36 x 56½in

£300-500

370

ARMAND GUERY

French 1850-1912

Gravière inondée a Orainville

Signed Armand Guery (lower right) Oil on board

39 x 54cm; 15¼ x 21¼in

£200-300

Alexander, Douglas 124

Alken, Henry Thomas 61

Altrui, Enrico 332

Armfield, George 268

Armitage, Edward 345

Arnold, George 130

Baets, Marc, Circle of 161

Barber, Charles Vincent 91

Barrow, J. S. 129

Bates, David 298

Beall, Henry 255

Beaverie 369

Beechey, William, Follower of 219

Bianchi, Antonio 282

Bille, Carl 245

Birket Foster, Myles 94

Bland, Emily Beatrice 355, 356

Bogdani, Jakob, Circle of 190

Bone, Henry Pierce 7

Bouvard, Antoine 333

Boys, Thomas Shotter 69, 70

Brabazon Brabazon, Hercules 119

British School 351

Bromley, Valentine Walter 106

Brookes, John Enoch 266

Brooks, Henry 303

Brown, George Lunell 357

Le Brun, Charles, After 175

Brunery, François 277, 278

Burrell Smith, James 326

Busch, Ludwig Wilhelm,

Attributed to 180

Busiri, Giovanni Battista 48

Caffieri, Hector 120, 121

Caldwell, James Lillyman 149, 150

Callow, William 90

Campion, George Bryant 55

Canevari, Giovanni Battista 270

INDEX OF ARTISTS

Cantarini, Simone, Manner of 46

Carbonara 6

Cardon, Claude 367

Castan, Pierre-Jean-Edmond 317

Cauty, Horace Henry 341

Chambers Jr., George 85

Cole, H 323

Collins, Charles, Circle of 187

Company School 136-148

Condy, Nicholas Matthew 222

Continental School 271, 352, 353

Cook, C. 354

Cook, Samuel 75

Cooke, Edward William 97, 264

Cooper, Edwin 232

Coventry, Charles Christopher 281

Cox Sen., David 77

Cunningham, Richenda 64

Czech School 365

DDanhauser, Josef 280

Davis, Arthur H 265

Dawson, Henry 288

Dawson, Henry Thomas 286, 287, 289

Delatour, Édouard 15

Devis, Anthony 65

Dicksee, Herbert 30

Dietrich, Adelheid 308

van der Does II, Jacob van 163

Dommersen, Pieter Cornelis 311

Drummond, James 283A

Dughet, Gaspard, called Gaspard

Poussin, Follower of 170

Dutch School 1, 158, 162, 318

East, Sir Alfred 359

Edwards, George,

Attributed to 58-60

Emslie, Alfred Edward 340

English School 3, 4, 10, 12, 14, 18, 62, 68, 153, 154, 156, 185, 196-198, 200- 204, 208, 216, 217, 223, 234, 236, 241, 244, 256, 260, 274, 302, 322, 346, 350

Faes, Pieter, Circle of 189 Flemish School 172

Flores, Ricardo 111

Francia, François Louis Thomas 66

French School 5, 13, 103, 96, 364, 366

Frère, Pierre Édouard 283

Gainsborough, Thomas, Circle of 211, 213, 214

Gatehouse, Charles E. 349

Gellée, Claude, called Claude Lorrain, After 169

Gellée, Claude, called Claude Lorrain, Follower of 168

Giallina, Angelos 132

Glendening Jun., Alfred Augustus 114

Glendening Snr., Alfred Augustus 290

Good, Thomas Sword, Circle of 301 Goodwin, Albert 125-127

Goya, Francisco 35-39

Graham, Peter 297

Greenaway, Kate 108

Grimmer, Abel 167

Guery, Armand 370

Guys, Constantin 109 de Haenen, Frédéric 115

HHaigh, Alfred Grenfell 347

Hall, Gilbert 324

Halswelle, Keeley 358

Hardy Jnr, James, Circle of 269

Hardy, Heywood 263

Hardy, Thomas Bush 80, 81

Harris, Edwin 338, 342

Harrison, J. 273

Haus, H W L 319

Hayllar, Jessica 272

Hayman, Francis, Circle of 205

Heicke, Josef 252

Henderson, Robert 17

Herring Jnr., John Frederick 250

Herring, Benjamin, After 261

Hla, Maung Tun 131

Hochecker, Franz, Attributed to 44

Holland, James 92

Holmes, George Augustus 305, 306

Hoppner, John, Circle of 215

Houbraken, Arnold 159

Hoyer, Edward 248

Huggins, William 101, 233

Hunter, Colin 249

Hutchison, Robert Gemmell 344

Inchbold, John William 88

Ingres, Jean-Auguste-Dominique, Follower of 102 I

Italian School 32, 41, 42, 45, 56, 178, 179

Janssens, Hieronymus, Manner of 176

J Jones of Bath, William 188

Kauffman, Anglica, Follower of 212

Keating, George 21

Kennington, Thomas Benjamin 339

L de Lacroix, Charles-François

Grenier, called Lacroix de Marseille 191

Ladell, Edward 307

Lamond, William Bradley 360

Lampi, Baptist the Elder, After 49

Landseer, Edwin Henry 98-100

Lawrence, Thomas, Attributed to 218

Lawrence, Thomas, Follower of 220 Leader, Benjamin Williams 299-300

Lee Hankey, William 112

van Leemputten, Cornelius 316

Leickert, Charles 310

Lely, Peter, Follower of 184

Lely, Peter, Studio of 186

Lesson, René, After 57

Livens, Horace Mann 110

Luny, Thomas 226

Maggs, John Charles 262

Mann, Robert 292

Marlow, William 87

Marsden, William 348

Martindale, Percy Henry 29

Mayr, Peter, Circle of 11

Meadows Snr., James 239

Meadows, Arthur Joseph 328

Meadows, James Edwin 240

Meissonier, Jean Louis Ernest 104

Mellor, William 325

Melville, Arthur 128

Mesdag, Henrik Willem 312

Meyburgh, Bartholomeus 181

Meyer, Jeremiah, Circle of 16

Mileham, Harry 334, 335

Miles, Thomas Rose 284, 285

Moltino, Francis, Attributed to 330

Monamy, Peter, Follower of 195

Montague, Alfred 238

Moore, Henry 247

Mor, Anthonis, Manner of 157

Morel, Jan Evert 254

Müller, William James 93, 229

INDEX OF ARTISTS

NNasmyth, Alexander 231

Nasmyth, Alexander, Follower of 230

Naumann, Karl Georg 313

Nesbitt, Frances E. 116

Nicholson, Francis 76

Niemann, Edmund John 296

Northern European School 33 O

Offer, Frank Rawlings 257

Ousey, Buckley 258

Patna School 151

Payne, Charles Johnson 27, 28

Piola, Domenico, Follower of 47

Piranesi, Giovanni Battista 20, 34

Piroli, Tommaso 52

Pocock, Nicholas 84

Poiret, Dafri F. 331

Pollard, James, After 63

Powell, Charles Martin 221

Pownall, George Hyde 362, 363

Poynter, Edward John 107

Pritchard, Edward 314

Pritchett, Edward 327

Prosdocimi, Alberto 133

Prud’hon, Pierre-Paul, Follower of 177

Purser, William 82

van Ravesteyn, Jan, Circle of 152

Redmore, Henry 224

Reynolds Joshua, After 50

Reynolds, Joshua, Circle of 206

Richards, John Inigo 210

Richardson Jun., Thomas Miles 89

Richter, Gustav, After 304A

Rigolot, Albert Gabriel 368

Riley, John, Circle of 183

Roberts, Ellis William 276

Rohde, Frederik 315

Rolfe, Henry Leonidas 267

Roman School 171

Rowbotham, Charles Edmund 134, 135

Rowlandson, Thomas, Manner of 54

Rubens, Peter Paul, After 155, 173

Ryckhals, François, Circle of 43

S

Sadler, Walter Dendy 279

Santoro, Rubens 329

Schütz, Jan Frederik 237

Seeman, Enoch, Circle of 199

Shayer, Henry Thring 253

Slater, Joseph, Attributed to 51

Solomon, Solomon Joseph 336, 337

Spohler, Jan Jacob Coenraad 309

Spoilum, Circle of 8, 9

Stanfield, Clarkson, After 86

Stanfield, Clarkson, Circle of 227

Stanfield, George Clarkson 259

Steff, A.J. 320

Stewart, John Oswald 123

Storck, Abraham, Follower of 194

Stothard, Thomas, Attributed to 40

Strachan, Arthur Claude 95

T

Tatton Winter, William 122

Teniers II, David, Circle of 165

Teniers II, David, Follower of 166

Theer, Albert 19

Thornley, William 243

Tippett, William Vivian 251

Turner of Oxford, William 228

Turner, George 293-295

U

Uwins, Thomas, Circle of 53

Varin, Adolphe 22

Varley, John 71-74

van de Velde II, Willem, Circle of 193

Venetian School 174

Verkolje, Jan, Manner of 105 Vernet, Claude-Joseph, Follower of 192

Vickers, Alfred 83

Vollevens I, Johannes 182 W

Wade, Thomas 304

Ward of Hull, John, Attributed to 225

Ward, William, Attributed to 78

Watson, Walter J 321

Weatherhead, William Harris 113

Weatherill, Mary 118

Webb, James 242

Weirotter, Franz Edmund, Attributed to 67

Whistler, James Abbott McNeill 23-26

Wijnants, Jan, Attributed to 160

Wildens, Jan, Follower of 164

Williams, Walter Heath 291

Williamson, William Henry 246

Wilson, Oscar 275

Wilson, Richard, Studio of 209

Wilson, W. 361

Wirsing, Johann Christian 79

Woodlock, David 343

Wootton, John, After 207

Wyld, William 117

Wyllie, William Lionel, Circle of 235

Zincke, Christian Friedrich, Attributed to 2

WEDNESDAY 4TH JUNE 2025

ENQUIRIES

Victor Fauvelle | +44 (0)1722 446961 | vf@woolleys.live

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

John Nash RA (1893-1977) The Spinney

Signed John Nash (lower left) Oil on canvas

86.2 x 68.8cm

Estimate £20,000 - 30,000*

AUCTION INFORMATION

OPENING HOURS

Castle Street Salerooms

Monday to Friday 9.00am – 5.00pm

Old Sarum Galleries

Monday to Friday 9.00am – 5.00pm

VIEWING

All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US

All first time buyers need to register with us.

To register, you will need to provide two forms of identification:

1. a passport or photographic driving licence

2. a utility bill or document showing your name and address

You can register in person or by contacting client services on +44 (0)1722 424500 or emailing info@woolleys.live

You will be asked to show your documents, or email copies.

PLEASE NOTE: Registering with thesaleroom.com or through our website does not automatically register you with us.

BIDDING AT AUCTION

See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

BIDDING IN THE ROOM

To bid at auction you will need a paddle number. This can be obtained from client services either during the view or on the day of the sale.

COMMISSION BIDDING

If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

TELEPHONE BIDDING

It is usually possible to bid on the telephone by prior arrangement with client services.

LIVE ONLINE BIDDING

Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens.

BUYER’S PREMIUM

The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24% inclusive) thereafter.

CONDITION REPORTS

The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

The colours printed in the catalogue are not necessarily true.

SALE RESULTS

These will be posted on our website shortly after the sale.

PACKING AND SHIPPING

Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

Alban Shipping

Kimdan Ltd

+44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk

+44 (0)7973 389436 andy@kimdan.co.uk

Mailboxes +44 (0)1962 622133 info@mbewinchester.co.uk www.mbe.co.uk/winchester

ZIXIS Fine Art Limited +44 (0)7873 981026 zixisfineart@163.com www.zixisfineart.co.uk

Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

EXPORTING YOUR PROPERTY FROM THE UK

If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand-carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

PAYMENT AND CLEARANCE

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

The following methods of payment may be made: Bacs, debit and credit cards.

Wire transfers should be sent to:

Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707

Sort code 30-97-41

IBAN no. GB20LOYD30974100957707

BIC code LOYDGB21063

Debit and Credit cards: Visa, Mastercard, Amex or Union Pay

Where practical, payment can be made and purchases collected during the auction.

We reserve the right to add storage charges to all lots not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS

VAT

Lots marked with a dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

CITES REGULATIONS

Please note that lots marked λ may be subject to CITES Regulations when exported.

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Lots marked with a Φ symbol are potentially subject to a levy.

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

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

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.

Royalties for Droit de Suite are as follows:

4% Up to £50,000

0.5%

£50,000.01 - 200,000

£200,000.01 - 350,000

£350,000.01 - 500,000

0.25% In excess of £500,000

Up to a maximum levy of £12,500

FIREARMS

Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/ purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but are not allowed to take physical possession of it. The auctioneers will reoffer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

ROYAL INSTITUTION OF CHARTERED SUREYORS CONDITIONS OF BUSINESS

INFORMATION FOR BUYERS

1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) inclusive thereafter.

5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with client services 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 six 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.

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.

(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.

THE PURCHASE PRICE

The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) inclusive thereafter.

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.

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.

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.

Royalties for Droit de Suite are as follows: 4% Up to £50,000 3%

0.5%

£50,000.01 - 200,000

£200,000.01 - 350,000

£350,000.01 - 500,000

0.25% In excess of £500,000 Up to a maximum levy of £12,500

Lots marked with a Φ symbol are potentially subject to the levy.

WHAT THIS PRIVACY NOTICE DOES

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@woolleys.live

• 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

Printed by Park Communications, a carbon neutral company.

Park works to the EMAS standard and its Environmental Management System is certified to ISO 14001.

This publication has been manufactured using 100% offshore wind electricity sourced from UK wind.

100% of the inks used are vegetable oil based, 95% of press chemicals are recycled for further use and, on average 99% of any waste associated with this production will be recycled and the remaining 1% used to generate energy.

This document is printed on Magno Satin and Magno Gloss, both made of material from well-managed, FSC®-certified forests and other controlled sources.

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 clients’ 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.

Woolley & Wallis Salisbury Salerooms Ltd.

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

Registered in England No.02998482

VAT No: 631 9832 29

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

Contact Jeremy Lamond +44 (0)1722 424502 | valuations@woolleys.live

FREE AUCTION VALUATIONS

Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleys.live or call +44 (0)1722 424500.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR UPCOMING AUCTIONS

AUCTION CALENDAR

MARCH

5th Old Masters, British & European Paintings

19th Art Deco Centenary (1925-2025) Including Clarice Cliff

APRIL

9th & 10th Furniture, Works of Art & Clocks

15th & 16th Fine Jewellery

29th British & Continental Ceramics & Glass

30th Silver & Objects of Vertu (Day One)

MAY

1st Silver & Objects of Vertu (Day Two)

20th Fine Asian Art

21st Asian Art II

21st Japanese Works of Art

JUNE

3rd Medals & Coins, Arms & Armour

4th Modern British & 20th Century Art

Dates may be subject to change

+44 (0)1722 424500 info@woolleys.live

51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk

*Price includes buyer’s premium

John Constable RA (1776-1837)

The Gravel Pits of Hampstead SOLD FOR £516,600