Duke's Auction April 12th 2012

Thursday, April 12th at 10.30am Paintings and Furniture

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Duke’s AUCTIONEERS SINCE 1823

Welcome to the Dorchester Fine Art Salerooms, which are centrally located in the county town, close to the main Dorchester South railway station.

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If you require further information please refer to the buyer’s guide on page 4, visit our website, or contact Stephanie Smith.

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Duke’s AUCTIONEERS SINCE 1823

Duke’s AUCTIONEERS SINCE 1823

B U Y E R S I N F O R M AT I O N

area representatives Wiltshire & Cranborne Chase Sir Michael Salt, Bt (01258) 860259 The Isle of Wight Anthony Blest (01983) 760460 Devon Chris Bolton F.R.I.C.S. (01297) 32351 Cornwall Charles Cox (01840) 261085

Bristol & North Somerset Michael Liversidge (01305) 265080

Hampshire Robert Nevin (01962) 866681

Commission bids: If you are unable to attend the auction in person we will be pleased to execute commission (absentee) bids on your behalf. Lots will be purchased as cheaply as allowed by other bids and reserves Commissions must be received at least 24 hours before the auction.

Illustrations: If you would like a more detailed image of an illustrated lot, or an image of an item which is not illustrated, we will be delighted to send them by email. Requests must be received 24 hours before the auction.

Telephone bidding: If you wish to bid on a major lot over the telephone we will do all we can to assist you, but lines should be booked at least 48 hours before the auction.

Estimates: Estimates are prepared well in advance of the auction and are subject to revision. Our specialists are always pleased to discuss individual lots with intending purchasers.

Condition reports: An indication of condition is not generally printed in the catalogue, but prospective buyers are welcome to request a condition report up to 48 hours before the auction.

Please bear in mind that whilst we endeavour to provide an accurate representation the ultimate responsibility is with the buyer and we strongly recommend you personally view any lots on which you intend to bid.

Credit Cards: There is a 3% surcharge on credit charge transactions. Payment may be made by credit card or debit card over the telephone up to a maximum of £200 only.

Buyer’s Premium:

19½% plus VAT on the hammer price.

Artist’s Resale Right: 5From mid February 2006 living artists are entitled by law to receive a resale royalty each time their work is resold by or to an art market professional. From 1st January 2012 the Right has been extended to include sales of works by artists who have died within the last 70 years (following the existing term of copyright). Royalties will be payable to the families and beneficiaries of these artists. An art work must be resold for more than 1,000 Euros to qualify for the right. The rates payable are calculated as a percentage of the hammer price and are set out in a sliding scale from 4% to 0.25%. The charge is exclusive of VAT. The auctioneers reserve the right to pass all of the cost to the person buying the qualifying art work.

Collection: Our offices are open Monday to Friday, 9am - 1pm and 2pm - 5.30pm. We are pleased to recommend reputable carriers and can advise on air-freight and other forms of despatch. Items of furniture not collected within 5 working days will be transported to storage at the buyers expense.

Online Bidding Online bidding is available for this sale at www.the-saleroom.com. All you need is a computer or laptop and an internet connection. You will be able to bid in real time; a live audio feed means you can hear the Auctioneer at exactly the same time as the other bidders. You will see the lots on your computer screen as they appear in the auction room and the Auctioneer is aware of your bids the moment you make them. Please refer to our terms and conditions of sale for charges.

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THE MORRELL COLLECTION AUCTION: June 21st, 2012 CONTENTS

Page No.s Prints and Engravings 12 Watercolours and Drawings 22 Oil Paintings 59 Books 100 The Arthur Knight Photographic Archive 103 The Ronald Newbold Photographic Archive 108 A Private Collection of Thomas Hardy Items 113 Boxes, Caddies and Bric a Brac 116 Metalwork and Sculpture 120 Clocks and Scientific Instruments

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Rugs

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English and Continental Furniture 137

An important private collection of over 300 bottle and sauce labels and related material.

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Duke’s AUCTIONEERS SINCE 1823

J ewellery and sil v er v aluation mornin g S 2 0 1 2

asian art AUCTION: May 10th, 2012

An Art Deco diamond and onyx brooch-pendant

Sold for £8,843

Specialist valuers will be on hand between 9.30am and 12.30pm to provide free, no obligation valuations for auction sale.

No appointment is necessary.

A Chinese "Lemon Yellow" bowl Yongzheng, Six character mark and of the period

Duke’s

Estimate £30,000 - 50,000

AUCTIONEERS SINCE 1823

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Thursday 17th May Thursday 9th August Thursday 13th September Thursday 18th October

Duke’s AUCTIONEERS SINCE 1823

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Duke’s

Duke’s

T H URS DAY 1 2 t h APR IL 2 0 1 2

On the instructions of vendors throughout the South and South West including property from a deceased estate in Oxfordshire, property descended from Vice Admiral Sir Harold Brown GBE KBC , property descended from Emil Otto von Pirch and property from Middleton Hall, Derbyshire.

AUCTIONEERS SINCE 1823

PAI N TING S AND F URNI T U RE

AUCTIONEERS SINCE 1823

T hursday 1 2 th A P R I L 2 0 1 2 A T 1 0 . 3 0 A M

VIEWING TIMES

Prints and Engravings

Saturday, 7th April 9.30am-12noon

Watercolours and Drawings Oil Paintings

Tuesday, 10th April 9.30am-7pm

Books

Wednesday, 11th April 9.30am-5pm

The Arthur Knight Photographic Archive

and on the morning of the auction day

The Ronald Newbold Photographic Archive A Private Collection of Thomas Hardy Items Boxes, Caddies and Bric a Brac Metalwork and Sculpture Clocks and Scientific Instruments English and Continental Furniture

Catalogues £20.00 (by post)

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THURSDAY 12th APRIL: 10.30A M

prints and engravings Water colours and drawings

View images of all lots and bid live online

6 RICHARD DIGHTON (1785-1880) “A Walk from the West End to Lombard Street”, titled to the margin, with publishers details McLean, Haymarket, February 1827 to the image, hand-coloured etching, 10¼” x 7½”, and three hand-coloured French etchings after Pigol?

(4)

PRINTS AND ENGRAVINGS 1 VALENTINE GREEN (1739-1813) “The Fleece: Hither be turn’d the public’s wakeful eye this golden fleece to guard”, titled in print to the margin, published by Green, June 4th 1801, hand coloured engraving, 24” x 16”, and the companion “The Plough” (2)

£100-200 7 5GEORGE CLAUSEN (1852-1944) A silhouette of a horse pulling a haywain and being led by a figure, signed in pencil by the artist to the margin with inscription “To Matt Coulson with every good wish Christmas 1910”, etching, 6½” x 8¾” and two further etchings by Clausen with presentation pencil inscriptions (3)

£100-200

2 AFTER WILLIAM NICHOLSON (b.1872) “Wimbledon Common”, titled to the verso with lines of verse “Who says drum major says a man of mould ...” from the London series, hand coloured block print, 10¾” x 9¾” and a further eight in the series (a lot)

Lot 10

£200-400

£300-600

5HERBERT GURSCHNER (1901-1975) 8 “ ... Tyrol”, titled in pencil to the margin, 13 of 200 and bearing a pencil inscription “Xmas 1941 to dear Bill”, coloured woodblock print, 8¼” x 7¼”

3 AFTER MYLES BIRKET FOSTER (1825-1899) “The Swineherd”, bearing a Faustus Gallery label to the verso stating it to be no. 39 of 100, first and only state, initialled within the print, engraving, 5½” x 6½”

Provenance: Gifted by the artist to the author Rosalind Wade and thence by descent

£100-200

£250-500

5HERBERT GURSCHNER (1901-1975) 9 Three figures walking along a Tyrolean path, signed to the margin by the artist, coloured woodblock print, 6½” x 5¾”

4 AFTER CLAES JANSZ VISSCHER (1586-1652) “A View of London AD1616” with printed title to the margin, produced for the Topographical Society of London 1883-4, by the Typographic Etching Company, reproduced etching, in four prints, each 20¾” x 23¼” (4)

Provenance: Gifted by the artist to the author Rosalind Wade and thence by descent

£250-500

5HERBERT GURSCHNER (1901-1975) 10 Figures wearing hats seated in a tavern interior, signed by the artist in pencil to the image and further signed in pencil to the margin and numbered 16 of 50, coloured woodblock print, 10¼” x 7½”.

See illustration

£100-200 5 AMELIA BAUERLE A.R.E. “When the World was Young”, signed in pencil by the artist to the margin and further initialled in print to the image, dry point etching, 5½” x 9¾”

Provenance: Gifted by the artist to the author Rosalind Wade and thence by descent

£100-200

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£250-500 15

Lot 13

11 5 HERBERT GURSCHNER (1901-1975) Tyrolean figures walking down steps, impressed to the margin with the artist’s signature and numbered 79 of 80, coloured woodblock print, 3¼” x 3” and another coloured woodblock print, indistinctly signed “Gaull” and numbered 20 of 100 (2)

15 5CHRIS ORR (1967-) “House of Commons”, titled in pencil to the margin, signed, dated 1986, artist’s proof 5 of 10, monochrome etching, 13¼” x 21¼”

Provenance: Gifted by the artist to the author Rosalind Wade and thence by descent

£250-500

5GRAHAM SUTHERLAND (1903-1980) 16 “Ants”, signed in pencil and numbered 62 of 70, with printed date to the image 5.III.68, coloured lithograph, 25” x 19¼”

5PETER BLAKE (1932-) 12 “A Souvenir of the Bath Festival 1974”, signed in pencil to the margin and numbered 230 of 250, etching, 7¾” x 5¾”

£200-400

£80-160 17 5JOHN PIPER (1903-1992)

“Dorchester Abbey”, signed twice within the print, coloured lithograph, 21¾” x 30¼”

5JACK BUTLER YEATS (1871-1957) 13 “The Postcart” with printed signature and title to the image, hand-coloured woodblock print, 8¾” x 12¼” and another hand-coloured woodblock print of a duck flying with a letter, 5¼” x 4¾” (2) See illustration

£80-160

5ELISABETH FRINK (1930-1993) 18 “Swimming Man II”, signed in pencil by the artist, dated ‘85 and numbered 26 of 50, monochrome lithograph, 21” x 30”.

See illustration Provenance: Private collection, Wales.

£500-1000

5DAVID SCHLUSS (1943-) 14 “Music on the Sea”, signed in pencil by the artist and numbered 249 of 250, colour serigraph, 16½” x 46¼” £200-400

Lot 18

£300-600

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£1500-3000

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Lot 22

Lot 23

22 5JOHN PIPER (1903 - 1992) “Exton, Rutland”, signed in pencil to the margin and numbered 49 of 70, the verso bearing a Bebb Fine Art label, sky blue and monochrome lithograph, 30½” x 21¼”.

See illustration

19 5ELISABETH FRINK (1930-1993) Portrait of a baboon, signed in pencil to the image, numbered IX of X, with publishers embossed initials and watermark for Rives Paper, coloured aquatint, 30” x 21½”

Provenance: Private collection, Dorset.

£800-1,600

Provenance: Private collection, Wales.

23 5PABLO PICASSO (1881 - 1973) "Le Repos du Sculpteur IV", from the Vollard Suite, signed in pencil to the margin, etching, 13¼” x 17½”.

See illustration

5ELISABETH FRINK (1930-1993) 20 “Herakles in the Lion’s mask”, signed in pencil to the margin, titled and numbered 14 of 70, sepia aquatint, 28½” x 22”

£1,000-2,000

Provenance: Joan Seigal and thence by descent.

Purchased in the 1960’s.

£500-1,000

£3,000-6,000

5ELISABETH FRINK (1930-1993) 21 “Cyclops” from the Odyssey Series, signed in pencil to the margin and initialled A. P., coloured aquatint, 11½” x 7½” £200-400 18

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24 5MARC CHAGALL (1887 - 1985) "St. Germains des Pres", printed signature within the image and signed in pencil, 37 of 200, the verso bearing a label for The Redfern Gallery Ltd, coloured lithograph, 14½” x 10½”.

See illustration

Provenance: Purchased from The Redfern Gallery in the 1960's.

£3,000-6,000

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21

Lot 24

25 5SYBIL ANDREWS (1898 - 1992) “Grader” signed in pencil to the image, titled and numbered 6 of 60, colour linocut, 12” x 12”.

See illustration

27A 5SIR FRANK BRANGWYN (1867 - 1956) Figures beside an ancient church archway, signed in pencil to the margin engraving, 6¾” x 9¼”

Provenance: Purchased in 1980 from Matthiesen Fine Art London.

Private collection North Dorset

£3,500-5,000

£300-600

28A 5WILLIAM WALCOT (1874 - 1943) “A tragedy by Sophocles performed before the Emperor Hadrian”, signed to the margin, etching, 19” x 19”

£50-100

26 5OSCAR KOKOSCHKA (1886 - 1980) "Nude 1948", signed in pencil to the image, apparently an edition of 200, lithograph 9¼” x 7”,

£50-100

28 AFTER BOITARD “The Sailors Return” with printed title, motto and engraved

by T Booth, published 18th December 1744, hand coloured engraving, and the companion “The Sailors Farewell” (2)

25A 5SIR DAVID YOUNG CAMERON (1865 - 1945) “Baths of Caracalla"” signed in pencil to the margin with old label to verso, etching.

11½” x 17”.

Lot 25

£100-200

£150-300

27 IRISH SCHOOL, BALLOONING INTEREST: “Mr McLure”, with printed title to the margin and printed inscription “On 12th May 1785 ascended in the balloon from Dublin ...”, engraving, 5½” x 4”

£100-200

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Lot 24

35 ITALIAN SCHOOL, 17th century (?)

A nude male holding a staff with his hound looking on, sepia ink and wash, 13¼” x 8¾”

WATERCOLOURS AND DRAWINGS 29 THOMAS ROWLANDSON (1756 - 1827) Study of a tailor cutting red cloth, apparently unsigned, watercolour, 10” x 6¾”

£500-1,000

It is possible that the signature relates to Eugenio Agmeni (1819-1888) and is a study after the Renaissance original.

30 FOLLOWER OF JOSEPH MALLORD WILLIAM TURNER (1775-1851) "A view of Berwick Castle, Tweed", inscribed with the title in pencil to the margin, pencil on paper, 7¼” x 11” and eight similar pencil and chalk studies of landscapes including a view of Kirksdale Loch (a lot)

£100-200 37 MANNER OF SIR JAMES THORNHILL (1675-1734) Classical figures in a courtyard watching a condemnation?, pen and ink and wash en grisaille, 9¼” x 12½”

£250-500

31 .... WILKS (?)

A portrait of an elderly gentleman, inscribed in pencil “sketched by Wilks (?), Mr Bonair, Porter at Dulwich ...”, pencil sketch, 4½” x 3½” and a quantity of other pencil and wash portraits (8)

£200-400

£100-200

Lot 34

39 AFTER WILLIAM HOGARTH (1697 - 1764) A portrait of Inigo Jones, titled to the mount, sepia and grey wash over pencil tracings, 9” x 6½”

£100-200

40 CIRCLE OF MELTON PRIOR (1845 - 1910) Soldiers practising battle formation at a camp with a castle fort on the high ground, pencil sketch with white gouache highlights, 11¼” x 15”

£200-400

33 CIRCLE OF JOHN CONSTABLE (1776 - 1837) Street scene study, the verso with a sailboat view, preliminary pencil sketches on paper, 5” x 6”.

See illustration 34 CIRCLE OF JOHN CONSTABLE (1776 - 1837) View of a cottage in a wooded landscape, the verso with lakeside fishing scene, the latter dated 11.12 in the top left corner, preliminary pencil sketches, 5¼” x 6¼”.

See illustration

£80-160

38 AFTER VAN DYCK The Virgin Mary holding Jesus ascending to the sky with onlookers, sepia ink on paper, 11½” x 7¼”

32 ENGLISH SCHOOL, 19th century A study of a harbourside with sailboats, carts and washing lines, pencil heightened with white, 6½” x 9¾”, and a quantity of other 19th century pencil and watercolour studies of buildings, including The Rialto Bridge (a lot)

£150-300

36 19TH CENTURY SCHOOL Angels ascending, apparently inscribed E Agmeni, sepia and black ink with wash and heightened with white, 12½” x 9”

We are grateful for the assistance of Andrew Edmondson in cataloguing this lot.

Lot 33

£500-1,000

41 CIRCLE OF GEORGE CLAUSEN (1852 - 1944) Study of three horses pulling a cart, indistinctly signed in pencil, pen and ink, 6½” x 8½” and three further pencil or pen and ink sketches (4)

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£150-300 25

42 AFTER WILLIAM HOGARTH (1697-1764) A woman on her knees weeping before a Roman soldier reenacting a play, apparently unsigned but the reverse bearing printed monogram, pen, ink and wash, 7¼” x 9¼”

£80-160

43 EDWARD JOHN POYNTER PRA RWS (1836-1919) Head and leg study of a girl, monogrammed in pencil, sepia pastel over pencil traces and highlighted with white gouache, 4¼” x 6½” £100-200 44 ATTRIBUTED TO WILLIAM CONOR (1881-1968) Study of a man wearing a flat cap and reading a newspaper, bearing signature lower right, charcoal on brown paper, 12½” x 9½”

£200-400

46 5JOHN BANTING (1902 - 1972) ‘The Abandonment of Madam Triple Nipples’, signed and dated 1941 and later titled in ink to the frame verso, red pen and ink, 17” x 10”

Provenance: Private Collection, Devon

£200-400

47 attributed to william russell, 19th century A head and shoulder portrait of a woman in Regency dress wearing a three strand coral necklace, pastel and gouache on paper mounted on canvas, 22¼” x 17” and the companion portrait of William May of Deptford, the reverse bearing later hand inscribed label William Russell is the son of John Russell (1745-1806).

(2)

£100-200

49 MONOGRAMMIST EM, 19th century ‘Bacharach on the Rhine’, initialled EM lower right and dated 1839 and further inscribed in pencil to the mount with the title and an indistinct signature, watercolour and ink wash, 10½” x 7¼”

£100-200

50 ENGLISH SCHOOL, late 18th century Figures walking down a roadway with a carriage and hills in the distance, indistinctly titled in pencil, watercolour over pencil traces, 8¾” x 12¾” and a 19th century School view of figures beside a river, wash over pencil traces (2)

£200-400

£200-400

45 5FREDERICK GORDON CROSBY (1845-1943) A preparatory study for the design of the DEH4 Reconnaissance Machine, signed in pencil to the image and dated February 1917, watercolour heigtened with white over pencil traces, 16” x 25¾”

48 ENGLISH SCHOOL, 19th century ‘A Cumberland Cottage’ titled in pencil to the verso, watercolour, 8” x 11¼”

£300-600

Lot 54

51 CIRCLE OF CHARLES ANSELL A study of two women, one reading a book, the other sewing, indistinctly numbered 1246, watercolour, 6½” x 5¼” oval

£100-200

52 CIRCLE OF JOHN LAPORTE (1761-1839)

A waterfall in a rocky landscape with figures looking on, gouache, 9½” x 13” £150-300 53 THOMAS FISHER (1782-1836) ‘View from Stanbridge, Bedfordshire’, titled to the margin with reference points to the topography of the image, watercolour, 12¾” x 18”.

See illustration

£300-600

54 GEORGE POGGENBEEK (1853-1903) A shaded pond in woodland with birds in flight above, signed, watercolour, 7¾” x 9¾”.

See illustration 26

£500-1000

27

Lot 53

55 ATTRIBUTED TO GEORGE CLAUSEN (1852-1944) A Dutch woman standing carrying a basket in a doorway, signed in pencil to the mount, gouache, 4½” x 2½”

£100-200

56 SIR H MEDLYCOTT ‘Pool of London’, signed and dated 1891, twice, in bottom left and right corners, inscribed with the title in pencil to the frame verso, watercolour, 7½” x 13½”

£200-400

57 ATTRIBUTED TO ADAM BUCK, (1759-1833) Two women seated beside a piano forte and harp, with a cat playing on the floor, the reverse bearing a Beryl Kendall label, watercolour, 17¼” x 13½”

£200-400

Provenance: Private Collection, East Dorset

£1,000-2,000

60 ATTRIBUTED TO KATHERINE HUGGITT A view across a parkland landscape with deer and cattle in the foreground with Windsor Castle on the horizon, apparently unsigned, watercolour heightened with white, 11” x 17¾” and another landscape study, signed by Katherine Huggitt and indistinctly dated 1842 (2) £150-300

£300-600

64 FOLLOWER OF WILLIAM COOK (Fl 1870-1880) Fishermen beside a rocky bay conversing beside an anchor, with a rainbow in the distance, watercolour, 13” x 19”

59 LOUIS HAGHE (1806-1885) A procession beside a Continental Cathedral, possibly inspired by the King’s Palace, Brussels, signed lower left and dated 1851, the verso bearing label for The Rembrandt Gallery, Liverpool, watercolour, 16” x 10½”.

See illustration

£200-400 63 AFTER MYLES BIRKET FOSTER (1825-1899) A group of children playing on a sand dune beside a beach cliff, monogrammed “FB”, watercolour, 8¾” x 12¾”

£500-1,000

58 ATTRIBUTED TO GEORGE CATTERMOLE (1800-1868) ‘Saying Grace’ apparently unsigned, but titled to the frame, watercolour and bodycolour, 11” x 15¾”

£100-200

62 5WILLIAM LESLIE RACKHAM (1864-1944) Sail boats on a river with a windmill, signed, lower right, watercolour over pencil traces, 5¾” x 9¼” and the companion (2)

Lot 59

61 ATTRIBUTED TO JOHN VARLEY (1778-1842) A study of a stone cottage with two female figures conversing outside, apparently unsigned, attributed on the mount, watercolour, 7” x 5½”

£100-200

65 DAVID COX JUNIOR (1809-1885) A pair of figures taking a rest on a dry stone wall with their dog and a village on the horizon, signed lower right and dated 1877, watercolour over pencil traces, 14½” x 20¾”

£200-400

66 THE HON MRS E CAMPBELL ‘Repose’ apparently signed and dated 1878 to the verso, watercolour, 9¼” x 13½”

£100-200

67 5MARTIN HARDIE (1875-1952) ‘Neap Tide, Blakenay, Norfolk’, signed lower left and later titled in pencil to the frame verso, watercolour, 10¼” x 14¼” 28 £50-100

29

Lot 71 68 E FIDDIAN (?)

A woman grasping her red knitting in one hand and her Pug dog in the other, signed in pencil, watercolour, 9½” x 6¾”, oval

75 ARY SCHEFFER (1795-1858) A French street scene with figures, signed lower left, watercolour, 19” x 15½”

£150-300

76 HENRY LIVERSEEGE (1803-1832) The ghost of Banquo, a scene from Macbeth, signed and dated 1831, watercolour, 10¼” x 8¾”

69 ATTRIBUTED TO GEORGE KEATE, FRS (1729-1797) ‘Tall Ships at Harbour’, watercolour and wash, 7¾” x 10¼”

£300-600

£100-200

77 DUTCH SCHOOL, 18th century A monochrome study of a swallow in flight and another protecting the nest, gouache, 15” x 10¼”

70 MYLES BIRKET FOSTER (1825-1899) Sheep and their shepherd resting on a hillside, looking towards a church spire at dusk, monogrammed ‘FB’ lower left, watercolour, 3” x 3¾”

Provenance: Private Collection, East Dorset

£6,000-8,000

78 ENGLISH SCHOOL, 19th century A study of two Chinese pheasants in blue and fawn perched on a branch, watercolour, 13¼” x 10” and the companion study (2)

£150-300

£100-200

£100-200

81 5HELEN EDWARDS ‘Design for a Marionette, No. 2’ unsigned, but with inscribed label to the verso, watercolour over pencil traces, 14¾” 10¼” and the three companion costume studies (4)

74 ATTRIBUTED TO PAUL MARNY (1829-1914) Fishing boats on an estuary with wood panelled buildings, apparently unsigned, watercolour and wash, 9¼” x 13” £100-200

£100-200

80 5HARRY RUTHERFORD (1903-1985) A portrait of a stage character wearing a top hat and bow tie, signed and dated ‘29 as part of a presentation inscription, charcoal and white chalk on paper, 17½” x 11½”

73 J G COTMANN A girl collecting primroses in a basket on a windy day, watching her Terrier dig a rabbit, signed lower left and dated 1815/1845, the frame verso bearing old labels, watercolour, 12¾” x 7¾”

£250-500

79 G H JALLAND (Fl 1888-1908) ‘A Harrowing Predicament’ signed and dated ‘03 with further title to the image with presentation inscription ‘From Mrs Jalland’ on the mount, watercolour and pen and ink, 10” x 5¼”

72 YEEND KING A boy sitting on a mill river with his dog fishing with a mill building in the background, signed lower left, watercolour, 11¼” x 15¼”

£100-200

£300-600

71 DAVID ROBERTS (1796-1864) ‘The Church of St Ouen, Rouen’, signed lower left, watercolour, 6½” x 12½”.

See illustration

£100-200

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£100-200 31

82 ENGLISH SCHOOL, 19th century Sail boats on a choppy sea beside a red buoy, unsigned, watercolour, 6¾” x 13” and the companion coastal scene (2)

88 5JOHN ERNEST AITKEN (1881-1957) ‘Busy Fishwives, Fife’ signed lower left, the verso with old Royal Institute of Painters in Watercolours label, watercolour, 19” x 19¾”.

See illustration

£70-140

83 WILLIAM BIRCHALL (1884-1941) ‘The King’s Highway, Nr. Canterbury’ titled, signed and dated 1951, watercolour, 7” x 10¼”

89 ATTRIBUTED TO WILLIAM GILPIN (1724-1804) A man on a horse conversing with a woman on a dusty path overlooking a lake, apparently unsigned, watercolour over pencil traces, 21” x 28”

£40-100 84 5WILLIAM GAUNT (1918-2001) ‘Battersea’, signed and inscribed with the title, watercolour over pen and ink, 8¾” x 11¾”

£70-140

£50-100

Lot 88

£100-200

£150-300

92 ENGLISH SCHOOL, 19th century ‘A view of Chateau de Chillon’, titled and dated October 14th/52, watercolour, 9¾” x 14½”

£100-200

87 HERCULES BRABAZON BRABAZON (1821-1906) View of a windmill in a landscape, initialled ‘HBB’, pencil with orange pastel highlights, 2¾” x 4¼”.

See illustration

Lot 87

91 ATTRIBUTED TO HENRIETTA HUSSEY (1819-1899) "A view of Wool Bridge, Dorset", apparently unsigned, the frame verso bearing an inscription, watercolour, 5½” x 9”

86 WILLIAM GRAY (Fl 1835-1883) A wooden hut perched on a rocky side with a wooden bridge, signed lower left, watercolour, 8¼” x 10½”

£100-200

90 5ARTHUR JOHN TREVOR BRISCOE, RI, RE (1873-1943) View across Poole Bay, signed lower right and dated 12-12, watercolour, 9¼” x 13¼”

85 FOLLOWER OF NATHANIEL EVERETT GREEN (1823-1899) An oak tree in full leaf with a windmill on the landscape behind, unsigned watercolour, 9½” x 13½”

£400-800

£200-400

93 5MARTIN HARDIE (1875-1952) "Near Ajaccio", signed lower left, the frame with inscribed label to the verso, watercolour, 9¾” x 15¼”

£500-1,000

£150-300

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33

Lot 96

96 CHARLES MACARTHUR (Fl. 1860-1892) ‘Approaching Storm, Scotland’, signed lower left and titled to the mount, watercolour, 19” x 27½”.

See illustration

Lot 95

£400-800

97 WILLIAM JOHN CAPARNE (fl. 1882-1893) A Guernsey coastline with a single sailboat, apparently unsigned but the verso of the frame bearing label stating ‘Back of the painting bears inscription’, watercolour, 30” x 51”.

See illustration

£600-1200

98 C.R. YATES A fisherman below Richmond Castle, Swaledale, North Yorkshire, signed and dated 1921, watercolour, 9¾” x 13½”

£100-200

99 ALBERT STEVENS (1863-1925) View down a riverside pathway with wildflowers and a village in the distance, signed lower left, watercolour, 11¾” x 18½”

94 5MARTIN HARDIE (1875-1952) ‘Vaison la Romaine’, signed, the frame verso inscribed with title and date October 1933, watercolour over pencil traces, 11½” x 14½”

100 5ARCHIBALD STANDISH HARTRICK (1864-1950) “The West Wind”, signed and indistinctly inscribed to the lower right, watercolour, 12¾” x 19¼”

£150-300

95 TONY KERINS (fl. 1860-1892) ‘War Horse’, apparently unsigned, but inscribed with a label to the frame verso and dated April ‘86, watercolour, 12¼” x 7¼” and a copy of the paperback book by Michael Morpurgo showing the painting on the cover (2).

See illustration

£100-200

£400-800

101 5GEORGE SAMUEL ELGOOD (1851-1943) View of a secret shelter with statues in a garden, signed and dated 1900, indistinctly titled in pencil to the frame verso, watercolour, 10” x 7¼”

£700-1,400

34

£200-400

35

Lot 97

5FRANK H MASON (1876-1965) 102 A Venetian boat scene, signed lower left, watercolour, 18½” x 26”.

See illustration left hand full page image and description

Provenance: The Bourne Gallery 1970

Private collection, Dorset.

£4,000-6,000

36

103 LEON L’HERMITTE (1844-1925) A man seated beside a pond with a child looking on as white ducks enter the water, signed lower right, gouache, 14¾” x 20¾”, apparently retaining the original frame.

See illustration

Provenance: Private collection, West Dorset.

£4,000-8,000

37

Lot 104 109 ALBERTO PISA (1864-1931) An Italian Piazza scene, signed lower right, with a Fine Art Society label to the verso, watercolour, 13¾”x 10”

104 5FRANK H. MASON (1876-1965)

“Der Tag”, signed, gouache, 21½” x 17¾”.

See illustration

£150-300

Provenance: A gift to the Vice Admiral Sir Harold Brown GBE KCB and thence by descent.

110 5GORDON BENINGFIELD (1936-1998) The Rabbit, signed, watercolour, 7” x 10¼”

Private collection, East Dorset.

An unpublished private memoir written in the 1960’s can be found in the Imperial War Museum. It records the young Lieutenant Commander on HMS Penelope “I have a very fine picture of the surrender of the German Fleet as they were escorted into harbour”

£1,000-2,000

111 HAL HURST (1865-1938) A woman walking along a lakeside path, signed, watercolour, 10” x 14½”

105 5GORDON MITCHELL FORSYTH RI ARCA (1879-1952) “The Town Hall of Veere”, signed, titled and dated 1930, the verso bearing a label for the Royal Institute of Painters and Watercolours, watercolour, 14¾” x 10½”

£200-400

£100-200

£150-300

114 HUGO RIVEROS GOMEZ (20th century) A street scene in Chile, signed and dated ‘77, watercolour over pencil traces, 14¾” x 9½”

£100-200

108 HAL HURST (1865-1938) “Braid Hills”, signed, bearing a label to the verso, watercolour, 12” x 19½”

£300-600

113 5MARJORIE COX (1915-2003) “Lusty”, signed, titled and dated 1978, coloured chalk pastel, 14¼” x 13¼”

107 EDWARD HARGITT (1835-1895) "Deep Hill Castle, Ventnor," signed, dated August 31st ‘72 and titled, watercolour over pencil traces, 12½” x 20”

£100-200

112 5GEORGE EDWARD LODGE (1860-1954) Study of a kestrel in flight, signed lower left, watercolour heightened with white, 18½” x 25¼”

106 J. BAYNES BADCOCK "A summer sunset (sketch from nature)", monogrammed and dated 1889, the reverse bearing old artist’s label, watercolour, 15” x 21¾”

£250-500

The artist Gomez was killed by General Pinochet’s troops in 1981. He is considered a martyr by the people of Chile.

£100-200

38

£100-200

39

115 HOWIE PENNELL ARCA (1879-1934) Haymaking in a field beside a river and pond, signed and dated ‘89, watercolour heightened with white, 9¼” x 19¼”

5GEORGE OWEN WYNNE 122 APPERLEY (1884-1960) Boats in a dry dock, in a continental town, signed in pencil and dated 1914, watercolour, 10¼” x 13¼”.

See illustration

£300-600

116 MONOGRAMMIST H.S. A mountainous landscape, possibly Finland, initialled lower left and lower right, watercolour, 13¾” x 16¼”

£100-200

£150-300

£300-600

£250-500

£100-200

127 5REG GAMMON (1894-1997) A pair of donkeys in a field enclosure, signed, watercolour, 10” x 15¼”

£200-400

121 5ROSEMARY SARAH WELCH (1946-) A pair of shire horses pulling a plough, signed in pencil, pastel and gouache, 13” x 19”

£200-400

5PAUL AYSHFORD, 4TH LORD 126 METHUEN, RA (1886-1974) “Watery Bottom”, signed, titled and dated 1965, watercolour over pencil traces, 11½” x 16¼”

120 T. HART FSA Three fishermen battling with the sail on their rowing boat, on a choppy sea beside a large rocky incline, signed lower left, watercolour, 13¼” x 29¾”

£500-1,000

5ETHELBERT WHITE (1891-1972) 125 Tropical wooded landscape, signed, watercolour, 11” x 13½”

119 RICHARD ROBERT MALCOLM LLOYD (1859-1907) “Peel Harbour Mouth”, signed and dated 1920 with indistinct possible title, watercolour heightened with white, 13¼” x 19¼”

£250-500

124 5JACQUIE JONES (20th century), Study of a prancing Arab horse, signed in pencil and dated 2002, watercolour over pencil traces, 21¼” x 27”.

See illustration

118 GEORGE HENRY JENKINS (1843-1914) Figures in a rowing boat off a rocky coastline, signed, watercolour, 16½” x 34½”

£800-1,200

123 5RALPH BROWN RA (1928-) A reclining female nude grasping her foot, signed in pencil and dated ‘94, pencil sketch with conte pencil and watercolour wash highlights, 12¼” x 16¾”

117 AGNES KYLE Terraced thatched cottages with two children and their father standing proudly outside, signed, watercolour, 13” x 20½”

Lot 122

£150-300

128 C.W. MALIPHANT “On the Thames above Lechlade”, signed lower right, gouache and pastel, 6½” x 10½”

£100-200

40

Lot 124

£100-200 41

Lot 130

5DONALD HAMILTON FRASER 129 (1929-2009) A view of Scottish hills near Kyle of Durness, apparently unsigned but accompanied by a signed letter from the artist confirming its’ authenticity “The fragment is certainly painted by me ...”, watercolour and bodycolour, 2½” x 12½”

135 5VERA CUNNINGHAM (1897-1955) Monochrome portrait of a woman, possibly a self-portrait, unsigned, but the frame verso bearing a label detailing various exhibitions including The Redfern Gallery in 1947, watercolour, 15¾” x 13” Vera Cunningham was the muse and mistress of Bernard Meninsky and Matthew Smith. She is described as being “robust, voluptuous, earthy, even coarse ...” (Times Higher Education Supplement 15th August 1997).

£400-800

130 5DAVID JONES (1895-1974) “Fountain in Séte (Cette)”, signed, inscribed and dated 1928 to the verso, watercolour over pencil, 22¾” x 18¾”.

See illustration

Provenance: Private collection, West Dorset.

£2,000-4,000

136 5GEORGE CONSTANT (1892-1978) Portrait of a girl in green, signed, watercolour, 10” x 8¼”

131 ATTRIBUTED TO ROY TURNER DURRANT (1925-1998) “Studies for Sculpture”, monogrammed and dated in pencil, gouache, pastel, 9¾” x 14”

£300-600

137 5TOMI UNGERER (1931-) Head and shoulders portrait, signed in pencil and dated 1953, the verso apparently inscribed and dedicated “This drawing which emerged out of my youth other times to remember our first meeting in Strasbourg”, watercolour, 10¼” x 7¾”

£200-400

132 5BILLIE WATERS (1896-1979) Study of flowers and birds, pastel and bodycolour over pencil traces, signed, 19¾” x 15½”

£100-200

£200-400

138 5STANLEY SPENCER (1891-1959) “Study” apparently unsigned, pencil on lined paper, 6” x 7”

£100-200

133 5KATY ELLIS “Delhi Wedding”, watercolour, signed, the verso bearing Sheen Gallery label, 7¾” x 17¾”

Provenance: Stanley Spencer Studio Sale, 1998.

Private Collection, Dorset

£500-1,000

£400-800 139 5SVEN BERLIN (1911-2000) “Bull Grazing”, signed, titled and dated ‘96, pencil sketch,

134 5ROY TURNER DURRANT (1925-1998) “High Morning”, signed and dated 63(?), and further numbered 15.685, gouache, 12” x 5¾”

8” x 11¾”

£50-100

140 5SVEN BERLIN (1911-2000) A self portrait of the artist, pencil study, 11½” x 8¼”

£500-1,000

42

£50-100 43

Lot 144

143 SVEN BERLIN (1911-2000) “The Quick Beam Tree. A Book of Poems”, a book of handwritten poems by the artist with original colour illustrations, in pen, ink, watercolour and felt tip, the front cover bearing a self portrait, monogrammed and dated ‘92, watercolour and gouache, 8” x 5¾”

5SVEN BERLIN (1911-2000) 141 “Jackdaw for Stone”, signed and dated ‘92, pencil sketch, 8¼” x 11½”

£50-100

142 5SVEN BERLIN (1911-2000) An album of working sketches depicting figures and animals, pencil, pen and ink, the largest 6” x 4”, and three similar albums (4)

£300-600

5DAME ELISABETH FRINK 144 (1930-1993) Head study of a grey horse, signed and dated ‘88 in pencil, gouache and watercolour with grey pastel highlights, 24¾” x 17¼”.

See illustration

£150-300

44

Provenance: Private collection, Dorset.

£7,000-10,000

45

Lot 145

145 5DAME ELISABETH FRINK (1930-1993) “Bird in Flight”, signed and dated ‘65, watercolour, 28¾” x 21¼”.

See illustration

Provenance: Private collection, Wales

£4,000-8,000

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47

146 LEON L’HERMITTE (1844-1925) A peasant woman carrying a pile of kindling greeting her children outside a cottage, signed lower left, pastel, 13¼” x 17¼”.

See illustration

Provenance: Private collection, Dorset.

£4,000-8,000

Lot 146 detail 48

49

147 JOSEF ISRAELS (1824-1911) A peasant family seated at a table and beside the fire in a cottage interior, signed lower left, watercolour, 13” x 20”.

See illustration

Provenance: Private collection, Dorset.

£3,000-6,000

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51

Lot 147 detail

148 ALESSANDRO ZEZZOS (1848-1914) A portrait of a gypsy girl looking to her right and wearing a yellow scarf, signed lower left, watercolour, 21” x 14¼”.

See illustration

Provenance: Private collection, Dorset.

£1,500-3,000

Provenance: Sir John Charles Day sale 1909.

Private collection, Dorset.

£600-1,200

£150-300

154 CONTINENTAL SCHOOL, 19th century A side full length portrait of a 17th century lady carrying a tea tray, unsigned, pastel, 33½” x 21”

150 IMPRESSIONIST SCHOOL, MONOGRAMMIST AR Study of a small lake, monogrammed AR to the lower left, watercolour, 9¼” x 13¼”

£300-600

153 5MARGARET FELKIN:

Signed and dated 1937 with artists inscription to the verso, watercolour 21¾” x 17¼” and a similar study of a cherub indistinctly inscribed in pencil (2)

149 JOHANNES BOSBOOM (1817-1891) A family gathered on the steps of a church with the priest holding the bible walking past them within a church interior, signed lower right, watercolour, 22” x 16”.

See illustration

Lot 148 detail

152 JAMES DUFFIELD HARDING (1798-1863) “Cauterels from the North”, titled and dated August 1834, the reverse bearing label for the John Manning Gallery, pencil heightened with watercolour, 9¾” x 13¾”

£100-200

£200-400

151 JOHANNES BOSBOOM (1817-91) A nun and a child in a church interior, signed lower left, watercolour, 14” x 10”

Provenance: Sir John Charles Day sale 1909

Private collection, Dorset

£600-1,200

Lot 149 detail 52

53

Lot 155

Lot 157

155 ALBERT NEUHUYS (1844-1914) Two children playing beside a window in a cottage interior, signed lower left, watercolour, 12¼” x 16¼”.

See illustration

Provenance: Private collection, Dorset

£1,500-3,000

157 GEORGE JOHN PINWELL RWS (1842-1875) “The Paris Pawn Shop”, monogrammed GJP to the lower left, the verso bearing a copy of the print by Dalziel, published in “Good Words”, April 1st 1868, page 223, and an old exhibition label for the Grafikai Kiallitas 1909, watercolour and bodycolour, 6½” x 9½”.

See illustration

Provenance: Harold Hartley Christies 15th October 1974.

156 CHARLES EMILE JACQUE (1813-1894) A shepherd herding his sheep at nightfall, signed lower left and dated ‘69, pastel heightened with sepia and white, 3½” x 15¾”.

See illustration

Provenance: Private collection, Dorset.

£1,500-3,000

Lot 156

Private collection, Dorset.

Exhibited: Mucsarnok, Grafikai, Kiallitas, 1909, no. 56.

Birmingham Museum and Art Gallery “Book Illustrations of the Sixties” 1924 no. 404

£1,000-2,000

158 5EDNA CLARKE HALL (1879-1979) Portrait of a woman in a garden, sepia ink and watercolour, 16½” x 10¾” and a copy of the artist’s book “Facets”, 1930, no. 157 of 300, signed by the artist (2)

54

£500-1,000 55

159 CONTINENTAL SCHOOL, 19th century ‘The Adoration’, gouache, 29½” x 18¾”, arched, apparently retaining the original gilt and ebonised architectural frame, 48” x 38¼” overall.

See illustration

Provenance: Private collection, Hampshire

£5,000-10,000

56

57

Lot 159

160 DANTE GABRIEL ROSSETTI (1828-1882) 'Lady having her hair combed out c.1855', pen, ink and brown wash, 6" x 4½”; and two further studies: 'Venus with 2 Doves' c.1870', pen, ink and brown wash, 7' x 4½”; 'Eighteenth Century Ladies Meeting c.1849', ink and brown wash, 8¾” x 6½”; together with an inscribed presentation label written

by William Rossetti in July 1905 to Effie Ritchie, upon giving the present works to her. (3)

E ffie Ritchie nee Stillman (1871-1911) was the daughter of Marie Spartali Stillman (1844-1927), who was the artist's model for 'A Vision of Fiammetta', painted by Rossetti in 1878.

rovenance: Given by William Rossetti in 1905 to Effie Ritchie P (nee Stillman) on the occasion of her marriage to William George Ritchie, and thence by descent. e auctioneers are grateful to Christopher Newall for his Th assistance in cataloguing this lot. £15,000-20,000

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59

Lot 160

161 MARY VERNON MORGAN (1871-1927) “Chesterfield Grange near Lichfield”, signed and dated 1907, the verso with old labels, inscribed by the artist, watercolour, 10¼” x 14½”

£150-300

Myrtle Fasken was a student at the Central School of Art in London where she mastered the skill of the lino and wood block print, for which she is most well known.

A trip to Australia in 1929 to visit her brother's ranch fuelled her enthusiasm for rural crafts and landscapes and the subjects became her main theme for her remaining career

£100-200

166 AFTER PABLO PICASSO, Study of a nude with arms folded behind her head, black pen and ink, 8¼” x 4¼”

£250-500

£50-100

163 -169 Spare lots

163 ENGLISH SCHOOL, late 19th/early 20th century Head study of a girl, pastels, 8½” x 7”

£100-200

165 WILLIAM DRING, Head study of a man, Signed in pencil with printed label to the verso, charcoal, 8½” x 6½” and another head study composition. (2)

162 5MYRTLE FASKEN (1889-1972) “Woolwich Reach”, signed and titled, watercolour, 9¼” x 11”

Oil Paintings

164 LANCELOT ROBERTS, portrait of a lady dressed in a fur and clutching her beads, signed, pastels, 17¾” x 14¼”

£50-100

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61

Lot 170

170 DUTCH SCHOOL, 17th century Adam and Eve in the Garden of Eden, oil on copper, 10” x 13½”.

See illustration

172 DUTCH SCHOOL, 17th century A double portrait of a boy and a woman, painted in an oval, the boy holding a bird, oil on panel, 5¼” x 5”

£800-1,600

171 FOLLOWER OF JACOB BOGDANI (1660-1724) An owl and other birds amongst tree tops, oil on canvas, 12” x 48½”

£500-1,000

173 MANNER OF GIOVANNI BELLINI A shoulder length portrait of a Senator with a beard and wearing a red cloak across his left shoulder, oil on panel, 15” x 11½”, in an architectural gilt frame.

See illustration

£500-1,000

£1,500-2500

Lot 173 62

63

Lot 177

Lot 174

176 ENGLISH SCHOOL, 18th century A study of an Arab race horse in a landscape, oil on canvas, 15½” x 19½”

174 MANNER OF JEAN BAPTISTE PILLEMENT An arcadian landscape with figures resting beside Italianate ruins and a cascading river, oil on copper, 14” x 17½”, in a gilt foliate frame.

See illustration

£700-1,000

176A ENGLISH SCHOOL, 19th century A study of a huntsman and hound in pursuit, oil on canvas, 10½” x 13”

175 CONTINENTAL SCHOOL, 17th/18th century A profile head study of a man looking upwards, ascribed to Poussin, oil on canvas, 11” x 8”

£300-500

£150-300

177 MANNER OF SIR ANTHONY VAN DYCK A bust-length portrait of Queen Henrietta Maria with curls in her hair and wearing a pearl necklace, oil on panel, 15” x 11½”, in an ornate gilt-foliate frame.

See illustration

£300-600

64

Provenance: Private collection, Somerset

£2,000-3,000 65

Lot 181 Lot 178

180 ENGLISH SCHOOL, 19th century Two children in a wooded landscape, oil on canvas, 10” x 14”

178 ROELOF VAN VRIES (circa 1631 - 1681) A fortified dwelling beside a river with figures in boats to the foreground, signed with monogram lower left, oil on panel, 14½” x 19½”.

See illustration

181 CIRCLE OF CORNELIS PIETERSZ BEGA (c.1631-1664) Figures merrymaking beside an inn, Thomas McLean label to the reverse of the stretcher, oil on canvas, 21” x 19”.

See illustration

£1,000-2,000

179 ASCRIBED TO JULES JACQUES VEYRASSAT (1828-1893) Horses watering with figures among buildings in a rural landscape, oil on canvas, 9½” x 13½”

£150-300

£200-400

66

Provenance: Private collection, West Dorset

£2,000-4,000

67

Lot 182

Lot 183

183 FOLLOWER OF SIR PETER PAUL RUBENS An allegorical scene of a knight and ladies with a baby and cherubs in a landscape, oil on canvas, 43” x 51”, in a carved giltwood and gesso frame.

See illustration

182 COLONIAL SCHOOL, late 18th/early 19th century A river landscape depicting ‘Tsin-Kiang-Fou’, with figures and buildings beside the water and a boat in the foreground, inscribed in French to the reverse of the stretcher describing the view, oil on canvas, 18” x 23½”.

See illustration

£1,200-1,800 68

Provenance: Private collection, Wiltshire.

£2,500-4,000 69

Lot 183 detail

Lot 184

185A 5RENZ WALLER (1895-1979) ‘Engl. Bulldogge’, signed lower right, old labels verso, oil on canvas, 24” x 20”.

See illustration

Lot 185

184 FOLLOWER OF JAN VAN GOYEN A river landscape with a windmill, various buildings and figures in rowing boats in the foreground, oil on panel, 16” x 21½”.

See illustration

185 MANNER OF THOMAS LUNY ‘The Battle of Cape St. Vincent’, oil on canvas, 15” x 25½”.

See illustration

£3,000-5,000 70

£3,000-5,000 71

Provenance: Private collection, North Dorset.

£3000-6000

Lot 189 Lot 186

Lot 189 188A ENGLISH SCHOOL, 17th century A half length portrait of a gentleman wearing a white lace ruff and striped garments, bearing armorial upper right and dated 1620, oil on canvas, 30½” x 25½”

186 JAMES RUSSELL RYOTT (fl. 1810-1860) ‘Silver Tail’, signed and dated lower left, oil on canvas, 32” x 42½”.

See illustration

£1,200-1,800

187 ATTRIBUTED TO THOMAS STOTHARD (1755-1834) ‘Charles II discovering himself to a family who had given him shelter’, oil on canvas, 11½” x 15”

189 ATTRIBUTED TO THOMAS PHILLIPS (1770-1845) A half-length portrait of a military officer, thought to be Captain Daniel Stewart, wearing a scarlet uniform with gold epaulettes, oil on canvas, 30” x 25”; and a companion portrait of a lady, thought to be Mrs Henry Westmacott, both in gilt frames (2).

See illustration

£100-200

188 ENGLISH SCHOOL, 19th century A British man-o-war in port, oil on canvas, 13” x 19”

£100-200

Provenance: Deceased Estate, North Dorset.

£500-1,000

£300-500

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73

Lot 193 Lot 190

192 ENGLISH SCHOOL, late 18th/early 19th century A portrait of a lady seated and wearing a red dress, oil on canvas, 36” x 28”

190 NARCISSE-VIRGILE DIAZ DE LA PENA (1807-1876) A study of gypsy girls in a wooded landscape, signed lower left, oil on canvas, 18” x 21½”.

See illustration

£500-1,000

193 FREDERICK WILLIAM WHITEHEAD (1853-1938) ‘The Frome, Moreton, Dorset’, signed lower right, oil on canvas, 50” x 36”.

See illustration

191 ENGLISH SCHOOL, 18th century A half-length portrait of a gentleman wearing a wig and a red waistcoat and holding a letter in his left hand, oil on canvas, 30” x 25”

£200-400

£500-1,000

74

Provenance: Private collection, London

£4,000-6,000

75

Lot 197

Lot 194

194 GEORGE ARMFIELD (1803-1893) Dogs at rest beside a picnic basket in a field at harvest time, signed lower left, oil on board, 10½” x 14½”.

See illustration

Provenance: Deceased Estate, Oxfordshire.

£500-1,000

196 WILL PYE (late 19th/early 20th century) ‘Upwey Manor House’, inscribed to the reverse and dated 1899, oil on board, 9” x 14½”

197 ENGLISH SCHOOL, early 19th century A bust-length portrait of a lady wearing a lace bonnet, oil on canvas, 24” x 20”.

See illustration

195 MONOGRAMMIST HWA (19th Century) The London to Bath stagecoach, initialled and dated 1870 lower right, oil on canvas, 19” x 25½”

£400-600

£400-600

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77

Lot 198

200 CHARLES TOWNE, SNR (1763-1840) A bay hunter and a greyhound in a landscape with a manor house beyond, signed lower right and dated 1823, oil on canvas, 14” x 17”.

See illustration

Lot 199

198 HENRY KING TAYLOR (19th century) Shipping in choppy seas beside a harbour wall, signed lower right, oil on canvas, 23” x 41”.

See illustration

199 WILLIAM EDWARD WEBB (1862-1903) Shipping in choppy seas beside a coastline and a harbour wall, signed lower left, oil on canvas, 22” x 38”.

See illustration

£500-1,000

78

Provenance: Private Collection, Somerset.

£10,000-15,000

£1,000-2,000

79

Lot 201

Lot 205 205 ENGLISH SCHOOL, 19th century A family group with a carriage and ponies in a landscape with parkland and a manor house beyond, oil on canvas, 34 x 44”, in a period giltwood and gesso frame with arched top.

See illustration Provenance: Gifted to the vendor in 1960 by The Rev. Arthur Field, Vicar of Spetisbury. By repute, the family depicted in the painting are descendants of his.

201 DUTCH SCHOOL, 18th century A cleric seated at a desk beside a window within an interior, the reverse with a label ‘Exhibited Scarborough Municipal Art Gallery, Dutch Festival, June 1960’, oil on panel, 24½” x 18½”.

See illustration

203 JOSEPH THORS (fl.1863-1900) ‘View near Guilford, Surrey’, signed lower centre and titled to the reverse, oil on canvas, 10” x 14”

£300-600

£200-400

£3,000-5,000

£150-300

204 HENRY DAWSON (1811-1878) A Warship under half sail at sunset, signed lower left and dated 1870, oil on panel, 8” x 10”

202 CONTINENTAL SCHOOL, 19th century A Pilgrim beside buildings in a landscape, oil on panel, 7” x 5”; and a companion picture of a river landscape (2)

80

£200-400 81

Lot 206

Lot 210

208 ‘SIMMONS’ (possibly E E) A rocky coastline, the stretcher inscribed verso ‘Simmons’, oil on canvas, 18” x 26”

206 A CASTELLI (19th/20th century) ‘Grandmother’s Birthday’, signed lower right, oil on canvas, 19” x 26½” in original giltwood and gesso frame.

See illustration

£700-1,000

“Vionville”, on this horse, on 16 August (1870) Colonel Von Zieten of the Zieten-Hussars was mortally wounded hereupon His Majesty, Prince Frederick Carl, took the horse and rode it during the campaign of 1870/71.

Provenance: Emil Otto von Pirch (1846-1921), and thence by descent to the vendor, his great-great grandson.

£100-200

£500-1,000

£300-600

82

Translation of the inscribed labels on the reverse:

“Little Spider” English Black Horse “Little Spider” ridden by the children of his Imperial Majesty, the Crown Prince of the German State of Prussia - subsequently His Majesty Kaiser Frederick;

209 EDOUARD MENTA (1858-1915) ‘Al Fresco’, signed lower right and with an old loose inscribed label attached to the back, oil on canvas, 11” x 15”

207 WILLIAM LANGLEY (1852-1922) Highland cattle on a path with loch and mountains beyond, signed lower left, oil on canvas, 20” x 30”

210 CONRAD FREYBERG (1842-1915) An equestrian double portrait of ‘Vionville’ and ‘Kleine Spinne’, signed lower right and dated 1874, old inscribed labels to the reverse, oil on canvas, 15½” x 30”.

See illustration

83

£2,500-3,500

Lot 212 detail Lot 211

Lot 212

5JOHAN SCHERREWITZ (1868-1951) 211 ‘Seanty Pastures’, signed lower right, oil on panel, 6½” x 13”, in a period giltwood and gesso frame.

See illustration

Provenance: Private Collection, West Dorset.

£1,000-2,000

212 5JOHAN SCHERREWITZ (1868-1951) A shepherd and his dog beside a thatched barn in a landscape, signed lower right, oil on canvas, 27½” x 39½”, in a period giltwood and gesso frame.

See illustration

84

Provenance: Private Collection, West Dorset.

£4,000-8,000 85

Lot 214

Lot 213

Lot 213

213 WILLIAM WATSON (1866-1921) ‘Wanderers in the Glen’, signed lower right and dated 1908, and titled and inscribed to the reverse, oil on canvas, 13” x 19”; and a companion picture ‘Morning Light’ (2).

See illustration

Provenance: Deceased Estate, Oxfordshire

£1,000-2,000 86

214 WILLEM MARIS (1844-1910) ‘A Dutch Landscape’, signed lower right, old Doig Wilson and Wheatley label verso, oil on canvas, 13” x 16½”, in a period giltwood frame.

See illustration

Provenance: Private Collection, West Dorset.

£1,500-3,000

87

Lot 215

5ROBERT NORMAN HEPPLE 215 (1908-1994) Riders in a woody parkland, signed lower right, oil on board, 25” x 30”.

See illustration

5FRANK LEWIS EMANUEL (1865-1948) 217 Figures and cars beside a bridge on the Thames, signed lower right and dated 1922, oil on board, 10” x 13½”

£500-1,000

218 JOSEPH MALACHY KAVANAGH (1856-1918) A woman and child before buildings on a sunny day, signed lower left and dated 1888, also monogrammed JMK to the reverse, oil on canvas, 20” x 13”.

See illustration

216 5FRANK LEWIS EMANUEL (18651948) ‘St. Omer’, signed lower left, oil on board, 14” x 10”

£200-400

£200-400

Provenance: Private Collection, Wiltshire.

£500-1,000

Lot 218 88

89

Lot 219

221 FOLLOWER OF SIR WINSTON CHURCHILL A nocturnal harbour scene, bearing a Wright & Son of Oxford label verso, oil on board, 17” x 21”

219 5NORMAN WILKINSON (1878-1971) ‘The Reef Nassau’, signed lower right, oil on board, 18” x 24”.

See illustration

£500-1,000

220 A STONE (late 19th/early 20th century) A Fisherman in a river landscape, signed lower left, oil on canvas, 10” x 18”

Lot 223

Provenance: Private Collection, Devon.

£100-200

222 THOMAS HILL (1852-1926) Planting potatoes, signed lower left and dated 1890, oil on canvas, 19½” x 24”

£100-200

90

£400-800

5WILFRED GABRIEL DE GLEHN 223 (1870-1951) ‘Stratford Tony’, oil on canvas, 18” x 24”.

See illustration

Provenance: With Messum’s, London.

Private Collection, West Dorset.

£6,000-8,000

91

Lot 230

Lot 225

Lot 224

224 5PETER JOYCE (b.1964) ‘Chalk Sea, Mupe’, signed with initials lower right and dated ‘98, also inscribed to the reverse, oil on canvas, 14” x 10”.

See illustration

227 FOLLOWER OF SIR STANLEY SPENCER A farmyard scene, oil on canvas, 28½” x 34½”

£300-500

228 5AKOS ZSOTER (b. 1895) A still life study of fruit and vessels on a table, signed lower left, oil on board, 16” x 20”

225 5CHARLES WILLIAMS (b.1965) ‘Two Boys’, signed with initials lower right and inscribed to the reverse, oil on card, 9¾” x 8”.

See illustration

£200-400

229 5REG GAMMON (1894-1997) A mother and child reclining in a landscape, signed lower right, oil on board, 8½” x 15½”

£500-1,000

226 5AKOS ZSOTER (b.1895) ‘Tower Bridge’, signed lower right, oil on canvas board, 20” x 24”

£200-400

£300-600

5HERBERT GURSCHNER (1901-1975) 230 ‘King Lauren’s Garden (Dolomites)’, signed upper right, the reverse with an old label and also inscribed “To dear Rosalind Xmas 1942 from Herbert”, oil on canvas, 20” x 24”.

See illustration

Provenance: Gifted by the artist to the author Rosalind Wade, and thence by descent.

£3,000-6,000

£300-600

92

93

Lot 233

Lot 240

Lot 231

231 5CHRIS CHRISTOFOROU (b. 1954) A study of a leopard reclining on a branch, signed lower right, oil on board, 20” x 30”.

See illustration

5PIERRE DE CLAUSADE (1910-1976) 233 ‘Beauceron’, signed lower left and titled to the reverse, oil on canvas, 18” x 22”.

See illustration

£800-1,600

232 5JOHN EDMOND MACE (1889-1956) A landscape study with farm buildings and cattle, signed lower right, 12” x 15½”

£200-400

Provenance: The Estate of the artist.

£1,000-2,000

Provenance: With W. Cutler Galleries

Private collection, East Dorset.

£1,500-2,500

Provenance: The Estate of the artist

£1,000-2,000

94

5SVEN BERLIN (1911-2000) 238 A man walking in a landscape on a windy day, signed lower right and dated ‘72, oil on board, 24” x 36”

236 5SVEN BERLIN (1911-2000) A hare leaping at sunset in a landscape, signed lower right and dated 78/79, oil on board, 24” x 36”.

See illustration

234 5GILES (20th Century) A comical beach scene “That’s How The Aussies Do It ...”, signed lower right and titled at the bottom, pen and oil on canvas board, 8” x 10”; and a companion picture “Harry Always Takes An Hour Or So ...” (2).

£250-500

235 5LAURENCE ROCHE (b.1944) ‘Deserted Junction Twilight”, signed lower left and dated 1979, oil on paper, 28” x 35”

£100-200

239 5SVEN BERLIN (1911-2000) ‘Ram and Shepherd’, signed lower left and dated ‘99, oil on board, 24” x 36”

237 5SVEN BERLIN (1911-2000) ‘Heron at Dawn”, signed lower left and dated ‘97, oil on board, 24” x 36”

Provenance: The Estate of the artist.

£1,000-2,000

Provenance: The Estate of the artist.

£1,000-2,000

240 5SVEN BERLIN (1911-2000) A village church in a landscape, signed lower right and dated ‘72, oil on board, 20” x 24”

95

Provenance: The Estate of the artist.

£600-800

Lot 243

241 CHARLES KEITH MILLER (1836-1907) A study of the SS Britannic (White Star Line) under steam and sail, signed with initials lower left and dated 1882, oil on canvas, 33" x 26" See illustration

Provenance: Private collection, East Dorset.

£1,000-2,000

242 ENGLISH SCHOOL, 19th Century Portrait of a lady with her hair up and wearing a blue blouse, oil on canvas, 30 x 22"

£100-200

243 MANNER OF LUCAS CRANACH Portrait of a lady holding a flower, oil on panel, 15 x 11½” See illustration £800-1,600 96

97

Lot 241

Lot 244

Lot 245

244 ATTRIBUTED TO P A HENDERICKS (20th century) A nude study fo a lady washing, oil on canvas, 24 x 20" See illustration

rovenance: By family repute, the subject was the wife P of the artist, a lodger with the family in South Africa.

£800-1,600

245 FRED YATES (1922-2008) Street scene with buildings, oil on board, 23 x 16" See illustration

98

£500-1,000

99

Lot 246

BOOK S PHOTOGR APHY THOM A S HARDY boxes, caddies and bric abrac metalware and sculpture clo cks and scientific instruments rugs

246 HERBERT WILLIAM WEEKES (Fl.1864-1904) ‘A Bone of Contention’ Signed lower right and date 1890 Oil on canvas 18” x 22” See illustration

Provenance: With the Fine Art Society, London Private Collection, Regents Park, London

£3,000-5,000

247 ALFRED VICKERS, 19th century Cattle watering in a mountain landscape, Signed and dated lower left, Oil on canvas 11” x 15”

Provenance: With MacConnal-Mason and Son, London

Private Collection, Regents Park, London

£400-800

248-299 Spare lots

100

101

307 H.N. HUMPHRIES & J.O. WESTWOOD: “British Butterflies and their Transformations”, arranged and illustrated in series of plates by H.N. Humphries, Esq., with characters and descriptions by J.o. Westwood, Esq. FLS, printed by Wm. S. Orr & Co., Amen Corner, Paternoster Row 1849

BOOKS 300 JULES VERNE: “Les Freres Kip Voyages Extraordinares” Collection Hetzel 18, Rue Jacob, Paris, V1

£250-450

301 JOHN HUTCHINS: “The History and Antiquities of the County of Dorset”, printed by W. Bowyer and J. Nichols, London 1774, 2vols (2)

£400-800

£500-800

£500-1,000

304 THE HISTORY OF THE OLD AND NEW TESTAMENT EXTRACTED OUT OF SACRED SCRIPTURE AND WRITINGS OF THE FATHERS, translated from the Sieur De Royaumont, by several hands, supervised and recommended by Dr. Horneck and other orthodox divines, printed for S & J Sprint and others, 1699

£100-200

£100-200 310 MITCHELLS TRAVELLERS GUIDE THROUGH THE UNITED STATES containing the principal cities and towns, and the stage, steamboat, canal and railroad routes, printed by Mitchell & Hinman, 6 North Fifth Street, 1836

£150-300

£100-200 311 HENRY W. LONGFELLOW: “The Poetical Works” with photographic illustration

by Payne Jennings, printed by R & A Suttaby, 2 Amen Corner, London

306 D. MURRAY SMITH F.R.G.S.: “Arctic Expeditions from British and Foreign Shores from the earliest times to the expedition of 1875 - 76”, published by John G. Murdoch, 41 Castle Street, Holburn, London, 1877

£500-1,000

309 BIBLE (LATIN) BIBLIA ad VETUS TISSIMA EXEMPLARIA NUNC RECENS CASTIGATA printed by Apud Viduam & Haeredes Joannis Stelfij 1570

305 XIV OLYMPIAD London 1948, The Official Report of the Organising Committee for the XIV Olympiad, published by the Organising Committee for the XIV Olympiad, London 1948

£100-200

308A THE REV. F.O. MOM'S B.A. “A History of British Birds” Vols. I-VI London: Groombridge and Sons, MDCCCLI MDCCCLVII, “A Natural History of the Nests and Eggs of British Birds” Vols. I-III London: Groombridge nd Sons, MDCCCLIII MDCCLVI. and “A History of British Butterflies” London: Groombridge and Sons, MDCCCLIII. (10)

303 ROALD AMUNDSEN: “The South Pole. An Account of the Norwegian Antarctic Expedition in the Fram, 1910-1912”, published by John Murray, Albemarle Street, W, London 1912.

See illustration

£100-200

308 WALTER THORNBURY: “The Fables of La Fontaine” translated into English verse

by Walter Thornbury, with illustrations by Gustave Dore, printed by Cassell Petter & Galpin, London and New York

302 JOHN HUTCHINS: “The History and Antiquities of the County of Dorset”, printed by W. Bowyer & J. Nichols, London 1774, 2vols (2)

Lot 303

£50-100

£100-200

102

103

316 TRANSVAAL CRISIS an album containing approximately 23 photographs relating to the Transvaal Crisis of 1895/6

THE ARTHUR KNIGHT PHOTOGRAPHIC ARCHIVE

Arthur Albert Knight (1874-1959) was the son of the pioneer gold and diamond miner and founder of Johannesburg, William Knight (1843-1900). As well as being an engineer Arthur was a trained photographer, having studied under David Barnett in Johannesburg. Many of the photographs in the archive were taken

by Arthur Knight himself.

317 JOHANNESBURG AREA an album of 12 photographs of buildings around Johannesburg, including The Consolidated Investment Company, Markhams Outfitters, the Post Office and others, late 19th/early 20th century, a loose photograph of Johannesburg in 1889 by Barnett and another (a lot)

313 JOHANNESBURG QUEEN'S JUBILEE 1897 an album containing approximately 36 photographs of the Queen's Diamond Jubilee celebrations, Johannesburg, June 22nd 1897, including a Zulu warrior, street processions and others

312 MENNIE, DONALD: “The Grandeur of the Gorges”, fifty photographic studies, with descriptive notes, of China’s great waterway, the Yangtze Kiang, including twelve hand-coloured prints from photographs by Donald Mennie, published by A. S. Watson & Co., (The Shanghai Pharmacy Ltd), Kelly and Walsh Ltd, Shanghal 1926, first edition, limited to 1,000 copies of which this is no. 823.

See illustration

£100-200

£150-300

£100-200

320 AN AMBRO TYPE COMICAL DOUBLE PORTRAIT OF ARTHUR KNIGHT and a friend gentlemen on donkeys, magic lantern slides of Annie Knight and Arthur Albert Knight and an opaline glass portrait of Arthur Knight as a boy (4)

£100-200

£200-400

Lot 314 104

£100-200

319 JOHANNESBURG AREA n album of approximately 50 photographs of Johannesburg and it's environs, including caves, buildings, landscape views etc., the album dated 1897(a lot)

315 JOHANNESBURG AREA an album containing approximately 24 photographs of landscape scenes around Johannesburg, including several of the Wonderboom tree, late 19th/early 20th century

£100-200

318 SOUTH AFRICAN FOOTBALL an album of twelve photographs of the Corinthians VS. Transvaal football match, August 7th 1897

314 JOHANNESBURG AREA an album containing approximately 57 photographs of Johannesburg and other areas, including hunting parties and Matabale tribespeople, late 19th/early 20th century.

See illustration

£100-200

105

£100-200

Lot 324

Lot 323

324 A RARE PHOTOGRAPH of Winston Churchill on horseback in the field shortly after his escape from capture during the Boer War, the hero surrounded by members of his own unit The South African Light Horse, the reverse inscribed in pencil “Winston Churchill after escape”.

See illustration

321 TWO LOOSE PHOTOGRAPHIC PORTRAITS of President Paul Kruger (1825-1904), one by Barnett, the other by Horwich*, and a group portrait of the Executive Council of Victoria with Kruger in the front row flanked by Piet Joubert and Marthinus Theunis Styn, also by Barnett (3)

£100-200

The original of this image was probably taken at Chieveley around 1900 when Churchill was commissioned by General Buller to accompany the South African Light Horse Regiment under the leadership of Lieutenant Colonel (Bungo) Byng, who is probably standing next to Churchill’s horse in the photograph. The image is thought to have been taken by David Barnett or George Bernard Allsop. It was used in the publication “Black and White Budget” on February 24th 1900, p.13.

322 A LOOSE PHOTOGRAPHIC MILITARY GROUP PORTRAIT depicting Lord Kitchener (1850-1916) to the centre surrounded by others, many of the group wearing black arm bands to commemorate the death of Queen Victoria in 1901

£100-200

323 A PHOTOGRAPHIC PORTRAIT of the Boer General Christiaan de Wet (1854-1922) seated and holding his rifle*, and a group photograph of Commandant General Piet Joubert (1834-1900) and his men in the field in 1899 (2) See illustration

The Auctioneers are grateful for the assistance of Ken Gillings of the South African Military History Society, and also Diana Wall of Museum Africa, amongst others.

£300-600

£100-200 106

107

Lot 330

Lot 331 Lot 330

Lot 331

329 A COLLECTION OF APPROXIMATELY 23 LOOSE PHOTOGRAPHS of a seaside town, probably Brighton, most depicting promenade and beach scenes, late 19th/early 20th century (a lot)

325 FIVE LOOSE PHOTOGRAPHS of South African mine shafts and two further examples, late 19th/early 20th century (7)

£100-200

326 TWO MOUNTED PHOTOGRAPHS of cycle racers in Johannesburg by Horace Nicholls, late 19th/early 20th century*, and another of gentlemen with bicycles by Thomas O’Byrne (3)

330 A COLLECTION OF APPROXIMATELY 33 LOOSE PANORAMIC PHOTOGRAPHS depicting a fishing village, probably St. Ives, with various scenes including harbour views and a pilchard catch, late 19th/early 20th century (a lot) See illustrations

£100-200

327 TWO MOUNTED PHOTOGRAPHIC PORTRAITS of the Crystal Palace Cricket Club on their Devonshire Tour in 1891 and 1892*, five further group sports team portraits from the period* and three group photographic portraits of the Crystal Palace Engineering School by Negretti & Zambra (10)

£100-200

331 A COLLECTION OF APPROXIMATELY 22 LOOSE PANORAMIC PHOTOGRAPHS depicting views of London and other areas including Crystal Palace, the city and others, late 19th/early 20th century (a lot) See illustration

£100-200

328 A PANORAMIC CONCERTINA PHOTOGRAPH of a coastal town, possibly Muizenberg in Cape Town

£100-200

£100-200

108

332 TWO CANADIAN INDIAN STYLE ALBUMS containing photographs of a Knight family trip to Canada in the 1920’s and various loose photographs including the Knight family and Crystal Palace (a lot)

335 A COLLECTION OF MASONIC REGALIA and ephemera relating to William Knight and Arthur Knight, including scrolls, a ceremonial sword, a silver and enamel badge, a dedicatory letter to William Knight on the occasion of his retirement from the British Diamond Mining Company, signed by key personnel, autograph and sketch books, letters etc.

£100-200

333 TWO LOOSE PHOTOGRAPHS of an early aircraft flight and another of Arthur Knight in his first motorcar (3)

336 ARTHUR KNIGHT’S UMBRELLA with silver mounts marked with his initials, the handle probably rhino horn, approximately 35” long

£100-200

334 AN ALBUM containing various photographs of Horner Grange, the former home of the Knight family in London, a quantity of loose photographs of the same subject and another opaline glass example (a lot)

£100-200

£100-200

£100-200

109

£50-100

Lot 337

Lot 348

340 RONALD NEWBOLD (1912-1989)

A collection of photographs of buildings around Greenwich (a lot)

Ronald Newbold PHOTOGRAPHIC ARCHIVE

Ronald Newbold (1912--1989) was Head Photographer for the Ministry of Works in London during the 1940’s and 1950’s.

Newbold worked closely with Sir Percy Hennell, Landscape and Architectural Photographer.

341 RONALD NEWBOLD (1912-1989) A photograph of “The Cookery Class”, four photographs of interior scenes and three of country cottages (a lot)

337 RONALD NEWBOLD (1912-1989)

A mounted photograph of Queen Elizabeth II viewing a scale model of London, probably the route for her Coronation, a photograph of the River Thames, a collection of London Beefeaters and other similar photographs (a lot).

See illustration

£50-100

343 RONALD NEWBOLD (1912-1989) A collection of mounted photographs of river and village scenes (a lot)

£100-200

£50-100

344 RONALD NEWBOLD (1912-1989) A mounted photograph of a doorway to Carisbrooke Castle, and a collection of similar photographs (a lot)

338 RONALD NEWBOLD (1912-1989) a collection of mounted photographs of ecclesiastical interiors and architectural items around Westminster (a lot)

£60-120

£80-160

£50-100

348 THE WILLIAM JAMES MCCARTHY WHALING ARCHIVE An extensive photographic archive documenting the Antarctic whaling season 1945-1946, including over 300 images of whaling practice, crew members, and other views, bound within an annotated album.

See illustration

345 RONALD NEWBOLD (1912-1989) A mounted photograph of the House of Commons “The Churchill Arch”, a mounted photograph of the Commons’ lobby and a collection of similar mounted and un-mounted photographs (a lot)

£50-100

W J McCarthy worked for the Admiralty as a Senior Scientific Officer and was stationed on board whaling ships to conduct his research. Several of his images from this archive were included in the article ‘New Methods in Antarctic Whaling’ published in The Geographical Magazine in February 1947, pp. 429-435. A copy of this publication is included with this lot.

346 RONALD NEWBOLD (1912-1989) A mounted photograph of a gentleman having his foot x-rayed and a collection of miscellaneous photographs (a lot)

£30-60

347 A PHOTOGRAPHIC POSTER of Freddie Mills and Gus Lesnevick boxing for the World Title, entitled “Best Sporting Picture of the Year, in nationwide competition for British Press Photographers, was adjudged to be this, by graphic cameraman Sydney Beadell of Freddie Mills (right in World Title Fight with Gus Lesnevick). Py.5476”

Provenance: William James McCarthy, and thence by descent.

349 AN AUTOGRAPHED PHOTOGRAPH of Chief Nino Cochise, and a collection of other autographed photographs including, John Wayne, the cast of High Chaparral, & other Western actors

£30-60

_______________________ 339 RONALD NEWBOLD (1912-1989) A collection of mounted and unmounted photographs of industrial and other scenes (a lot)

£50-100 110

£300-600

111

£50-100

£50-100

£100-200

£100-200

355 A PAGE FROM THE COLOGNE CHRONICLE of 1499

£50-100

£300-600

363 DODINGTON, GEORGE; The Survey of the County of Dorset 1732, printed for J. Wilcox at the Green-Dragon, in Little Britain, London

357 AN ORIGINAL AUTOGRAPH OF ELIZABETH TAYLOR

£500-700

362 ROYAL INTEREST: Three albums of royal photographs of the young Queen Elizabeth II and others, most of which are official press photographs gifted to the vendor by an editor of a South African newspaper

£100-200

356 THOMAS HARDY A facsimile of a letter to Thomas Hardy’s sister, Mary, dated 1865 and a booklet “Lawrence of Arabia Memorial” (2)

£600-1200

361 JOHN LENNON AND YOKO ONO: Two nude photographs of John Lennon and Yoko Ono, one of the front and one of the back, the originals of which were used as the album cover of John Lennon’s “Two Virgins”. (2)

354 THOMAS AQUINAS, a page from Catena Aurea, c. 1470

£200-400

360 THE BEATLES: Three postcard photographs of The Beatles, all autographed, one photograph of George Harrison, autographed “To Gina” , a single record of “Love Me Do”, autographed by George Harrison and a photograph album (a lot).

See illustration

£80-160

353 CORONATION STREET INTEREST: Five signed postcard photographs and an autograph book containing further signatures of the original cast members

£150-300

359 ROYAL INTEREST: A collection of First Day Covers, all franked Buckingham Palace (17)

352 TED BRIGGS - HMS HOOD: A signed photograph of HMS Hood, Ted Briggs was an Able Seaman on the compass platform of HMS Hood when she exploded after a direct hit from the Bismarck.

Ted Briggs and two others were the only survivors.

Lot 360

358 BOB HOPE INTEREST: A collection of original and facsimile autographs, photographs and three Bob Hope original movie posters (a lot)

351 A COLLECTION OF AUTOGRAPHED PHOTOGRAPHS including Fred Astaire, Cliff Richards & Susan Hampshire, and autographed letters signed by Queen Mary dated and Douglas Hume and other items (a lot)

£60-100

112

£200-400

113

AN IMPORTANT PRIVATE COLLECTION OF THOMAS HARDY BOOKS, LETTERS AND RELATED ITEMS

Lot 372

370 THOMAS HARDY: “Moments of Love”, poems to Emma by Thomas Hardy, a facsimile edition, taken from manuscripts in the Dorset County Museum owned by the Thomas Hardy Memorial Collection Trustees. This is number 124 of a limited facsimile edition of 157 copies

£100-200

371 THOMAS HARDY: “The Dynasts”, 3vols, printed by Macmillan & Co. Ltd, St. Martin’s Street, London 1927. This is one of 525 copies printed on large paper. Volume one signed by Thomas Hardy

£200-400

372 FLORENCE EMILY HARDY: “The Early Life of Thomas Hardy 1840-1891”, published

by Macmillan & Co. Ltd, St. Martin’s Street, London 1928, signed “To Dr. Vandermin with kindest regards from Florence Hardy, November 1928” and one other volume “The Later Years of Thomas Hardy 1892-1928” (2).

See illustration £400-600

376 CECIL BRAITHWAITE: “Fishing Vignettes”, published by Holmewoods Ltd, 11 Ludgate Square, EC4, London. This book originated from the library of Thomas Hardy and was catalogued and sold on Thursday May 26th 1938, attached to the book is a letter from Cecil Braithwaite to Mr Hardy dated January 9th, 1924

373 THOMAS HARDY: “The Dynasts”, 3vols, all with dust covers, published by Macmillan & Co. Ltd, St. Martin’s Street, London 1927. this is one of 525 copies printed on large paper bearing Thomas Hardy signature

365-369 Spare lots

114

£50-100

378 NATHANIEL SPARKS: An engraving of a thatched cottage, 9½” x 7”, including a book by Nathaniel Sparks “Memoirs of Thomas Hardy’s Cousin, The Engraver” (2)

£100-200

375 THOMAS HARDY: A framed poster for “Three Art Interpretation, Music, Pictures, Drama, of the Works of Thomas Hardy O.M. in the Lecture Hall, George Lane” and a programme of a Three-Art Interpretation (2)

£1,000-2,000

£200-400

377 THOMAS HARDY: “Wessex Poems”, published by Harper & Brothers, 45 Albemarle Street, London, and a collection of books (a lot)

374 FLORENCE HARDY: A letter to Mr Drinkwater from Florence Hardy dated 1st February 1920, “I am writing for my husband, who is busy correcting prompt, to thank you for your letter, and for the interest you are taking in the performance of the Dynasts, for which, he says, he can claim no credit whatsoever, as you know.”, and a programme of The Dynasts, The New Theatre, Oxford (2)

364 DAVID COLLINS: “An Account of the English Colony in New South Wales, on its’ first settlement in January 1788, to August 1801”, illustrated by humorous engravings, second edition, printed by A. Strahan, Printers Street, For T. Cadell & W. Davies, in The Strand. 1804.

See illustration

£200-400

115

£50-100

385 THOMAS HARDY: An autograph letter, signed by Thomas Hardy, to the Adelphi Theatres long-time stage manager and featured actor Charles Cartwright, concerning the possible West End dramatisation of “The Trumpet Major”, on Max Gate stationery dated 25th October 1908.

379 THOMAS HARDY: A collection of Hardy Player programmes and other related items including a print of Thomas Hardy the Novelist from the Illustrated London News, October 1st 1892 - 424 and a Vanity Fair Spy picture of Tess, June 4th 1892 (a lot)

£50-100

Hardy writes “I admire your perseverance in the idea of producing the play, though you know how sceptical I am as a rule in all matters connected with the stage. Hoping soon to see you either here or in town. I think I told you that we are altering our house, or I should have offered to lodge you”.

380 CROWN DORSET, POOLE: A terracotta bust of Thomas Hardy

£80-160

£500-1,000

381 POOLE POTTERY: A Hardy’s Wessex Charger for the Thomas Hardy Festival, Dorchester, July 1968, no. 113 of a limited edition of 250

386 THOMAS HARDY: A signed letter on Max Gate stationery dated May 10th 1914 to Mr Zangwill, “I must write a line, though at a later date, to thank you for the pleasure you gave my wife and myself by affording us a chance of seeing you play The Melting Pot. We enjoyed all of it, and the motive for which I assume that there is much authority - makes one think. .....” signed by Thomas Hardy. Including the book “The Melting Pot” by Israel Zangwill (2)

£100-200

382 A WESSEX FAMILY & THE GREAT WAR with a forward by Thomas Hardy OM, privately printed (for use of the family) at the Cheswick Press 1919, one other book “Thomas Hardy’s Brewer. The Story of Eldridge Pope & Co.” by John Seakings, a bottle of Hardy’s Ale and an Eldridge Pope & Co. Thomas Hardy Country Bitter mirrored advertising sign (a lot)

383 THOMAS HARDY: A pamphlet of the centenary of Thomas Hardy’s birth, June 2nd 1940, Order of Services, St. Michael’s, Stinsford and a collection of Hardy ephemera £50-100

384 THOMAS HARDY: “When I Weakly Knew”, 25 copies printed for Florence Emily Hardy at the Chiswick Press, London, EC, 1916.

This is no. 18. Attached to the inside cover of this book is a signed letter from Thomas Hardy to Mr Shorter dated 22/11/1902.

£400-600

389 THOMAS HARDY: A signed letter on Savill Club, 107 Piccadilly West stationery, dated 6.1.89 “Dear Mr Lanepool, it is very good of you to accord such welcome to my flimsy book which was offset as a short way of wishing you a Happy New Year. I shall be delighted to come and see you someday but when aah when! ...sincerely yours T Hardy”

£1,500-2,000

116

392 WILLIAM BARNES: A handwritten poem of “The Wind” signed by William Barnes “Life of the world! that rollest on unseen, though sweetly felt, or land and over sea, and wak’st to quickness things that would have been, or fast in deadly stillness, but for thee ....”, including volume one and two books “The Poems of William Barnes”, edited by Bernard Jones, published by Southern Illinois University Press, Carbondale, Illinois

390 THOMAS HARDY: “An Indiscretion in the Life of an Heiress” by Thomas Hardy, privately printed 1934 at the Curwen Press, Plaistow, first edition, no. 10 of a limitation of 100, inscribed by the author’s wife “To Newman Flower with affectionate regards from Florence Hardy, October 1934”

£150-300

388 THOMAS HARDY: A signed letter by Thomas Hardy on Max Gate, Dorchester stationery dated February 17th 1891 referring to a story for the Independent “Owing to previous engagements I have only just now been able to carry out the request you made for a story some two months ago ...”

Clement Shorter was a prominent journal editor of the Illustrated London News, The Spear etc., founded and edited The Sketch. He was an authority on literature and wrote on the Bronte’s, Boswell, Borrow etc.

See illustration

£400-600

387 THOMAS HARDY: An original holograph statement signed at the lower right across the face of the purple one penny postage and Inland Revenue stamp. Dated January 14th 1884, “Received of Messrs Perry Mason & Co. the sum of £150, in payment for the right of print and publish a story called “Our Exploits at West Poley”, in the Use Companion including a book of “Our Exploits at West Poley” by Thomas Hardy, first edition of 1050 copies, of which 1,000 are for sale, this copy numbered 155

£50-100

Lot 384

£250-450

391 THOMAS HARDY: A card signed by Thomas Hardy on Max Gate stationery dated 5.3.08 “My dear Shorter. As I promised, having finished the Dynasts, I am hunting up the MSF. There seem to be some half dozen of the long novels complete.

Now, what was the ????? the condition that I should give you one of them ...”. At this point Hardy has signed the note. But then, he adds in a cramped and smaller hand above his signature “ ... which sh’d be pleased to do”, with the original envelope stamped and date marked, addressed to Clement Shorter, Esq. “The Sphere”, Great New Street, Felton Lane, London EC”.

£400-600 _________________________

393 THE CORONATION ALBUM, Published by the Collector's Book Club 1953, no 167 of 252 copies, in a gilt leather binding.

£200-400

£250-400

394 – 399 Spare lots

£400-600 117

406 A GEORGE I OAK BOX, the rectangular top with a moulded border above a carved frieze and sides, the front dated 1717, 22” wide

BOXES, CADDIES AND BRIC A BRAC 400 A REGENCY ROSEWOOD TRAY with shaped carrying handle above a rectangular base with shallow sides and bobbin-turned border, 13” wide

£200-400

402 A PAIR OF VICTORIAN EBONY AND IVORY CANDLESTICKS with turned sconces and ivory drip pans on tapering columns and spreading circular bases with ivory detailing, 8” high

£150-250

£1,000-2,000

£200-400

409 A BRASS BOUND OAK “SILVER CHEST” with twin carrying handles and short bracket feet, 18½” wide

£250-500

£150-300

410 A VICTORIAN ROSEWOOD AND MOTHER OF PEARL INLAID TEA CADDY, the raised top with a central domed panel, with all over foliate inlay, above tapering sides, with vacant interior, 9” wide

£80-160

411 A LATE GEORGE III ROSEWOOD AND SATINWOOD STRUNG TEA CADDY, the rectangular top with a raised centre above tapering sides, with gilt lion mask ring handles and ball feet, the interior with twin lidded tea compartments, 8” wide

£50-100

405 A GEORGE III MAHOGANY OCTAGONAL BOX, the shaped top with an inlaid diamond chequered border and green velvet-lined fitted interior, 11¾” wide

Provenance: Purchased from D. Roberts in 1976

404 A REGENCY SATINWOOD AND MAHOGANY CROSSBANDED TEA CADDY, the rectangular top inlaid with a central oval panel, the interior fitted with a glass bowl and twin lidded tea canisters, 13¼” wide, containing a piece of paper “This caddy was made from a piece of the American Frigate ‘Chesapeake’ ... as a new mill was wanted at the time at Wickham ... The Chesapeake was bought, her timbers used in building it”, together with a brass strung rosewood box, 14” wide (2)

408 A SWISS “BELLS AND DRUM” IN SIGHT MUSICAL BOX, the rosewood case with satinwood inlay, the lid with a paper label “eight airs”, the mechanism with a drum and six graduated bells, 19½” wide

403 A 19TH CENTURY BRASS AND IVORY INLAID ROSEWOOD BOX, the rising lid with a central panel of a flowering vase flanked by winged cherubs, the corners similarly decorated and with a gadrooned border, above a similarly decorated fall front and plinth base with compressed bun feet, 24” wide

£100-200

407 TUNBRIDGEWARE: A Victorian rosewood and Tunbridgeware tea caddy, the rectangular domed top set with a view of Tunbridge School, between oval panels and within a scrolling border, the concave sides decorated with a broad band of floral Tunbridgeware, on similar feet, the interior decorated with a foliate panel and fitted with two lidded tea compartments and a glass bowl, 14½” wide.

See illustration

£200-400

401 A VICTORIAN ASH AND OAK BOOK CARRIER with a raised shaped back and carrying handle above a single short drawer with turned knob handles, 16” wide

Lot 407

£80-160

£60-120

118

119

418 A PLASTER DEPICTION OF MICHELANGELO’S LAST SUPPER with polychrome decoration, 15½” x 27”

412 A LATE GEORGE III MAHOGANY TEA CADDY, the rectangular top inlaid with a central fan motif and ivory key escutcheon, on small ball feet, with lined tea compartments, 7” wide

419 AFTER THE ANTIQUE: A PAIR OF GRANITE URNS of bulbous reeded design with twin handles, early 19th century, 9” high

413 A REGENCY ROSEWOOD TEA CADDY, the rectangular top with a raised centre and satinwood stringing above tapering sides, the interior fitted with twin lidded tea canisters and a cut-glass sugar bowl, 12¼” wide

£400-700 420 A PAIR OF CONTINENTAL TURNED STONE GOBLETS with shaped bowls on turned stems and spreading feet, 5¾” high

£100-200

414 A NEO-CLASSICAL STYLE DERBYSHIRE BLUE JOHN URN of classical form, on a rectangular plinth base, 16¾” wide.

See illustration

421 A BRASS BODIED SCARIFICATOR

by Maw & Stevenson, 11 Aldersgate Street, London, 2¼” wide

£2,000-4,000

422 A VICTORIAN SLOPE FRONTED BURR WALNUT STATIONERY CABINET

by Partridge and Cooper, 192 Fleet Street, London, the interior fitted with a perpetual calendar, twin lidded inkwells stamped “Partridge & Cooper” above a drawer containing removable writing slope with decorative leather-lined writing surface, 13½” wide

Provenance: Middleton Hall, Derbyshire. Believed to have been the property of the local Conservative Member of Parliament. £800-1,500

423 A VIOLIN CELLO stamped ‘77’ to the reverse and with a two piece back in a fitted case with a selection of bows, possibly late 19th century German £1,000-2,000

£500-1000

424 Spare lot

417 A CARVED “FOLK ART” PANEL of irregular form carved with a figure struck by an arrow, various initials and dates, 1572 and 1574, 40” wide

£400-600

416 A SCALE MODEL OF THE MAINA MORASSO, a merchant vessel constructed in 1960, the model by Langfords, London, in a glazed display cabinet, on square tapering legs, the cabinet 75” wide

£300-500

415 A DERBYSHIRE BLUE JOHN TAZZA with a shallow dished top on spreading circular stand and square base, 7” wide

£200-400

Provenance: Middleton Hall, Derbyshire, believed to have been the property of the local Conservative Member of Parliament.

£100-200

£80-160

Lot 414

£100-200

120

121

METALWARE AND SCULPTURE 425 A REGENCY BRASS AND STEEL FENDER with pierced front and bun feet, and four long handled fire irons and a pot stand with pierced and engraved top and wooden handle, the fender 42” wide

£100-200

£200-400

£200-400

£250-450

Provenance: Meridian Fine Art Foundry £200-400

Provenance: Meridian Fine Art Foundry

£200-400

Provenance: Meridian Fine Art Foundry

£300-600

£500-1,000

433

5 TONY

BIRKS-HAY:

£1,500-2,500

£300-500

435 5ALBERT CASSMANN (1886-1968): A cast bronze of a foundry worker holding a long armed pouring vessel, signed to the base, on a marble stand, 15” high

£200-400

436 5MICHAEL AYRTON (1921-1975) “Tricephalic”, a revolving three-faced head, signed and numbered 4/9 on an octagonal base, 24½” high.

See illustration Provenance: Meridian Fine Art Foundry

430 5DAVID STILLER (b.1942): A cast sculpture with a representation of Mickey Mouse, standing with arms outstretched between Pinocchio and another figure, on a circular platform and tapering square section base, 28½” high

Provenance: Meridian Fine Art Foundry

429 5FRANTA BELSKY (1921-2000): A cast bronze of a mother and child, signed to the base, 8 wide

434 A CARVED SERPENTINE SCULPTURE OF A SEATED DOG on a plinth base, 11” wide

428 5FRANTA BELSKY (1921-2000): A portrait bust of Sir. Winston Churchill, signed to the reverse, on an oak plinth, 8¼”

£300-600

£100-200

Lord Tonypandy was Speaker of the House of Commons, from 1976-83 and a Member of the House of Lords until his death in 1987

427 A CARVED IVORY MODEL OF A FOX modelled in a stalking pose, 16”

Provenance: Meridian Fine Art Foundry

“George Thomas, Lord Tonypandy”, a cast bronze bust of the subject wearing glasses, monogrammed to the reverse, on an oak plinth, 15” high

426A A VICTORIAN LAMP BASE mounted with a cast bronze figure of a Viking wearing a chain mail tunic and leaning on a long sword, on a gilt oak leaf and acorn cast base and octagonal plinth, 27” high

This work was originally commissioned by York Minster

This is a version of the sculpture to commemorate victims of injustice and violence in Sourh Africa during Apartheid. Comissioned by St. Martins in the Field Church, London and dedicated by Archbishop Desmond Tutu in 1994.

426 A PAIR OF FRENCH BRONZE AND “ORMOLU” LIGHT FITTINGS cast as female caryatid figures and cherub scrolling candlearms, c. 20” high

432 5CHAIM STEPHENSON: A cast bronze sculpture of a figure carrying a body in his arms, on a square base, 43” high

425A A VICTORIAN OIL LAMP with a central column surmounted by a gilt winged eagle on an elaborately cast column with stepped base and scrolling feet, the column with two scrolling branches with twin lamps and cut-glass shades, 21” high

Lot 436

431 5JAMES BUTLER, R.A. (born 1931) “St Peter and St Paul”, a cast and patinated bronze sculpture, and interpretation of the figures of St Peter and St Paul in York Minster, 21½” high.

Ayrton described “Tricephalic” as an expression of “My own feeling that everyone’s personal maze is in his own brain... and that we all have within our heads... several personalities, intelligences, or what you will”

122

£4,000-6,000

123

445 A BRASS AND COPPER MOUNTED MILK CHURN, inscribed “Cows Kept for the Nursery and Invalids” and bearing a plaque for “H. King, Maker, East Dulwich, London, 21” high

5WILLI SOUKOP (1907-1995): 437 “Virgin and Child”, a cast bronze mounted on a fabric covered panel, 11½”

Provenance: Private Collection, Dorset

£200-400

438 DUCAM: A cast and patinated bronze portrait bust of a Chinese woman, on a wooden plinth, 11” high

£100-200

£200-400

£150-300

£200-400

£80-150

£80-150

451 COUSTOU: A pair of cast and patinated bronze “Marley” horses, the rearing horses being held by attendants, on polished slate bases, 17” high

£200-400

444 A CARVED BENIN STYLE WOODEN FIGURE OF A STANDING MALE, 14” high

£150-250

450 HENRI GIRAUD: A cast and patinated bronze of a small boy wearing a hat holding a woven basket, on a circular base with cast signature, 6” high

443 CHRISTOPHE FRATIN: A cast and patinated bronze of a seated bear catching a leaping fish, signed to the base and stamped with foundry mark “De Braux, Fr.”, 3½” high

£1,000-2,000

449 JOHN-BAPTISTE AUGUSTE CLESINGER: A cast and patinated bronze sculpture of an owl standing on the back of a tortoise, on a moulded base, with incised signature J. Clesinger and dated 1867, 4¼” high

442 A CAST BRONZE SCULPTURE OF A BULL with ivory horns, 4¾”

£250-500

448 A CARVED AND POLYCHROME LIME-WOOD SCULPTURE of Corpus Chirsti, probably German, 15th/16th century, 21½” high.

See illustration

441 ENGLISH SCHOOL, 20th century “Eve”, a cast and patinated bronze of a naked woman seated holding an apple, on a circular marble base, 10” wide

£50-100

447 A CAST BRONZE EFFECT SCULPTURE OF A STANDING WOMAN looking downwards and holding her skirt up, on a naturalistic base, 28” high

440 5JILL SANDERS: TWO BEARS, one standing on hind legs, cast bronze, mounted on a wooden base, 14” wide

£50-100

446 A BRONZE SKILLET with a long handle, cast with love-hearts and initials T. S., 17½”

439 A PAIR OF BRONZE AND BRASS CANDLESTICKS, after a design by Thomas Abbott in the form of cranes wearing crowns around their necks and holding aloft sconces and leaf-carved supports, the cranes standing on rocky bases, marked to the underside “Abbott”, 15¼” high

Lot 448

£400-600

452 FRENCH SCHOOL, 19th century, A cast and patinated bronze of a small child holding a sickle and bunches of grapes, wearing vines in her hair, on a marble base, 9” high

£200-400

124

£100-200

125

453 A STAMP BOX in the form of a cast bronze recumbent bear, the top opening to reveal three stamp compartments, 6”

459 A REGENCY BRONZE CANDLE HOLDER in the form of a Putti holding aloft a gilt sconce with beaded borders, on a circular column and square white marble base, 10” high

£80-150

454 5RAYMOND DE MEESTER DE BETZENBROECK (1904-1995): A cast and patinated bronze study of a lamb, with cast signature, on rectangular base, 10½”.

See illustration

Provenance: Meridian Fine Art Foundry

£500-800

£300-500

456 5RAYMOND DE MEESTER DE BETZENBROECK (1904-1995): A cast and patinated bronze study of a lamb scratching it’s ear, on a rectangular base with cast signature, 8¾” high.

See illustration Provenance: Meridian Fine Art Foundry

£300-500

£100-200

462A P. TERESZCZUK A bronze and ivory sculpture of a young woman carrying two pails by a broad dish, with all over textured surface, a cast signature to the reverse, 14” wide

£150-250

458 MANNER OF FANELLI: A cast bronze model of a galloping horse on a rectangular base, possibly early 18th/late 17th century, 7” wide

£200-400

462 A 19TH CENTURY CAST AND PATINATED BRONZE OF A GUN DOG on a naturalistic base, with a game bird to the fore, 7½” wide

457 A CAST BRONZE SCULPTURE OF A LION drinking from a broad orange marble bowl, 8¼” wide

£50-100

461A. AFTER COUSTEAU A pair of Marley horses, the rearing horses being restrained by a loosely draped man, on a naturalistic base with cast signature, 8” high

Provenance: Meridian Fine Art Foundry

£400-600

461 AFTER THE ANTIQUE: A BRONZE EWER, with partially gadrooned body and dragon and fish handle, on a spreading circular base, 9½” high

455 5RAYMOND DE MEESTER DE BETZENBROECK (1904-1995): A cast bronze study of a lamb licking it’s back, on a rectangular base with cast signature, 9½” high.

See illustration

£100-200 460 DUTCH SCHOOL, 19th century A pair of cast and patinated bronze studies of figures, one holding a bird of prey aloft, the other playing bagpipes, each on a naturalistic base, 8¾” and 8” high (2)

£300-500 Lot 454

463 EMILE LOUIS JESPERS (1862-1918): A FEMALE PORTRAIT BUST with a covered head, possibly The Virgin, signed to one shoulder, 12” high

£800-1500

Provenance: Meridian Fine Art Foundry

£300-600 Lot 456

126

Lot 455

127

It was while a resident of La Ruche that Marevna met the prominent Mexican artist Diego Rivera and the two had a complicated relationship, which produced a daughter, Marika in 1919. Rivera returned to Mexico in 1921, leaving Marevna and their daughter behind in Paris.

464 5MARIE ‘MAREVNA’ VOROBIEFF (1892-1984): A CAST BRONZE PORTRAIT BUST of Marika Phillips, the artist’s daughter, signed to the neck, on a wooden plinth, 19½” high.

See illustration

It was when Marika married Rodney Phillips, the owner of the literary periodical ‘Polemic’ that Marevna came to England and lived with her daughter, son in law and two young grandsons in the picturesque Athelhampton House in Dorset from 1948 to 1956

Provenance: The sitter and thence by descent.

Sculpted at Athelhampton House, Dorset in 1953 or 1955 Born Marie Vorobieff-Stebelska in Cheboksary, Russia and given her signature nickname by Maxim Gorky, after a Russian fairy sea princess, Marevna moved to Paris in 1912 as an aspiring twenty year old. It was there that she became friends with some of the greatest artists and writers of the early twentieth century then resident in Montparnasse and especially at La Ruche, among them were Georges Braque, Marc Chagall , Jean Cocteau, Ilya Ehrenburg, Max Jacob, Moise Kisling, Henri Matisse, Amedeo Modigliani, Pablo Picasso, and Chaim Soutine.

Marevna never stopped working, continuing to produce works including a view of the famous pyramid topiaries at Athelhampton and ‘Homage to friends at Montparnasse’ a mural sized tribute to some of her contemporaries from her time in Paris.

Marevna died in London, in 1984, after living out the latter part of her life in the London suburb of Ealing.

128

£5,000-10,000

129

465 5DAME ELISABETH FRINK, (1930-1993): A BRONZE STUDY OF A BIRD, following the harbinger bird, signed “Frink” and numbered 3/8.

See illustration

Provenance: Possibly purchased from a gallery in Manchester by the vendor’s father, circa late 1970’s and thence by descent.

Private Collection, Dorset

£10,000-20,000

466 5DAME ELISABETH FRINK (1930-1993) "small sitting down horse", bronze with a golden brown patination, signed and numbered 0/0 conceived in 1972 and cast in an edition of 12, this example one of the artist’s copies outside the numbered edition.

See illustration

Literature: B Robertson, Elisabeth Frink, Salisbury 1984 page 181, catalogue no. 206, (another cast illustrated)

£50,000-70,000

467-474 Spare lots

130

131

480 A GEORGE III MAHOGANY LONGCASE CLOCK, with a white enamel dial signed ‘E. Wignall, Southport’, with Roman numerals and subsidiary seconds and date dials, with floral painted spandrels, the eight-day movement striking on a bell, the hood with scrolling pediment and pinnacle and ball finials above a tole peintre deep freeze, the door flanked by turned columns, 89” high

CLOCKS AND SCIENTIFIC INSTRUMENTS 475 A GEORGE III MAHOGANY CASED BRACKET CLOCK, the silvered dial signed William Blannin, Jnr., Bristol, with Arabic numerals and gilt hands, with a two-train eightday movement striking on a bell, the balloon-shaped case with narrow crossbanding, on short gilt metal feet, 17¼” high

£400-800

£150-300

477 A GEORGE III EBONISED BRACKET CLOCK, the gilt dial with silver panel inscribed “Andrew Marchant, London”, with silvered chapter ring and subsidiary date aperture and pendulum window, all beneath a strike/silent dial, the two-train fusee movement striking on a bell within an elaborately engraved backplate short bob pendulum, the case with a carrying handle above a raised arched top, the front and sides with glazed panel, on short bracket feet, 19½” high

£600-800

£500-800

483 A GEORGE III MAHOGANY STICK BAROMETER

by J. Bassnett, Liverpool, with a wrythen carved and turned column above a brass cistern, surmounted by a silvered dial with convex glass and urn finial, 40”

£600-800

484 A GILT BRASS SKELETON CLOCK, with a pierced silvered dial with Roman numerals, and scrolling pierced architectural plates, with a single train fusee movement, striking on a bell, the base bearing a label inscribed ‘Dent, London’ beneath a glass dome, 16½” high.

See illustration

£300-500

479 A GEORGE III OAK AND MAHOGANY LONGCASE CLOCK, the painted dial signed Jos. Blackhurst, Weaverham, with Arabic numerals and subsidiary seconds dial and date aperture, with an eight-day movement striking on a bell, the hood with an elaborate scroll arch pediment above inlaid mahogany frieze and twin fluted columns, the trunk with square section reeded columns and shell inlay, on short bracket feet, 91” high

£500-800

482 A GEORGE III OAK LONGCASE CLOCK, the enamel dial signed ‘Juler, Cambridge’ with subsidiary seconds dial and date aperture, the arch and corners painted with gilt painted decoration, with an eight-day two-train movement striking on a bell, the hood with a scrolling pediment and the trunk door inlaid with a shell motif, 21” high

478 A GEORGE III MAHOGANY LONGCASE CLOCK, the brass dial signed Churchill, Dorchester, with Roman numerals and subsidiary seconds dial and date aperture, with engraved corners, with an eight-day two train movement striking on a bell, the flat top hood with twin ball and pinnacle finials, the trunk with a rectangular door, 80” high

£400-800

481 A GEORGE III OAK LONGCASE CLOCK, the brass dial signed ‘Butler, Northwich’, with subsidiary date aperture and seconds dial, with an eight-day, two train movement striking on a bell, with a flat topped hood above ‘verre eglomisé’ panel, the trunk with a crossbanded door between quarter recessed reeded columns, 80” high

476 A VICTORIAN POLISHED SLATE AND MARBLE MANTEL CLOCK, the architectural case with a central gilt and slate dial with visible brocot escapement and two-train movement striking on a coiled gong, the case with gilt metal mounts, twin carrying handles and marble detailing, 19½” wide

Lot 484

£500-1,000

£500-800 132

133

Lots 486 and 485

485 A GEORGE III MAHOGANY LONGCASE CLOCK, the circular enamel dial signed ‘Holland, London’ with a subsidiary seconds dial and Roman numerals, with a two train movement, striking on a bell, the hood with three ball finials above a convex glazed door, flanked by brass stringing, the trunk with a conforming arch-topped door, on short bracket feet, 81” high.

See illustration

486 A GEORGE III MAHOGANY LONGCASE CLOCK, the brass dial signed Willm. Hughes, High Holborn, London, with a silvered chapter ring and similar subsidiary date and seconds dials beneath an arch with a strike/silent dial, with an eight-day two-train five pillar movement, striking on a bell, the arched topped hood with three ball finials, the door flanked by brass stop-fluted columns, the arch top trunk door flanked by similar quarter recessed columns, on bracket feet, 91” high.

See illustration

£800-1,500

134

£1,000-2,000

135

487 A GEORGE III MAHOGANY LONGCASE CLOCK, the brass dial with silvered chapter ring, signed ‘Willm.

Wasbrough, Bristol’, with subsidiary seconds dial and date aperture, all beneath an arch with moon phase dial and High Water at Bristol Key indicator, with an eight-day two train movement striking on a bell, the hood with an elaborate fretwork and blind fret cornice above spiralturned gilt cap columns, the trunk with canted fluted corners and cartouche shaped door, on a conforming base, 96” high.

See illustration

Lot 487

Provenance: Private collection, Somerset.

£2,500-4,500

Lot 488

488 A 19TH CENTURY MAHOGANY LONGCASE REGULATOR, the eight-day movement fronted by a silvered dial signed 'Wyatt's Compensated Regulator', with large single-sweep minute hand, subsidiary seconds dial and hour aperture, above the compensating gridiron pendulum with large spherical bob and further fine regulation globe; the case with a Gothic arch hood above the trunk with conforming glazed door, flanked by quarter-recessed fluted columns, 80" high See illustration This clock was probably made by Edward Wyatt of Exeter. Derek Roberts records a regulator by him, dating to around 1830, in his Summer 2009 catalogue. The spherical bob gridiron pendulum is very unusual. For a similar example on a regulator by Henry Ward of Blandford see Time & Place, English Country Clocks 16001840, AHS Oxford 2006-7 pp. 206-209.

Provenance: Private collection, East Dorset.

£8,000 - £15,000

489-494 Spare lots

RUGS 495 A CAUCASIAN RUG, worked with three diamond shaped medallions against a blue ground within a multi guard border with stylised arrowhead decoration, 82” x 54”

136

£150-250

137

ENGLISH AND CONTINENTAL FURNITURE

138

139

502 A GEORGE III MAHOGANY WASH STAND, the two part rising top enclosing a fitted interior above a single short dummy drawer, a deep drawer modelled as two short drawers and a deep commode drawer, all with turned knob handles, on square tapering legs with castors and carrying handles to either side, 20” wide

496 A 19TH CENTURY FRENCH MAHOGANY SECRETAIRE A ABBATANT, with a rectangular marble top above a single flush fitting drawer and fall flap, enclosing an arrangement of short drawers and leather-lined writing surface, above three short drawers with gilt brass handles, all between turned columns, 38½” wide

£300-500

£800-1,500

£200-400

£500-800

£300-500

£2,000-4,000

507 A NEST OF TWO REGENCY ROSEWOOD OCCASIONAL TABLES, the rectangular tops on turned uprights and stretchers with platform bases and short scrolling feet, 15” wide and smaller

£300-500

501 A 19TH CENTURY FRENCH NEOCLASSICAL STYLE SIDE CABINET, with a rectangular top with moulded edge and canted corners above twin doors inlaid with hanging musical trophies, enclosing a shelved interior, with gilt metal mounts with short legs and gilt sabots, 47” wide

£200-400

506 A VICTORIAN BURR WALNUT ORMOLU AND PORCELAIN MOUNTED CREDENZA, the shaped top with burrwood veneers within ebonised stringing, above a central panel door with a porcelain mount of courtiers in a landscape within a gilt metal frame, flanked by turned columns and twin glazed doors flanked by conforming columns, on turned ebonised feet, with all over gilt metal mounts, 25” wide.

See illustration

500 A 19TH CENTURY FRENCH EMPIRE STYLE MARBLE TOP SIDE CABINET, the shaped marble top with a moulded border above two short drawers with gilt metal mounts, above two bowfronted drawers and a central panel with amboyna veneers and elaborate key escutcheons, on short turned legs, 47½” wide

£200-400

505 A GEORGE III MAHOGANY PEMBROKE TABLE, the rectangular top with broad rosewood crossbanding and drop flap sides with rounded corners above a single frieze drawer and conforming dummy drawer on turned tapering reeded legs, 40” wide

499 A GEORGE III MAHOGANY CHEST ON CHEST, the upper section with two short and three long graduated drawers with cast gilt metal handles and key escutcheons, the lower section with three further graduated drawers, on bracket feet, 40” wide

£300-500

504 A GEORGE III MAHOGANY FOLD TOP CARD TABLE, the “D”-shaped top with broad satinwood crossbanding and satinwood stringing, above a conforming frieze on square tapering legs, 35” wide

498 A LATE VICTORIAN AESTHETIC PERIOD FOUR FOLD VANITY SCREEN with bobbin turned rails and moulded uprights and central painted fabric panels, each panel 51” x 23½”

Lot 506

503 A PAIR OF VICTORIAN ROSEWOOD SALON CHAIRS, with moulded show wood frames and carved foliate carrying handles above cream upholstered backs and seats on short cabriole legs with brass castors, 7” high (2)

497 A REGENCY MAHOGANY SECRETAIRE BOOKCASE, the upper section with an arched cornice above twin glazed doors with arched glazing bars, the lower section with a secretaire drawer with ebony stringing, enclosing a fitted interior with satinwood fronted drawers and pigeon holes, above three further long graduated drawers, with brass ring handles, between leaf-carved and reeded turned columns, 47½” wide

£200-400

£80-150

140

141

508 AN EDWARDIAN SHERATON REVIVAL SATINWOOD OCCASIONAL TABLE with an oval top inlaid with radiating veneers and a central shell motif, on square tapering legs, 21” wide

515 A GILT AND ROSEWOOD EFFECT REGENCY ARMCHAIR, the rectangular back with gilt ball and circle decoration above a caned seat on splayed tapering legs with gilt ring decoration, 34½” wide

£100-200

£80-150

509 A SMALL GEORGE III MAHOGANY CHEST OF DRAWERS with a rectangular top with a reeded border above four short graduated drawer with brass ring handles, on bracket feet, 18th century and later, 21” wide,

516 A REGENCY PAINTED ARMCHAIR with a scrolling back, the top rail painted with cavorting putti above a fan-shaped double caned panel, the conforming seat between splayed arms on tapering ringturned legs, 35” high

£300-600

£50-100 511 A REGENCY MAHOGANY SIDE TABLE, the rectangular top with rounded corners and reeded border above a shallow frieze and tapering spiral-turned legs, 42” wide

£150-250

£100-200

513 A REGENCY MAHOGANY AND SATINWOOD CROSSBANDED SIDEBOARD with a bowed front above a central frieze drawer flanked by twin short drawers and a single deep drawer moulded as two further short drawers, each with ebonised cockbeading, and gilt metal lion mask ring handles, on tapering reeded legs, 60” wide

£500-1,000

519 A REGENCY MAHOGANY AND ROSEWOOD EFFECT SOFA TABLE, the rectangular top with twin drop flap sides with rosewood effect crossbanding, above two flush fitting frieze drawers and conforming dummy drawers, on four central turned columns with ebonised details, on a platform base and four downswept legs with brass animal paw cap castors, 36” wide

£200-400

514 A 19TH CENTURY FRENCH MAHOGANY CHEST OF DRAWERS with a rectangular grey marble top with a moulded edge above three drawers with drape effect drop handles, on square tapering legs, 43½” wide

£600-800

518 A GEORGE II WALNUT CHEST ON CHEST, the upper section with a moulded cornice above two short and three long graduated drawers with pierced brass key escutcheons and similar handles, the lower section with three further long drawers on bracket feet, 41” wide.

See illustration

512 A SMALL 17TH CENTURY OAK SIX PLANK COFFER, the rectangular top with chip carved ends, with a later chain fitted locking mechanism, 24” wide

£250-450

517 A GEORGE III MAHOGANY BOW FRONT SIDEBOARD, the top inlaid with a central oval panel of veneer within broad crossbanding, above a single bow front drawer and a tambour fronted cupboard, flanked by a single deep drawer and conforming cupboard, all with satinwood stringing and gilt metal ring handles, on square tapering legs, 72” wide

510 A REGENCY MAHOGANY PIANO STOOL with an upholstered revolving top on four tapering splayed legs and “X”-form stretcher, 13” wide

Lot 518

£200-400

520 A GEORGE III MAHOGANY TIPTOP OCCASIONAL TABLE, the circular top on a revolving birdcage mechanism and central turned column, three downswept cabriole legs with pad feet, 28” wide

£300-500

142

£200-400

143

527 A REGENCY MAHOGANY SIDE TABLE, the rectangular top with rounded corners above a single frieze drawer, on ring-turned tapering legs with brass castors, 27” wide

521 A GEORGE III MAHOGANY MUSIC CANTERBURY with four divisions and a central carrying handle on turned uprights, with a single frieze drawer with turned knob handles, on short turned legs with brass castors, 20” wide

£200-400

528 GORDON RUSSELL: A COTSWOLD SCHOOL OAK NURSERY CUPBOARD, designed by Gordon Russell, the upper section with twin panelled cupboard doors enclosing a shelved interior, above three long graduated drawers, with hammered ring-handles, the underside of the upper drawer with a “Lygon Arms” paper label inscribed “This piece, a nursery cupboard in English oak no. 151 was designed and made throughout in the Russell workshop in Jan 1926, designer S. Gordon Russell, Foreman C Turner cabinet maker H J Mann”, 77” high.

See illustration

522 A VICTORIAN OCCASIONAL TABLE with a specimen marble top inlaid with a central chessboard within a triangular border, on a rosewood base with leaf-carved column and three carved cabriole legs, 23½” wide

£500-1,000

523 A SCOTTISH ANTLER WORK CHAIR, the back formed from entwined antlers above a suedecovered seat, on antler legs, 37½” high

£200-400

524 A REGENCY MAHOGANY ELBOW CHAIR, with a turned top rail above a pierced splat between reeded uprights and downswept arms, above a drop-in seat on turned legs, together with two similar single chairs (3)

£1,000-2,000

529 A GEORGE III MAHOGANY LINEN PRESS, the upper cupboard over two short and two long drawers on ogee bracket feet, 78” high

£100-200

£300-600

530 A VICTORIAN MAHOGANY STRAIGHT-FRONT CHEST OF DRAWERS with rope-twist mouldings, the four long drawers with turned handles, 38” wide x 42” high x 20” deep

525 A DUTCH MAHOGANY AND MARQUETRY “D”-SHAPED SIDE TABLE, the top with a central oval inlaid panel and chequered stringing, above two hinged bowfronted frieze drawers with gilt metal ring handles, on tapering fluted legs with gilt ball feet, 30” wide

£100-200

£200-400

£250-450

526 AN ITALIAN OAK HALL CHAIR with a scrolling carved back with a central painted armorial, above a solid dished seat on twin scrolling solid supports with conforming carving, 40” high, 18th century and later

£250-450 Lot 528 detail

Lot 528 144

145

538 A TRANSITIONAL STYLE INLAID WALNUT BREAKFRONT COMMODE, the marble top over two long drawers with ring handles, on cabriole legs, 45” wide x 34” high x 22” deep

531 AN 18TH CENTURY DUTCH WALNUT FLORAL MARQUETRY SECRETAIRE, the marble top over a fall front revealing a fitted interior, over cupboard doors, 36” wide x 50½” high x 14½” deep.

See illustration

£2,000-4,000

£150-300

533 A GEORGE III LINE-INLAID MAHOGANY BOW-FRONT SIDEBOARD with brass top rail, lion-mask handles and tapering supports on spade feet, 60” wide x 36” high x 24” deep

£100-200

535 A GEORGE III RECTANGULAR MAHOGANY BREAKFAST TABLE, the line-inlaid tilt-top with rounded corners, on baluster stem and four reeded legs, the top 60” long x 43” deep £300-600

£300-600

543 A WILLIAM IV GILTWOOD CHAIR with scroll back and reeded front supports, 34” high

£200-400

£50-100

544 A LOUIS XV STYLE SERPENTINE WALNUT COMMODE, the three long drawers with crossbanding and brass handles, 55” wide x 32½” high x 26” deep

537 A REGENCY MAHOGANY SOFA TABLE with brass inlay and handles, the double-column turned end supports united by a central stretcher and with outswept legs, 56” wide x 28” high

£150-300

542 A WILLIAM IV ROSEWOOD CIRCULAR BREAKFAST TABLE with central column on a triform base with claw feet, the top 50” dia.

536 A REGENCY MAHOGANY SOFA TABLE with turned handles, baluster stem and four reeded legs, 59” wide x 28” high

£200-400

541 A GEORGE III SATINWOOD AND PARQUETRY LADIES WRITING TABLE, the top lifting to reveal a fitted interior with writing slope, on tapering supports, 21” wide x 26” high x 15” deep

534 A GEORGE III LINE-INLAID MAHOGANY CORNER CUPBOARD with ogee-glazed door and decorative swag panel, 32” wide x 47½” high x 19” deep

£150-300

540 A SET OF SIX GEORGE III STYLE DINING CHAIRS consisting of two carvers and four standard, the carvers 38½” high (6)

£300-500

£300-600

539 A GEORGE III MAHOGANY STRAIGHT-FRONT CHEST OF DRAWERS, the three short over three long drawers with brass swanneck handles, on bracket feet, 43½” wide x 40” high x 21” deep

532 A SCOTTISH VICTORIAN MAHOGANY LUM CHEST, the line-inlaid central drawer flanked by four short drawers, over three long drawers, on outswept feet with castors, 49½” wide x 49½” high x 23” deep

Lot 531

£400-800

545 A VICTORIAN ROSEWOOD PIER CABINET with scrollwork inlay and metal mounts, 34” wide x 43” high x 13” deep

£300-500

146

£200-400

147

Lot 546 553 A GEORGE I/II OAK STRAIGHTFRONT CHEST OF DRAWERS, the two short and three long drawers with moulded borders, on bracket feet, 37” wide x 37” high x 20½” deep

546 A REGENCY BRASS-INLAID MAHOGANY SECRETAIRECHIFFONIER, the top with brass pierced gallery and glazed doors, the lower section with secretaire drawer revealing a fitted interior, over cupboard doors and squat reeded feet, 41” wide x 59” high x 19” deep.

See illustration

554 A 17TH CENTURY ‘SIX-PLANK’ OAK CHEST, the top and front with moulded band, the end supports of ogee form, 43” wide x 20½” high x 13” deep

£500-1,000

547 A PAIR OF MARBLE COLUMNS, 45½” high (2)

£300-600

£150-250

£400-600

558 AN 18TH CENTURY CONTINENTAL INLAID-WALNUT COMMODE, the serpentine front with two short and three long drawers with cast brass handles, flanked by canted corners, on tapering feet, 51” wide x 38½” high x 25” deep.

£100-200

551 AN 18TH CENTURY LEATHERCOVERED PINE TRUNK, with domed top and studded decoration including tulips, 46” long

£200-400

557 A 17TH CENTURY STYLE OAK DRAW-LEAF DINING TABLE with turned column supports and plain stretchers, circa 70” long when extended x 31” high x 27” deep

550 A VICTORIAN BRASS-BOUND COLLECTORS CABINET, the top lifting to reveal a fitted interior, over two further fitted and one standard drawer, on bun feet, 27” wide x 20½” high

£200-400

556 A 17TH CENTURY STYLE OAK ‘WAINSCOT’ CHAIR with serpent-carved top rail and turned supports, 48½” high

£300-600

549 A VICTORIAN MAHOGANY BOWFRONT CHEST OF DRAWERS, the two short and three long drawers with fielded panels and turned handles, on outswept feet, 52½” wide x 42½” high x 23” deep

£100-200

555 A LATE 17TH/EARLY 18TH CENTURY OAK SIDE TABLE with single frieze drawer, turned supports and shaped stretcher, 30” wide x 27” high x 24” deep

548 A GEORGE III MAHOGANY STRAIGHT-FRONT CHEST OF DRAWERS, the two short and three long drawers with brass handles flanked by canted blind-fret corners, on bracket feet, 41” wide x 40” high x 21½” deep

£350-500

£1,000-2,000

559 SPARE LOT

£500-1,000

552 A CHARLES II JOINED OAK COFFER with plain panelled top above a scroll and lunette-carved front, 44” wide x 23½” high x 22” deep

£300-600

148

149

567 A PAIR OF ASH “COCKPEN” ARMCHAIRS, early 20th century, of typical form, 24” wide x 34” high x 19” deep

560 A GEORGE III MAHOGANY CHEST ON CHEST, the upper section with dentil cornice, fluted canted corners and two straight and three long drawers, the lower section with three long drawers, on bracket feet, 41½” wide x 72” high x 21½” deep

£500-1,000

568 A REGENCY MAHOGANY FOLDOVER TEA TABLE with rounded corners and turned supports, 36” wide x 29½” high x 17½” deep

561 A VICTORIAN MAHOGANY STANDING CORNER CUPBOARD with fluted frieze, panelled doors and butterfly hinges, 33” wide x 84½” high

£300-600

£300-600

£100-200

572 A GEORGE III MAHOGANY DRESSING CHEST, the lifting top over five drawers with ring handles, on tapering supports, 37” wide x 31½” high x 20½” deep

£300-600

565 A MAHOGANY BOOKCASE CABINET, the top with broken-arch pediment and glazed doors, the associated lower section with plain doors and bracket feet, basically 18th century, 35” wide x 92” high x 39” deep

£150-300

571 A VICTORIAN MAHOGANY GATELEG OCCASIONAL TABLE with turned supports and pad feet, 25½” long (when closed) x 29” high

£500-1000

564 A LATE VICTORIAN FLORALMARQUETRY MAHOGANY DISPLAY CABINET with cushion top, shield shape glazed doors and cabriole legs, 49” wide x 67” high x 19” deep

£200-400

570 A VICTORIAN MAHOGANY AND CROSSBANDED GAMES TABLE, the fold-out top over a single drawer with turned handles, on spiral reeded supports with castors, 202 wide (when closed) x 29” high x 20” deep

£1,000-2,000

563 AN EARLY 18TH CENTURY OAK DRESSER BASE, the planked top with moulded border over three drawers with column front supports and boarded base, 72” long x 32” high x 21” deep

Lot 562

569 AN EDWARDIAN INLAID MAHOGANY BOW-FRONT DISPLAY CABINET with cushion top, scroll decoration and lower gallery, 30” wide x 60” high x 18” deep

562 A CARVED GILTWOOD AND GESSO CONSOLE TABLE, the marble top over a scroll and swag frieze and inswept supports united by a cherub stretcher, 18th century and later, 48” wide x 34½” high x 21” deep.

See illustration

£100-200

£350-500

573 A VICTORIAN RECTANGULAR WALL MIRROR profusely decorated with foliage, 32” x 27” overall

£1,800-2,500

£200-400

566 A CHARLES II JOINED-OAK COFFER, the plain top with moulded border over a lunette-carved frieze and fielded diamond-carved panels, 48” wide x 26” high x 22” deep

£200-400

150

151

581 A GEORGE III STYLE STOOL with a rectangular upholstered top on tapering legs and stretchers, 17½” wide

574 AN EDWARDIAN PAINTEDSATINWOOD DISPLAY CABINET, the frieze decorated with cherubs over the door decorated with ladies, the rounded sides decorated with floral swags, 52” wide x 74½” high x 17” deep.

See illustration

Provenance: Deceased Estate, Oxfordshire.

£800-1,600

582 A GEORGE III STYLE WING BACK ARMCHAIR, the upholstered back with shaped wings and scrolling arms on square moulded front legs and stretchers, 44” high

575 AN EMPIRE STYLE MAHOGANY AND GILT-METAL MOUNTED WRITING DESK, the leather inset top over four drawers and monopodia supports, 56” wide x 31” high x 29” deep

£400-800

£300-600

£200-400

586 A PRIMITIVE WINDSOR CHAIR, the low three part arm on turned uprights above a solid rectangular seat and splayed legs, with original painted surface, 26½” high

£150-250

£150-250

587 A SET OF SEVEN REGENCY MAHOGANY DINING CHAIRS, each with dished back rails with drapery effect moulding above reeded cross rails, with overstuffed seats on turned legs, comprising a single armchair and six standard chairs (7)

580 A CHINESE ROSEWOOD AND ROUGE MARBLE SIDE TABLE, the circular top with an inset marble panel within a beaded surround above an outswept pierced and carved frieze on scrolling legs and “X”-form stretcher, 19” high

£300-500

£100-200

579 A CHINESE ROSEWOOD AND ROUGE MARBLE SIDE TABLE, the shaped top with central marble panel and beaded border on a pierced and carved frieze and four shaped legs with animal paw feet, and wavy stretcher, 24” high

£1,000-2,000

585 A PAIR OF REGENCY STYLE JAPANNED TRIPOD TABLES, the rectangular knobs decorated with exotic birds standing by arrangements of flowers, on rosewood effect bases with spiral turned columns and three downswept legs, 20” wide (2)

578 AN EMPIRE-STYLE MAHOGANY AND GILT-METAL MOUNTED TUB ARMCHAIR with leather upholstered studded seat and tapering supports, 24” wide x 29½” high x 22” deep

£200-400

584 A SOUTH INDIAN FOLD TOP CARD TABLE with all over scrolling foliate Tomback inlay, the rectangular folding top enclosing a circular baize-lined playing surface within a conforming inlaid border, the top on a wavy frieze and four slender cabriole legs, the legs detachable at the knees, on shaped feet, 36” wide

577 A PAIR OF EMPIRE STYLE MAHOGANY AND GILT METAL MOUNTED ARMCHAIRS with upholstered seats and backs and monopodia front supports, 23” wide x 38½” high x 25” deep (2)

£200-400

583 A PAIR OF VICTORIAN GILT METAL MOUNTED FOOTSTOOLS, the circular upholstered tops on gilt lobed bases, each with three short gilt feet, the bases stamped with a design registration mark, 12” wide (2)

576 AN EMPIRE STYLE MAHOGANY AND GILT-METAL MOUNTED BOOKCASE CABINET, the central glazed section flanked by cupboard doors with figural mounts, 58” wide x 70½” high x 18” deep

£50-100

£400-600

£150-250

152

Lot 574 153

593 A CHARLES II OAK DROP FLAP DINING TABLE, the shaped top with twin drop-flap sides above two frieze drawers, on turned legs and moulded stretchers, 51” wide

588 A CHARLES II STYLE OAK REFECTORY DINING TABLE, the rectangular top on square legs with chamfered corners and a central stretcher, apparently constructed from timbers reclaimed from a disused Dorset church, 78” wide

£150-250

594 A GEORGE III MAHOGANY TRIPOD TABLE, the circular tip-top on a turned column and three downswept cabriole legs with pad feet, 30½” wide

589 A REGENCY ROSEWOOD AND BRASS INLAID BREAKFAST TABLE in the manner of Thomas Hope, the circular tilting top with a wide crossbanded border above a frieze inlaid with brass stringing, on a concave quadriform base with a brass border, on four downswept scrolling legs, terminating in brass lion’s paw feet and castors, 52” wide

595 A 20TH CENTURY FRENCH ART DECO STYLE UPLIGHTER with all over green patination, the shade on a five part splayed upright and on four scrolling legs, 69” high

£1,500-2,500

£200-400

596 A SET OF FIVE PAINTED REGENCY DINING CHAIRS, each with broad back rails painted with scrolling gilt foliate decoration against a brown ground, together with squab cushions on cane seats, with splayed ring-turned legs, comprising a single armchair and four standard chairs (5)

This piece of furniture bears a striking resemblance to two similar pieces of furniture by Ruhlmann, one The Musee du Louvre, the other in The Musee d’Art Moderne in Paris, illustrated in “Ruhlmann, Un Genie de L’Art Deco”, pages 158 and 9

£300-500

597 A QUEEN ANNE STYLE SIDE CHAIR with green velvet buttoned upholstery on cabriole front legs with knurled feet and “H”-form stretcher, 43” high

£4,000-6,000

591 A GEORGE III “CHIPPENDALE” STYLE SIDE TABLE, the rectangular top with twin drop-flap sides, on square chamfered legs with a pierced “X”-form stretcher, 25” wide

£150-250

598 A QUEEN ANNE STYLE WALNUT STOOL, the rectangular top with a needlework drop-in seat on cabriole legs, 16½” wide

£200-400

592 AN EDWARDIAN PAINTED SATINWOOD BONHEUR DU JOUR, the upper section with an arched back and single shelf above a bowfront and single bowfonted drawer, all over painted with scrolling decoration, floral swags and swans, on square tapering legs, 31” wide

£200-400 Lot 590

590 IN THE MANNER OF JACQUESEMILE RUHLMANN: AN ART DECO SIDEBOARD with a broad marble mounted top with canted sides above four flush fitting doors, with geometrically laid panels of Macassar ebony veneer divided by ebonised uprights, on protruding chamfered and tapering legs with tops and feet decorated in red, 71” wide.

See illustration

£200-400

£200-400

599 A NEO-CLASSICAL STYLE BRASS FRONTED FIRE BASKET, with an arched back and neo-classical urn finial decoration above a pierced frieze, 27” wide

£200-400

£450-750

154

155

Lot 606

Lot 602 604 A PAIR OF REGENCY MAHOGANY ARMCHAIRS with broad dished backs above scrolling arms and drop in seats, on turned legs, 34½” high

600 A PAIR OF REGENCY STYLE LEATHER UPHOLSTERED BUTTONBACK ARMCHAIRS, the tub-shaped backs above upholstered seats, with turned uprights and legs, 30” high

£150-300

605 A GEORGE III MAHOGANY PEMBROKE TABLE, the oval top with twin drop flap sides above a single frieze drawer and conforming dummy drawer, on square tapering legs with barrel form castors, 30” wide

601 AN EARLY 20TH CENTURY BOHEMIAN GLASS CHANDELIER with eight scrolling branches with two tiers of candle sconces, the branches all over mounted with clear glass bead decoration and numerous hanging pear and dropshaped swags, circa 48” wide

£400-800

£800-1,500

607 A GEORGE III MAHOGANY BUREAU, the sloping fall enclosing a fitted interior with a central cupboard flanked by short drawers and pigeonholes, all above four long graduated drawers with brass handles, on bracket feet, 40” wide

£2,000-4,000

603 A QUEEN ANNE STYLE YEW AND FRUITWOOD CHEST ON STAND, the upper section with rectangular top with satinwood stringing above two short and two long graduated drawers with drop handles, on a base with a single long drawer, on bracket feet, 32” wide, 18th century and later

£200-400

606 A DUTCH MAHOGANY MARQUETRY DISPLAY CABINET of George II design, with shaped glazed panel doors and serpentine glazed side panels, enclosing interior plate glass shelves, inlaid with trailing bell-flowers and floral sprays, on slender cabriole legs conjoined by a splay shelf on paw feet, surmounted by a broken arch pediment, 56” wide

602 A PAIR OF REGENCY SATINWOOD CARD TABLES, the fold tops with canted corners and ebony stringing enclosing baize-lined playing surfaces, above similarly decorated friezes on four scrolling legs with gilt metal paterae decoration, and platform bases, with four short splayed legs with gilt metal animal paw cap castors, 33¾” wide.

See illustration

£250-400

£200-400

£250-400 156

157

Lot 608 top

Lot 608

608 AN 18TH CENTURY DUTCH MARQUETRY BOMBE FRONTED COMMODE, the top with serpentine front and sides decorated with a marquetry scene of musical instruments and sheet music between panels of geometrically laid veneers, the top rising to a shallow fitted interior, above two long bow fronted drawers decorated with a central pictorial marquetry panel of rural life flanked by similar geometric veneers, with elaborate gilt metal handles and key escutcheons, the similarly bombé sides with sprung side shelves decorated with oval panels of pictorial marquetry, with gilt metal mounted feet, 52” wide.

See illustration Provenance: Privare collection, East Dorset

£8,000-15,000

158

159

609 A MID-VICTORIAN BURR WALNUT AND MARQUETRY CREDENZA, the shaped top with a broad band of scrolling foliate marquetry and a central cartouche similarly decorated within burr walnut veneers, above two central doors flanked by serpentine fronted doors with all over gilt metal mounts and conforming marquetry, on a plinth base, 68" wide.

See illustration

END OF SALE

160

161

Duke’s AUCTIONEERS SINCE 1823

Glossary of Cataloguing Terms The auctioneers are always pleased to discuss individual lots with prospective purchasers prior to the auction and will provide condition reports on request. If you require clarification of any terms employed in the catalogue please do not hesitate to seek advice. The auctioneers are also pleased to discuss lots which may have been altered, repaired, or restored.

The term basically used in conjunction with a date (ie. basically 18th century) indicates that, in our opinion, the item may have undergone restoration, repair, or alteration. It also indicates that only an element of the piece may date from the period stated in the description. The absence of the term basically does not imply that an item is without restoration, repair, or alteration. The use of inverted comas around a word or phrase (ie. “pearl”) indicates that the piece, or object, may not be what it is purporting to be. (ie. a simulated pearl). If you are in doubt our specialists are available prior to the auction to offer guidance and advice.

With Chinese ceramics and works of art, if the catalogue states that the object in question bears a mark, but it does not state “and of the period” it indicates that we believe the lot in question may not date from the period suggested by the mark. Clearly, references to the colour of jade are subjective and again buyers are advised to inspect personally any items on which they intend to bid to ensure the colour meets with their expectation.

Descriptions of property in this catalogue do not always indicate condition, repair or damage. Buyers are earnestly advised to inspect personally any lot they intend to purchase. Weights and measurements are approximate and should be verified by intending purchasers

Paintings, Drawings and Prints

Duke’s AUCTIONEERS SINCE 1823

CONDITIONS OF SALE Duke’s 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.

(2) 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

1 DEFINITIONS

In these Conditions: (a) “auctioneer” means the firm of Duke’s 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 Duke’s 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.

9

2 BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Once made, no bid may be withdrawn. (e) 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.

12 AGENCY

The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

3 INCREMENTS

Bidding increments shall be at the auctioneer’s sole discretion.

4

THE PURCHASE PRICE The buyer shall pay the hammer price together with a premium thereon of 19.5% plus VAT on the premium at the rate imposed by law.

5

VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. *VAT payable at 5.00% on the hammer price and 20% on the buyers premium.

6 PAYMENT (1) Immediately a Lot is sold you will: (a) give to us, if requested, proof of identity, and (b) pay to us the total amount due in cash or in such other way as is agreed by us.

(2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

7 TITLE AND COLLECTION OF PURCHASES (1) 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.

(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges.

(3) No purchase can be claimed or removed until it has been paid for.

The use of onverted comas around the name of an artist, or date, in connetion with a signature, or inscription (ie. signed “Nicholas Chevalier”) indicates that the signature, or inscription, may have been added by another hand.

Artist’s Resale Right From mid February 2006 living artists are entitled by law to receive a resale royalty each time their work is resold by or to an art market professional. From 1st January 2012 the Right has been extended to include sales of works by artists who have died within the last 70 years (following the existing term of copyright). Royalties will be payable to the families and beneficiaries of these artists. An art work must be resold for more than 1,000 Euros to qualify for the right. The rates payable are calculated as a percentage of the hammer price and are set out in a sliding scale from 4% to 0.25%. The charge is exclusive of VAT. The auctioneers reserve the right to pass all of the cost to the person buying the qualifying art work

Coloured Gem Stones Prospective buyers of coloured gemstones should be aware that some stones might have been treated to enhance their colour or clarity.

Sapphires and rubies are commonly heat-treated and emeralds are commonly oiled. In the case of oiling, this may need to be redone after a period of years. The international jewellery trade has generally accepted these methods.

8 REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (1) 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: (a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that Lot and/or any other Lots sold by us to you; (c) 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; (d) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) 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; (f) to retain that or any other Lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) 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.

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.

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 (1) 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”.

(2) 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.

16 GENERAL

We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

(1) 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.

(2). 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.

(3) 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.

(4) 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 at the commencement of the catalogue.

(5) 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.

(6) English law applies to the interpretation of these Conditions.

16 DEBIT AND CREDIT CARDS Due to problems with fraudulent debit and credit card transactions payments over the telephone cannot be made for invoices totalling more than £200 unless the Buyers are known to Duke’s. Payment can be made in person using a chip and pin number, bank transfer, cash up to £9,000, or cheque (allow six working days for clearance).

Duke’s

Duke’s

AUCTIONEERS SINCE 1823

AUCTIONEERS SINCE 1823

Bidding Form

CONDITIONS OF SALE (continued) CHEQUES The Auctioneers regret that they are unable to accept cheques in payment for purchases, except where arrangements have been made beforehand, well in advance of sale day.

Intending purchasers are asked to instruct their bank to contact the Auctioneer’s bank (Natwest, 49 South Street, Dorchester) as early as possible, to confirm clearance in writing up to a stated maximum amount to ensure that a cheque will be accepted on sale day.

In the absence of such information, a Banker’s Draft, a Building Society cheque or cash will be required to allow removal of goods on sale day.

Purchasers may not otherwise remove goods until their cheques are cleared by the Auctioneers’ bank.

Live Bidding Duke’s Auctioneers offer an online bidding service via the-saleroom.com for bidders who cannot attend the sale. In completing the bidder registration on www.the-saleroom.com and providing your credit card details (unless alternative arrangements are agreed with Duke’s Auctioneers) you: 1. authorise Duke’s Auctioneers, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the-saleroom.com, and 2. confirm that you are authorised to provide these credit card details to Duke’s Auctioneers through www.the-saleroom.com and agree that Duke’s Auctioneers are entitled to ship the goods to the card holder name and card holder address provided in fulfilment of the sale.

I hereby instruct Duke’s to bid the following amounts on the lots stated, without any legal obligation on their part.

I agree that these bids are subject to buyers premium and VAT as applicable, and to the conditions of sale printed in the auction catalogue.

Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tel ...................................................

Address .............................................

Mobile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.......................................................

Signed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lot No:-

£’s

Lot No:-

£’s

Lot No:-

£’s

P lease note that any lots purchased via the-saleroom.com live auction service will be subject to an additional 3% commission charge + VAT at the rate imposed on the hammer price. Clicking the bid button is a commitment to buy.

THIRD PARTY LIABILITY Any person or his personal property at Melplash Court, Dorset, or on the auctioneers premises, before, during, or after the auction, shall be deemed to be there at their own risk and will have no claim against the auctioneers in respect of any injury sustained, or accident which may occur.

IMPORTANT NOTICE TO BUYERS OF FURNITURE All items are held at the risk of the Buyer. If they are not removed within 5 working days of the sale the Auctioneers will instruct a carrier to remove them to storage. The Buyer will be responsible for paying the aforementioned carrier all charges incurred and for making arrangements in advance for the removal of items from their store after payment of their charges on production of our reciept for the items.

Grove Auctions Telephone: (01305) 257544 Facsimile: (01305) 259953

The Fine Art Salerooms Telephone: (01305) 265080 Facsimile: (01305) 260101

Duke’s AUCTIONEERS SINCE 1823

Bidding Form I hereby instruct Duke’s to bid the following amounts on the lots stated, without any legal obligation on their part.

I agree that these bids are subject to buyers premium and VAT as applicable, and to the conditions of sale printed in the auction catalogue.

Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tel ...................................................

Address .............................................

Mobile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.......................................................

Signed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lot No:-

£’s

Grove Auctions Telephone: (01305) 257544 Facsimile: (01305) 259953

Lot No:-

£’s

Lot No:-

£’s

The Fine Art Salerooms Telephone: (01305) 265080 Facsimile: (01305) 260101 167

168 BY EPIC QUALITY PRINT PRINTED IN DORCHESTER