Duke's Auction 11th April 2013 at 10.30am by john holmes

Thursday, 11th April Paintings and Furniture

Duke’s AUCTIONEERS SINCE 1823

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Dukeâ&#x20AC;&#x2122;s AUCTIONEERS SINCE 1823

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 (0208) 7615060

Duke’s AUCTIONEERS SINCE 1823

B U Y E R S I N F O R M AT I O N 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. 3

Duke’s AUCTIONEERS SINCE 1823

VIEWING TIMES Saturday, 6th April, 9.30am – 12noon Monday, 8th April, 9.30am – 5pm Tuesday, 9th April, 9.30am – 7pm Wednesday, 10th April, 9.30am -5pm and on the morning of the auction day

Catalogues £20.00 (by post)

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J ewe l l ery and si l ver va l uation morning Friday 19th April 2013

Expert valuers will be available from 9.30am – 12.30pm to provide free, no obligation valuations for auction on the following items: Jewellery and Bijouterie, Silver, Coins, and Watches.

Duke’s AUCTIONEERS SINCE 1823

FINE CHINESE CERAMICS AND WORKS OF ART 9TH MAY 2013

Duke’s

A Jun ware jar with handles, Song-Yuan, 5” high Provenance: The Collection of Ernest Oliver Measor (1906-1993), and thence by descent. Estimate: £800 – £1,600

AUCTIONEERS SINCE 1823

Dukeâ&#x20AC;&#x2122;s AUCTIONEERS SINCE 1823

Including items from or formerly in the collections of: The Countess of Darnley Lord James of Rusholme Lady Mainwaring of Regents Park The Tennant Family The Late Stephen Unwin The Late David von Simson The Collection of Robert Gallon (1845-1925) Dr Gordon Scott (1905-1986) Mrs. E.G. Redmond (1901-2013)

Thursday, 11th APRIL 2013 10.30am Prints and Engravings Watercolours and Drawings Oil Paintings Fossils Books and Manuscripts Works of Art Arms and Militaria Clocks and Scientific Instruments Rugs and Carpets English and Continental Furniture

View images of all lots and bid live online

THURSDAY 11 t h APRIL: 10.30A M

PRINTS AND ENGR AVINGS

Lot 4

PRINTS AND ENGRAVINGS FROM THE COLLECTION OF THE LATE STEPHEN Unwin 6 AFTER GIOVANNI FRANCESCO GRIMALDI (1606-1680) A monochrome etching of a river village scene, 13” x 18½”

1 AFTER JAMES GILLRAY (1756-1815) A satirical coloured engraving ‘Sharon’s boat or The Ghosts of all the Talents Taking Their Last Voyage”’ from The Pope’s Gallery at Rome, 9½” x 13½”

£50-100

7 A PAIR OF CONTINENTAL MONOGRAMMED ENGRAVINGS of water fountains, 8½” x 11”

2 AFTER JAMES GILLRAY (1756-1815) A satirical coloured engraving “The Slough of Despond”, published January 2nd 1793 by H. Humphrey N.18, 9¾” x 13½”

£100-200

£50-100

3 AFTER JAMES GILLRAY (1756-1815) A satirical coloured engraving “Pandora Opening her Box”, published February 22nd 1809, by H. Humphrey, 27 St. James Street, 14½” x 10½”

8 AFTER LUCA GIORDANO (1632-1705) “Christ Disputing with the Doctors”, P & D Colnaghi & Co. Ltd label to the reverse stating “second state of two”, etching, 11½” x 16¼”

£50-100

4 AFTER JAMES GILLRAY (1756-1815) A satirical coloured engraving “The Spanish Bullfight” dated July 1808, and two others “The Bear and his Leader” and “The Magnanimous Minister Chastising Prussian Perfidy” (3)

9 AFTER FRANCOIS NICOLAS MARTINET (1731-1804) Eight ornithological studies of birds on branches, hand coloured etchings, 9½” x 8”. (8)

£50-100

5 AFTER JAMES GILLRAY (1756-1815) A coloured engraving “Pylades and Orestes”, published April 7th 1798 by H. Humphrey, New Bond Street, 4 St James Street, 13¼” x 9”, and one other satirical coloured engraving “The Wounded Lion”, 10” x 14” (2)

£200-400

10 5AFTER WILLIAM NICHOLSON (1872-1949) “Twelve Portraits 1899” A complete set of twelve woodblock coloured prints and one additional print “The Kaiser” (13). See illustration

£50-100

£300-500

Lot 10 11

16 19TH CENTURY SCHOOL, ‘Cross Country Hurdle Racing’, hand coloured engraving, 4¼” x 7¼”, and three flat racing and hurdle companions mounted together as one, 16” x 22”

11 ALBRECHT DURER (1471-1528) “Knight, Death and Devil”, engraving, 9¾” x 8”

£100-200

12 GIOVANNI BATTISTA PIRANESI (1720-1778) An interior sepulchral chamber, etching, 16” x 12”, and two similar works (3)

17 NICHOLAS POCOCK (1740-1821) A view from the top of the Avon Gorge looking towards tall ships, signed in watercolour, ‘N Pocock, 1785’, Frost & Reed label, verso watercolour and aquatint over etched line engraving, 9½” x 14½”, and six further companion views of Bristol (7). See illustration

£100-200

13 GIOVANNI BATTISTA PIRANESI (1720-1778) Six architectural views, including a Capriccio with an avenue flanked by statues of lions running beneath an arch, framed as three sets of two, 9 x 6¾" (each image)

£100-200

17A AFTER SIR DAVID ROBERTS (1796-1864) “Caiphas looking towards Mount Carmel”, published FG Moon, 1843, signed, titled and dated in print within the image, hand coloured engraving, 14¼” x 20” and the companion ‘Canan’. (2)

£70-140

£100-200

19 5WILLIAM WALCOT (1874-1943) A view of New York, looking towards the Rockerfeller Centre, signed in pencil, etching, 5½” x 5½” (plate) and three further etchings by the same artist (4)

15 FRENCH SCHOOL, ‘Imperiale-Regts de Voltigeurs’, published by Monsieur Martinet/Hautecoeur Brothers, lithograph by Godard, hand coloured lithograph, titled and no. 53, 12” x 8” and 18 further lithographs ensuite (19)

£200-400

18 5FRANK LEWIS EMANUEL (1865-1948) A study of a tall ship at dock, signed in pencil to the margin, etching, 2¼” x 3½” (plate) another similar by the artist and two further etchings, including one by William Henry Corben. (4)

14A AFTER LE SUEUR Goddess and cherubs, engraved by B. Picart, numbered 48 to the image, sepia line engraving, 3¾” x 5¼” and the companion engraving (2)

Provenance: Private collection, Hampshire.

£1,500-2,500

14 19TH CENTURY SCHOOL, ‘Taking a Fly’, published by Thos. Mclean, 26 Haymarket, titled and numbered. 1 to the margin and print, 7¾” x 9¼” (plate), hand coloured engraving, and two further etchings, including ‘A View of Blandford’ (3)

£50-100

£800-1,600 12

£100-200

Lot 17

25 H TAIGEN (?) A heavy horse and her foal, signed and dated ‘23 in pencil to the margin and further titled, woodblock print, 11” x 12½”

20 5GEORGE VERNON STOKES (1873-1954), A Retriever and Spaniel looking at pheasants in flight with printed signature in image and further signed in pencil and no. 43/75 to the margin, hand coloured etching, 10½” x 12½” and five coaching and hunting signed etchings after Frank Paton (6)

26 5ELIZABETH BLACKADDER (1931-) ”Abyssinian and Lilies”, signed and dated within the print and further signed in pencil to the margin and no. 112/350, colour lithograph, 27” x 80¼”

£80-160

21 WILLIAM LIONEL WYLLIE (1851-1931) “Our Fathers - The Memory of the Nameless Killed and Wounded”, signed in pencil to the margin, engraving, 13” x 8¾” and the companion prints no. II - IV (4)

£100-200

£50-100

29 5SALVADOR DALI (1904-1989) “Apollinaire-Woman at the Fountain”, signed in pencil to the margin over an embossed blank signature, aquatint over etching, 13¾” x 9¾” (page). See illustration

£100-200 24 CHARLES PROSPER SAINTON (1861-1914) “Away to the Enchanted Land”, signed within the print and further signed in pencil, lithograph, 8¾” x 13¾” £80-160

24A A FTER ADAM BUCK Portrait of a girl putting her hand in a basket, hand coloured engraving, trimmed, 14¼” x 11½”, and the companion portrait of a boy (2) £50-100

£60-120

28 5BERNARD DUNSTAN (1920-2005) A woman seated stoking her Aga in the kitchen, signed in pencil to the margin and no. XII/XXIV, artist proof, colour lithograph, 19½” x 24¼”

23 5CHARLES FREDERICK TUNNICLIFFE (1901-1979) Three cows resting beneath a tree admiring the view, with printed monogram, further signed in pencil and no. 19/75 in the margin, etching, 8½” x 10”

£50-100

27 FRANS KARL OPITZ (1916-1998) Abstract composition, signed in pencil to the margin and no. 64/110, colour print, 18¾” x 18¼”

22 EMANUEL ROBBE (1872-1936) Fisher wives conversing on a quayside in the rain, signed in pencil to the margin and no. 91 with embossed publishers stamp, hand coloured lithograph 24½” x 30¼”

£50-100

This drawing is a study for a similar dry point etching from the suite “Poemes Secrets d’ Apolliniaire”, circa 1967. There are notable differences between this etching and the final work such as the enhanced details to the fountain on the right of the picture and the bird at the top of the picture.

Provenance: Karisma Park West Gallery, Michigan, Private Collection, East Dorset

£5,000-7,000

Lot 29 15

Lot 32

30 5FRANCES HODGKINS (1869-1947) “Arrangement of Jugs”, signed in pencil to an applied label on the image, colour lithograph, 17¾” x 23¾”. See illustration

£500-1,000

30A 5 WILLIAM RUSSELL FLINT (1880-1969) “Three Poor Travellers, Madrid”, signed in print within the image and further signed in sepia ink to the remarque, dry point etching, 4¼” x 5¾”

£50-100

31 5JAMES ENSOR (1860-1949) ‘The Devil and the Windmill’, signed and dated ‘34 in print to the image, soft ground sepia engraving, 5¾” x 7½”. See illustration

Lot 33

With Certificate of Authenticity no. 69, signed with the Librairie a Van Loock, Bruxelles Stamp

32 AFTER MARTIN PEIKERT (1901-1975) ‘Davos, Schweiz Weissfluh’, an advertising ski resort poster, circa 1938, with printed signature and publishers details of A Trub Cie, colour print, 41” x 26½” See illustration £500-1,000 33 AFTER FRANZ LENHART (1898-1992) ‘Tyrol’, an original ski resort advertising poster, circa 1948, with printed signature and image and printers details for Tiroler Graphik Innsbruck, colour lithograph, linen-backed, 23” x 16”. See illustration

Lot 34

£300-500 34 AFTER MARIA REHM ‘Tyrol, Austria’ with printed signature, title and publishers details, ‘Tiroler Graphik Innsbruck’, within the image, colour lithograph, 37½” x 23”. See illustration £200-400 16

Lot 30

Lot 31 17

35 5MARC CHAGALL (1887-1985) ‘La Poule aux Oeufs d’Or’ hand coloured engraving, 11¼” x 9¼”

This work is accompanied by a letter from Helmet Weiss, certifying that this is an original engraving by Chagall, coloured by himself on Velin Derives paper, drawn from the original copper plate. This engraving is from the series Les Fables de la Fontaine in 1952. See illustration 18

36 AFTER PABLO PICASSO (1881-1973) ‘Jacqueline’, 1965, the edging stitched with the artist’s name on the underside, edition 3/6, wool tapestry, 72” x 91”

Provenance: Charles Slatkin Gallery, New York City

IBM Corporate Art collection

Private Collection, East Dorset

This edition of Picasso wool tapestries are illustrated in ‘Tapestries, an Exhibition of Contemporary French Tapestries’, Slatkin, Charles, New York, 1965.

Others in the edition are located in the First National Bank Corporate Art Collection, Chicago and The Air France Corporate Collection, Paris, France. See illustration

£20,000-30,000

37 BRYAN ORGAN (b.1935) Semi-abstract landscape, signed, dated and inscribed by the artist in the margins, numbered 19/35, colour lithograph, 20 ½ x 20 ½ “ £80-160 38-40 Spare Lots

Water colours an d Drawings

Lot 53 21

WATERCOLOURS AND WORKS ON PAPER FROM THE COLLECTION OF THE LATE Stephen Unwin 41 19TH CENTURY SCHOOL Figures with a horse and cart going downhill beside a fence, with a Russian building in the background, pen and ink with wash, 11” x 15”. See illustration

Lot 41

£200-400

42 ENGLISH SCHOOL, late 18th century A shepherd and shepherdess holding hands in a wooded glade, with a dog, pen, ink and watercolour, 8¾” x 7¼”

£80-160

43 ASCRIBED TO PAUL SANDBY (1730-1809) A view of an Italianate building with trees and a horse and cart in the foreground, signed, but bearing applied printed label detailing the work out of the frame, 7½” x 10”. See illustration

Lot 43

£300-600

44 GEORGE ROBERT VAWSER (fl. 1836-1875) A view of a park and lake with cattle and figures sitting on a wall in the foreground, signed lower left, watercolour, 8½” x 12½”

Provenance: Purchased from Cransford Gallery, Bungay, Suffolk, 08.08.84

£150-300 45 ASCRIBED TO DAVID COX (1783-1859) View across a beach with boats and fishermen seated on lobster pots, apparently unsigned, an old Cransford Gallery, Bungay label, verso, watercolour with scratching, 7¾” x 12¼”. See illustration

Lot 45

Provenance: Purchased from Cransford Gallery, Bungay, Suffolk, 16.08.84

£300-600

Lot 50

49 ENGLISH SCHOOL, early 19th century Study of a ruined stone building, watercolour over sepia pen and ink, 6½” x 9¼”

46 ATTRIBUTED TO BENJAMIN WEST ARA (1738-1820) A study of a man looking to his left and holding a cloak, pencil, 6¼” x 4¼”

The reverse bears a later inscription suggesting this was a study for a larger painting commissioned for Windsor Castle to commemorate the reign of Edward III

50 GEORGE ROMNEY (1734-1802) Four women in two poses, each looking upwards, possibly a study for Miranda in The Tempest, William Drummond Gallery label, verso, pen and sepia ink, 4¼” x 7¼”.

£250-500

47 AMELIA LONG, LADY FARNBOROUGH (1772-1837) A view from the gardens at Trentham, Staffordshire, inscribed and dated 1814, pencil and grey wash on blued paper, 11¼” x 18”

£200-400

48 ATTRIBUTED TO JOHN WHITE ABBOTT (1763-1851) A view from a river bank looking towards a castle with an arched bridge and figures, pen, ink and wash in sepia, within painted borders, 8½” x 11”

Provenance: Purchased from the Simon Carter Gallery, Suffolk, 14.08.84

£200-400

£100-200

See illustration

This sketch is apparently withdrawn from a sketchbook formerly in the Alfred De Pass Collection at the Royal Institute of Truro.

£500-1,000

56 ATTRIBUTED TO THOMAS BARKER OF BATH (1769-1847) “Castle at Uske”, sepia pen and ink over pencil traces with watercolour, 9” x 6½”

51 SIR JAMES THORNHILL (1675-1734) Mythological study for a painted ceiling, pen, ink and wash, 10½” x 8½”

Sir James Thornhill has many connections to the county of Dorset. Born in Melcombe Regis, he later moved to London where he completed an apprenticeship with Thomas Highmore, specialising in decorative, historical painting. His interior masterpieces include the Painted Hall at Greenwich Hospital, the cupola of St. Paul’s cathedral and more locally, St. Marys Church, Weymouth, where he painted the reredos with the Last Supper. Though this example is mythological in its subject, the method of composition is directly comparable to the Weymouth example. In 1725, Thornhill built Thornhill House, Stalbridge.

Provenance: Purchased from John F C Phillips, London, 10.05.86

£100-200

57 ENGLISH SCHOOL, early 19th century A pair of fishermen beside a lake with a fort building on the horizon, watercolour, 9¼” x 12¼”

£800-1,500

52 GEORGE DANCE RA (1741-1825) A study of three bishops conversing, pen, brown ink and wash over pencil traces, 6¾” x 7”

£150-300

Provenance: Purchased from the William Drummond Gallery, St. James’s, London 24.06.87

58 ATTRIBUTED TO REVEREND WILLIAM HENRY BARNARD (1767-1818) A study of rocky islands off a Continental beach line, with a classical folly on top of the cliff edge, watercolour en grisaille with wash, 4¼” x 11½”

£400-800

59 ATTRIBUTED TO THOMAS ROWLANDSON (1756-1827) A study of trees in a hilly landscape, sepia pen and ink with wash en grisaille over pencil traces, 4½” x 7¼”

53 ATTRIBUTED TO GEORGE DANCE (1741-1825) A study of a woman and a man arguing beside a pair of dogs fighting, pen, ink and watercolour, 6¼” x 7½”

£200-400

£200-400 60 ANTHONY DEVIS (1729-1817) Fir trees and figures beside a track, apparently unsigned but bearing labels from the John F. Phillips Gallery, verso, with a further label suggesting this sketch is from the collection of the artist himself, pen, ink and wash over traces of pencil, 7¾” x 4½”

54 ENGLISH SCHOOL, 19th century “Two Unsuccessful Lovers”, watercolour en grisaille over pencil traces, titled within the image, 7” x 7¾”

£150-300

£80-160

55 ATTRIBUTED TO ANTHONY DEVIS (1729-1817) A view of a landscape with an Abbey and church on the horizon, possibly Gomshall Church, Albury Park, indistinctly initialled in red with further signature cut off, sepia watercolour, 5½” x 9”

Provenance: Purchased from Hal O’Nians Ltd, London 03.06.86

£100-200

61 JOHN MARTIN (1789-1854) View of an Egyptian landscape looking down the Nile, signed lower right, watercolour, pen and ink with scratching, 4¾” x 7¾”

Provenance: Purchased Sothebys 15.11.90

£500-1,000

Lot 51

Lot 65

62 19TH CENTURY SCHOOL A view down a river with a farm building to the right, indistinctly signed lower right, watercolour and wash over pencil traces, 6¾” x 9¾”

64 JOHN MACPHERSON (1865-1884) View across a flat heathland with a herd of sheep following a track, signed lower right, watercolour, 13¼” x 18½”

£100-200

63 SIR JOHN RUSKIN (1819-1900) “Macham Cove”, titled lower left, pencil sketch and wash, 6” x 7¾”

£250-500

65 ATTRIBUTED TO DAVID COX (1783-1859) “The Woodcutters”, signed lower right, watercolour, 8¼” x 12”. See illustration

£400-800

Provenance: Purchased from Cransford Gallery, Bungay, Suffolk, 16.08.84

£500-1,000

Lot 70

69 CIRCLE OF JOHN GLOVER (1790-1868), A figure standing on a lakeside looking towards a clifftop castle on the horizon, bearing British Museum Print Room label from 1968, verso, watercolour, pen and ink, 6½” x 9¾”, and a similar view of a mill (2)

66 18TH CENTURY SCHOOL Head and shoulder portrait of Bacchus, black and rust chalk over pencil traces, 9” x 6¾”

£150-300

67 AFTER MICHELANGELO Head and shoulders study of a screaming classical figure, bearing signature and further numerical references, red conte pencil, 7¾” x 6½”, and a similar portrait of a woman (2)

£100-200

70 PETER DE WINT (1784-1849) “Valley Scene”, apparently unsigned Fine Art Society label and further Hilton Galleries receipt, verso each dated 1944 and 1945, watercolour, 6¼” x 12”. See illustration

£100-200

68 ENGLISH SCHOOL, 19th century A view of a village landscape looking towards a lake, with washerwomen and a dog in the foreground, indistinctly titled and signed lower left, possibly Erskin, pencil heightened with white, 14¼” x 20½”

£500-1,000

71 EDWARD TUCKER (1847-1910) A pair of figures in a rowing boat coming into harbour, indistinctly signed lower right, watercolour, 6¼” x 13¼”, a study of grouse by Richard Harrison and a 19th century landscape (3)

£80-120

78 LIONEL PERCY SMYTHE (1839-1918) Child kneeling down in a meadow, signed lower right and dated 1904, watercolour, 5” x 6½”. See illustration

72 AFTER THOMAS BAXTER (1782-1821) Portrait of Horatia, daugter of Nelson and Emma Hamilton standing beside her rocking horse, unsigned, watercolour over pencil traces, 7½” x 6½”

£80-160

79 LIONEL PERCY SMYTHE (1839-1918) “Gathering Hay”, signed lower right, watercolour over pencil traces, 8¾” x 13½”. See illustration

73 ATTRIBUTED TO ALICIA H LAIRD (1846-1865), Portrait of a girl with brown ribbons in her hair holding a hat of flowers, apparently unsigned, inscribed “By AH Laird, Dunnett Gwynne House, August 11th 1842”, verso, watercolour, pen and ink, 11” x 9½”

£100-200

81 ENGLISH SCHOOL, early 19th century Botanical study of orchids with butterflies, indistinctly signed “Joanna PA ... 1826”, Julian Hartnoll label, verso, coloured ink, 7¾” x 6”

£100-200

75 WILLIAM BINGHAM MCGUINESS RHA (1849-1928) View of a Continental market on a street towards the cathedral, signed lower left, watercolour over pencil traces, 20½” x 10¼”, and another study by the artist (2)

£600-1,200

80 JOHN JESSOP HARDWICK (1831-1917) Study of a bowl of pink and white flowers, signed and dated 1872, gouache, 7¼” x 10¼”

£100-200

74 WILLIAM BINGHAM MCGUINESS RHA (1849-1928) Street scene, signed lower left, watercolour over pencil traces, 19½” x 10¾”, and the companion study (2)

£500-1,000

£100-200

82 ENGLISH SCHOOL, early 19th century A study of a cherub fishing for a butterfly, indistinctly initialled lower right, watercolour over pencil traces, 6½” x 4½”

£150-300

£80-160

76 HERBERT IVAN BARBAGE (1875-1916) “Kynance Cove, Cornwall”, signed and dated 1912 lower left, watercolour, 10¼” x 13¾”

83 ENGLISH SCHOOL, 19th century A group of three children playing with a model boat on a pond, watercolour, 4¾” x 6¼”

£300-600

84 ENGLISH SCHOOL, 19th century A side portrait profile of a gentleman, initialled JB and dated November 2nd 1828, pencil, 6¾” x 5¾”

77 WILFRED WILLIAMS BALL (1853-1917) View towards houses across a small harbour, signed and dated 1901, watercolour, 6” x 11”

£80-160

£150-300 28

Lot 78

Lot 79 29

85 WALTER RICHARD SICKERT (1860-1942) “Study for Sinn Fein” a portrait of a seated man wearing a cap, titled and signed lower right, chalk on brown paper, 10” x 6¾”. See illustration

Lot 85

Provenance: The Countess of Darnley. Purchased in the 1930’s possibly from the Le Fevre Gallery. Thence by descent.

£1,000-2,000

86 WALTER RICHARD SICKERT (1860-1942), Lady in a hat, signed outside the image in red, pencil, pen and ink with scratched outlines on brown paper, 6¾” x 5¾” See illustration

Lot 86

Provenance: The Countess of Darnley. Purchased in the 1930’s possibly from the Le Fevre Gallery. Thence by descent.

£1,000-2,000

87 ATTRIBUTED TO CHARLES FAYER A continental lakeside view with figures conversing in the foreground, apparently signed to the verso, watercolour, 7½” x 16¾”

£200-400

88 WILFRED WILLIAMS BALL (1853-1917) A pair of figures walking down a lane beside a thatched cottage, signed and dated 1901, watercolour and gouache, 9¼” x 7½”

£150-300

89 G.A.W. (WARING) “The High-Mettled Racer”, initialled and titled within the image, black pen and ink, 11¾” x 15”

£100-200

90 5SIR WILLIAM RUSSELL FLINT (1880-1969) “The Freezing Spey”, Fine Art Society label verso, dating the painting “no. 13 Nov 1911”, watercolour, 14½” x 20¾”. See illustration

£1,000-2,000

Provenance: Private Collection, Hampshire.

91 JOSEPH WILLIAM CAREY (1859-1937) “North of Ireland Yacht Club Cultra”, signed, titled and dated 1931, watercolour and gouache with pen and ink, 7½” x 14¼”, and a similar view “Gally, County Antrim” (2)

97 SG WILLIAMS ROSCOE R.A. (1852-1922) “No. 2 - Bolton Abbey on the Wharfe”, signed and dated ‘81 lower left, old label detailing the artist’s address and painting title, verso, watercolour and ink with scratching, 9½” x 13¼”

£200-400

£250-500

92 WILLIAM EGERTON HINE (1926- ) A view across the river towards buildings including Harmers River View Boats to Let, signed lower right, watercolour over pencil traces, 9¾” x 14”

98 5EDWARD ARDIZONNE (1900-1979) “Artist sketching two nude models”, initialled, Mayor Gallery label, verso, pen and wash en grisaille, 5½” x 7¼”

£200-400

93 5SYDNEY SEYMOUR LUCAS (1884-1954) “Stradella no. 12”, signed lower right and dated ‘08, the verso with title inscription and date Jan 1st 09, gouache en grisaille, 15” x 15”

99 ENGLISH SCHOOL, 18th century Stylised landscape sketch with spire on the horizon, brown pen and ink, 3¾” x 11” £50-100

£150-300

94 ARNOLD, 8TH EARL OF ALBEMARLE A head and shoulder side portrait profile of the Hon. Harbord, inscribed lower left “Hon. Bobbie Harbord Oct. 16.85”, pencil, 9” x 6½”

100

5PIERRE

Provenance: Kyra Gerard and Alfred Ayrton, London.

The Tennant family.

Exhibited: Bonnard: Drawings from 1895 - 1946, The American Federation of Arts, NYC, October 1972 October 1974, catalogue no. 112, Exhibition No. 72-1,

Musee d’Art et d’Histoire, Geneve “Dessins de Pierre Bonnard - collection Alfred Ayrton”, 1976 Exhibition no. 123.

“Drawings by Bonnard”, Arts Council of Great Britain 1984/5, catalogue no. 112.

£1,000-2,000

£100-200 95 G.D. (?) HAMMOND A female patient settling the bill with the doctor, signed lower right, brown pen and ink, 10¾” x 9¼”

£100-200

96 CHARLES ROWBOTHAM (1856-1921) “Persano, Bay of Naples”, signed, watercolour, 9” x 19½”

£150-300

£200-400

BONNARD (1867-1947) “Deux Chevres Se Battant”, initialled lower right, various labels for the American Federation of Arts, JPL Fine Arts and The Arts Council of Great Britain, verso, ochre pen and ink and pencil, 8” x 5”. See illustration

Lot 100

108 WILLIAM BINGHAM MCGUINESS (1849-1928) A pair of boats moored up in a harbour with continental buildings, signed, watercolour and gouache over pencil traces and heightened with white, 20½” x 13½”

101 ENGLISH SCHOOL, 19th century A tall ship with full sail coming in to harbour, watercolour heightened with white, 10¾” x 16”

£200-400

102 ARTHUR HENRY ENOCH (1869-1910) Boats coming into an estuary, signed lower left, Frost and Reed label no. 392 and dated 22/3/1950, verso, watercolour over pencil traces, 11¾” x 19½”

109 WILLIAM BINGHAM MCGUINESS RHA (1849-1928) “A moorland road, Tipperary”, signed lower right and titled in pencil to the frame, verso, watercolour, 13¾” x 20½”

£150-300

103 ARTHUR WYLDE PARSONS (1852-1931) “Off to the Shoon at ‘Torbay’, Cornwall”, signed and dated 1905, gouache, 18¾” x 28½”. See illustration

£300-600

£500-1,000

£100-200

£150-300

113

5WYCLIFFE

£200-400

£250-500 107 WILLIAM BINGHAM MCGUINESS RHA (1849-1928) A view across the water towards a castle fort, watercolour and gouache over pencil traces, 10¾” x 17½” £80-160

£200-400

112 CHINESE SCHOOL, early 20th century, A study of an owl on a branch, gouache on mica, 6” x 4” and six further ensuite (7)

106 CHARLES AUGUSTUS MORNEWICK SNR (fl.1826-1875) Shipping in a rough sea, signed lower left, watercolour heightened with white, 10¾” x 17½”

£500-1,000

111 GRACE JOY “An Old Gunner/Macnelly” signed the verso with old exhibition labels and inscriptions, gouache, 14” x 10”

105 WILLIAM FOWLOR “Gevarmee” - Alpine scene, signed and dated 1863, watercolour heightened with white, 9½” x 13½”

£200-400

110 TOM SCOTT (1854-1927) Canal scene with windmill, signed and dated 1906, 22¾” x 34½”, in an ornate gilt floral moulded frame

104 MINNIE SMYTHE (fl.1896-1939) A young girl walking her cats in the secret garden, signed lower right, watercolour, 12¾” x 20¼”. See illustration

£100-200

EGGINTON (1875-1951), “Tor Marsh, Dartmoor”, signed, with further title printed title to the mount, watercolour, 7½” x 17¼”

Lot 103

Lot 104 35

121 ENGLISH SCHOOL, early 20th century, A study of a Chinese pagoda, signed twice in pencil and blue conte crayon, ‘D M Roberts’, further pencil portrait sketch of a Chinaman, verso watercolour over pencil traces, 14½” x 11”,

114 DAVID GREEN, R.I. (1854-1917) A single sail boat on calm seas at sunset, signed lower left, watercolour, 21½” x 16”

£200-400

115

5FORTUNINO

£400-800

122 W. FOSTER , 19th century “A Happy Pair”, signed in pencil and titled to the margin, watercolour heightened with white over pencil traces en grisaille, 6¼” x 5¾” and a series of other sketches on paper and board, possibly for inclusion in magazines (8)

MATANIA (1881-1963), A woman in Arabian dress holding aloft a platter and surrounded by warriors, signed gouache en grisaille, 18½” x 20½”

116 MINNIE SMYTHE (fl. 1896-1939), White flowers in a cottage garden, monogrammed lower left, watercolour over pencil traces, 18½” x 12”

£100-200

£200-400

£500-1,000

£200-400

126 ENGLISH SCHOOL, 19th century A large folio of pen, ink, gouache and pencil sketches by various artists (a lot)

120 LOUISE INGRAM RAYNER (1832-1924), Three stonemasons working on the interior of a church, signed lower left, gouache, 18¾” x 15¼” See illustration

£150-300

125 W. J. WEBB A study of zoo animals and their keeper with an ostrich, signed, gouache, pen and ink over pencil traces, 10¼” x 6¾” and a folio of other illustrations by the same artist (a lot)

119 ATTRIBUTED TO THE REV JOHN LOUIS PETIT (1801-1868) “Sherbourne Abbey” circa 1850, watercolour over pencil traces, 10¼” x 14¼”

£200-400

124 ENGLISH SCHOOL, 19th century A folio of book illustration sketches, in pencil, gouache, pen and ink, various artists (a lot)

118 ATTRIBUTED TO THE REV JOHN LOUIS PETIT (1801-1868) “Cartmel, 1868”, watercolour over pencil traces, 10¼” x 14¾”

£100-200

123 ENGLISH SCHOOL, 19th century A series of pen and ink and pencil sketches, loose leaf and some with inscriptions, various artist (a lot)

£100-200

117 ATTRIBUTED TO GEORGE ARTHUR FRIPP (1813-1896) “A study for hesitation” (1864), according to a label, verso, inscribed on the back ‘9th September’, watercolour over pencil traces, 9½” x 4¾”

£80-160

£250-500

126A 5 HANS FIEBUSCH (1898-1998) Leaping Deer initialled and dated '36, pastel on bro wn paper, 22¼” x 16¾” 36

£100-200

Lot 120

127

5RONALD

GRAY (1868-1951), A view across a landscape, inscribed ‘Mrs Davis from Ronald Gray, 1948’, watercolour over pencil traces, 8¼” x 11½” and a companion painting (2)

133

5JOHN

£100-200

£400-800

128

5HUBERT

134 ATTRIBUTED TO HENRI REGNAULT (1843-1871), A study of a man riding a camel in a desert landscape with a pyramid beyond, gouache, 5¾” x 8¾”, the companion painting and another example bearing a signature, 8¾” x 9¾” (3)

WILLIAMS (1905- ) A head and shoulder portrait study of a gentleman wearing a tie looking to his left, signed and dated 1942, pencil and chalk, 9½” x 7”

£80-120

129 MARION BLOOM (fl. 1925-1939), A still life of blue delphiniums in a blue and white Delft vase, signed, watercolour, 30½” x 22¼”

£150-300

130

5REUBEN

£600-1200

131

5JOHN

£150-300

135 SYDNEY WILLIAM CARLINE (1888-1929) A trail of camels and Arabians with sand dunes on the horizon, signed and dated 1919, watercolour over pencil traces, 10½” x 14¾”

WARD BINKS (1880-1950), “Springer Spaniels”, signed lower right and dated 1934, Tryon Gallery label, versa, gouache, 15” x 19¾”

R SKEAPING (1901-1980), A study of a Springbok, signed lower right, pencil, 11¼” x 14¼” See illustration

£250-500

136 ATTRIBUTED TO SYDNEY WILLIAM CARLINE (1888-1929) “Sarajevo”, apparently unsigned but bearing later label to the verso, watercolour over pencil traces, 10¼” x 12¼”

WORSLEY (1919-2000) “Thames Barge in the Medway, Rochester, 1947”, signed, titled and dated, gouache, 14½” x 20”

£250-500

137 SYDNEY WILLIAM CARLINE (1888-1929) “Mt. Samin-Holyland, 1919”, titled and dated, watercolour over pencil traces, 8¾” x 11½”

£300-600

132

5WILLIAM

£800-1,500

138 ATTRIBUTED TO CHARLES REGINALD ASTON (1832-1908), A hazy red landscape, unsigned, but the verso bearing a later inscription, ‘possibly painted after the eruption at Krakatoa’, pastel, 8¼” x 14¼”

HEATH ROBINSON (1872-1944), “He put his Trousers on upside Down”, titled, pen and ink sketch, 7” x 5½” and a similar work by the same hand, “The Professor’s Magnetic Suspenders”, 8” x 4¾” (2). See illustration

£250-500

£150-300

Lot 132

Lot 133

139 ATTRIBUTED TO RICHARD CARLINE (1896-1980), A view across Arabian roof tops, watercolour over pencil traces, 11” x 16¼”

£250-500

146

5SIMON

£200-400

141 CHARLES REGINALD ASTON (1832-1908), A landscape with yellow dash sky, coloured pastel, 10½” x 14½”

5PERCY

£250-500

140 ATTRIBUTED TO CHARLES REGINALD ASTON (1832-1908), Sunset sky, coloured pastel, 10” x 19”

145

142 JAMES PATERSON, (1854-1932), Rowing Boats moored, signed, Frost & Reed label no. 952 3/6/1924, verso, water over pencil traces, 15” x 11” £300-600

143

5JOHN

CRAXTON (1922-2009), “Sea Anemones or Sea Plant no. 29A”, dated 29.12.43, lower right, Leicester Galleries Exhibition label, verso, gouache, 8¼” x 9¾”, apparently retaining the original frame . See illustration

Provenance: The Leicester Gallery, Private Collection

£2,000-4,000

144

5JOHN

Provenance: The Tennant Family

£1,500-2,500

HODGE, (1903-1973), A study of two deer, signed, brown watercolour over pencil traces, 9½” x 13¾”

147 ATTRIBUTED TO THOMAS HENNELL (1903-1945), Farm workers filling sacks, apparently unsigned, watercolour over pencil traces, 9¼” x 12”

£200-400

DRAKE BROOKSHAW (1907-1993), A landscape, possibly Port Gaverne, Cornwall, signed and dated ‘89, gouache, 9” x 19”

CRAXTON (1922-2009) “Goat and Birds”, 1984, signed lower right and dated 5.84, Christopher Hull Gallery label, verso, watercolour, 5¾” x 7¾”. See illustration

£300-600

148

5JOHN

£100-200

149

5JOHN

£80-160

150

5TERRY

WARD (1917-2007), “Temple of Kom Iam”, signed, dated 1982 with inscriptions, pencil, 9¼” x 12½”

TENNENT (1926- ) “Croc on the Luangwa”, signed, titled and dated ‘85, John Tennent label, verso, pencil with watercolour highlights, 7” x 8”

MCKIVRAGAN “Beyond the Bunker”, signed in pencil, Peter Hedley Gallery label, verso watercolour with gouache highlights, 10¼” x 11¾” and the companion ‘Bowles in the Park’ (2)

£100-200

Lot 143

Lot 144 41

151

5ALASTAIR

MICHIE, RWA (1921-2008) “Norfolk Winter”, signed and further signed and inscribed, verso, mixed media, 12½” x 8½”

158

5SHAUN

£100-200

£150-250

152

5BELA

159

5SARO

Provenance: Private collection, South Somerset.

£300-600

160

5SVEN

£800-1,600

153

5ROBERT

Provenance: The estate of the artist.

£300-600

161

5SVEN

Provenance: The estate of the artist.

£100-200

162

5SVEN

Provenance: The estate of the artist.

£150-300

163

5SVEN

Provenance: The estate of the artist.

£150-300

KADAR (1877-1955) “Dream City”, signed with Mercury Gallery label, verso, gouache, 6½” x 9¼”. See illustration

WRAITH (1952 - ) Female nude study, signed and dated 1984, sepia pen, ink and wash, 10¼” x 7”

£80-160

154

5IRENE

LESLIE MAIN “Sweet Peas”, signed and titled, watercolour, pen and ink, 7¾” x 3¾”

£100-200 155

5ANTONY

EYTON (1923- ) “Tide coming In, Evening”, signed, titled and dated 23.8.89, watercolour, 16” x 21”

£400-800

156

5RUSSELL

157

SHERIDAN “Vineyards of ... Estate”, signed and inscribed, verso, pastel and gouache, 20½” x 28¾”

5MICHAEL

COULTER

“Early Spring”, monogrammed and dated ‘87, Peter Hedley Gallery label, verso watercolour, 15¾” x 21½”

£300-600 42

STANLEY (1958- ) “Sherbrook Forest, I”, signed and dated ‘87, Thackeary Gallery label, verso watercolour and gouache, 21¼” x 14¼”

MIRABELLA (1914-1972) “Costiera Amalfitana”, signed and dated ‘60, titled, verso gouache on canvas board, 19” x 27”

BERLIN (1911-2000) Leaping hare, signed and dated ‘88, pen, ink and watercolour, signed and dated in pencil, 13½” x 20½”. See illustration

BERLIN (1911-2000) “Running Hare”, signed, titled and dated ‘90, pencil, 8” x 13”

BERLIN (1911-2000) A study of a seated cat looking to the right, black pen and ink, 8¼” x 5¾” and three companion cat sketches (4)

BERLIN (1911-2000) “Sleeping Poet”, titled, signed and dated ‘87, black pen and ink, 8” x 13” and another study of a tiger (2)

Lot 152

Lot 160 43

164

5SVEN

BERLIN (1911-2000), A study of a leaping Greyhound, pencil, 8” x 13” and another single sheet study of two Greyhounds (2)

167

Provenance: The estate of the artist.

Provenance: The Estate of the artist

£150-300

£200-400

John Hinchcliffe was an influential weaver, artist, potter, designer and teacher. An exhibition and accompanying publication of his work was held at TheCraft Study Centre in 2006.

168

5JOHN

Provenance: The Estate of the artist

165 5SVEN BERLIN (1911-2000) A study of a heron, signed in pencil and dated ‘80, black pen and ink, 23” x 16”. See illustration

Provenance: The estate of the artist.

£250-450

166

5SVEN

BERLIN (1911-2000) “White Stallion Swimming”, signed in pencil and dated ‘89, watercolour, gouache over pencil traces, 23” x 16”. See illustration

Provenance: The estate of the artist.

£350-450

5JOHN

HINCHCLIFFE (1949-2010) “Airai”, signed and dated 2005, handmade paper and laminate mixed media, 27½” x 27½”

HINCHCLIFFE (1949-2010) “Sophocles”, signed and dated 2006, cotton canvas and acrylic, 35½” x 35½”

169

5JOHN

£700-1,400

SKEAPING (1901-1980) “Lioness”, signed and dated '70, inscribed ‘Royal Acadamy Exhibition No. 296', verso, pencil on blue paper, 16” x 23¾” See Illustration

Lot 169 44

Lot 166

169A J OHN PIPER (1903-1992) Reclining female nude, signed lower right, crayon, 14 x 18â&#x20AC;?

rovenance: Lord James of Rusholme (1909-1992), P Vice-Chancellor of York University, and thence by descent.

ÂŁ500-1,000

OIL PAINTINGS

Lot 174 47

170 ASCRIBED TO ADRIEN BROUWER (1605-1638) ‘Le Fumeur’, old label verso, oil on panel, 4½” x 4”, in a gilt frame

Lot 170

£450-750 171 FOLLOWER OF GERRIT DOU (1613-1675) A hermit-saint reading Scripture, an archway beyond, oil on panel, 11” x 9”, in a giltwood and gesso frame

£200-400

Lot 171 172 FOLLOWER OF PETER PAUL RUBENS (1577-1640) A woodland hunt scene with figures and hounds attacking a boar, oil on canvas laid on panel, 16” x 30” £1,000-2,000 173 DUTCH SCHOOL, 17th century A still life study of flowers with butterflies and a birds nest on a ledge, oil on canvas, 32” x 25”, in a gilt gesso frame.

Lot 172

Provenance: Private collection, Isle of Wight.

£2,000-4,000

Lot 173

Lot 174

174 FRENCH SCHOOL, 18th/19th century Minerva and another goddess riding a chariot above clouds with a wooded landscape beyond, oil on canvas, 27” x 34½”

175 ATTRIBUTED TO GASPAR DUGHET CALLED POUSSIN (1615-1675) Figures in an Italianate landscape with ruins, oil on canvas, 21” x 33¼”

Provenance: Sotheby’s 6th April 1993, Lot 144.

Provenance: The collection of Sir Joshua Reynolds (according to an old label verso).

The late David Von Simson, Dorset.

£1,500-2,500

£2,500-3,500 Lot 175

176 ENGLISH SCHOOL, circa 1580 An oval portrait miniature of a lady, traditionally identified as Margaret, Duchess of Parma, oil on copper, 3” x 2½”, in an early giltwood frame carved with a winged cherub above scrolling foliage and a floral wreath, 7” high overall.

Margaret, Duchess of Parma, was the illegitimate daughter of Charles V of Spain.

Provenance: Private collection, Sherborne, Dorset.

£3,000-5,000

178 RICHARD BANKES HARRADEN (1778-1862) ‘The Great Court, Trinity College, Cambridge’, titled and signed verso, oil on panel, 14” x 21”

Lot 177

Provenance: Private collection, North Dorset.

£800-1,200

179 FRENCH SCHOOL, late 18th/early 19th century Cupid being relieved of his bow by a semi-naked winged female, both seated in a wooded landscape with two doves in the foreground, signed indistinctly lower left, oil on canvas, 16” x 12½”, in a foliate-carved giltwood frame.

177 FOLLOWER OF SIR DAVID WILKIE (1785-1841) A family around a hearth with a goose, old labels verso, oil on panel, 20” x 25”, in a Dutch style cushion frame. Provenance: Private collection, Dorset.

£600-800

Lot 178

Provenance: The Late David Von Simson, Dorset.

£1,500-2,500

Lot 179

180 ATTRIBUTED TO JOHANN ZOFFANY (1733-1810) An oval head study of a gentleman with curls and a ribbon in his hair, oil on canvas laid on panel, 6” x 4½”

Duke’s are thankful to Dr. Martin Postle of the Paul Mellon Centre for his assistance in the attribution of this work.

Provenance: The Collection of Robert Gallon (1845-1925).

Private collection, North Somerset.

£1,000-2,000

181 ENGLISH SCHOOL, 18th/19th century A portrait of a young lady looking upwards, thought to be Charlotte Corday, painted in the round, oil on canvas, 8½” dia.

Lot 180

£200-400

182 FOLLOWER OF SIR PETER LELY (1618-1680) A bust-length portrait of a gentleman with curls in his hair and wearing a white lace ruff and green satin cape, oil on canvas, 29½” x 24”, in a gilt gesso frame

£300-600

Lot 181 183 THOMAS MURREY (1666-1724) ‘Sir Edward Smyth, 3rd. Baronet of Hill Hall. Co. Essex (1685-1744)’, signed lower right and dated 1699, oil on canvas, 49” x 40”, in a giltwood and gesso frame.

Lot 182

Provenance: The Late David Von Simson, Dorset.

£8,000-12,000

Lot 183

184 FOLLOWER OF GEORGE ROMNEY (1734-1802) A bust-length portrait of a young lady, thought to be the Duchess-Countess of Sutherland, with her hair up tied with a ribbon, painted in an oval with a landscape beyond, oil on canvas, 30” x 25”, in a carved giltwood frame.

Lot 184

Exhibited: The Russell-Cotes Art Gallery and Museum ‘1740-1840’ Exhibition.

Provenance: A Deceased Estate, New Forest, Hampshire.

£800-1,200

185 FOLLOWER OF THOMAS GAINSBOROUGH (1727-1788) A half-length portrait of a lady with her hair worn long and her left hand held beneath her bosom, painted in an oval, oil on canvas, 28½” x 22½”, in a gilt-gesso frame.

Lot 185

Exhibited: The Russell-Cotes Art Gallery and Museum ‘1740-1840’ Exhibition.

Provenance: A Deceased Estate, New Forest, Hampshire

£500-1,000

186 ENGLISH SCHOOL, 19th century A bust-length portrait of a gentleman wearing a dark coat with light undergarments, a red ground beyond, oil on canvas, 30” x 25”, in a gilt frame

Lot 186

Provenance: The Stephen Unwin Collection.

£300-600

186A JOSEPH THORS (1835-1898) A wooded landscape with cottages and figures, signed lower right, oil on board, 5½” x 7½”, in a giltwood and gesso frame

£200-400

Lot 187

187 WILLIAM ANDERSON (1757-1837) Figures and boats on a shoreline with a windmill and sailing vessels beyond, oil on panel, 11½” x 15½”, in a gilt frame

Provenance: Lady Mainwaring of Regents Park, London (according to an old label verso).

Private collection, Hampshire.

£800-1,600

188 WILLIAM J. MULLER (c.1812-1845) A figure and livestock crossing a bridge beside a woodland and cottage, signed lower right and dated 1833, oil on canvas, 15” x 21”

Lot 188

Provenance: With Frost & Reed.

Private collection, East Dorset.

£2,000-4,000

189 ENGLISH SCHOOL, circa. 1810 A portrait of a young gentleman wearing glasses, oil on canvas, in an 18th century giltwood frame, 30” x 25”

195 ENGLISH SCHOOL, late 19th/early 20th century A study of sunflowers, initialled lower right ‘A .E.S’, oil on canvas, 36” x 15”

£200-400

190 ENGLISH SCHOOL, 19th century A canal scene in winter with the sun low, oil on panel, 9½” x 11½”

196 ENGLISH SCHOOL, 19th century A Scottish loch scene with mountains beyond, oil on canvas, 18” x 32”

£100-200

191 ENGLISH SCHOOL A study of an Arab racehorse in a landscape, oil on canvas, 15½” x 19½”

£150-300

£100-200 198 J. DAY, 19th century A nocturnal estuary scene, signed lower left, oil on canvas, 20” x 30”; and the companion picture of a similar scene in daylight (2)

£150-300

£100-200

193 ENGLISH SCHOOL, 19th century Figures beside a river with mountains beyond, signed indistinctly lower left, oil on canvas, 20½” x 14”

199 KAULBACH, 19/20th century A young girl playing a flute and with flowers in her hair, signed lower right and inscribed ‘Schliersee’, also dated 16.4.87, oil on board, 9½” x 5”

£150-300

194 F. HIDER, 19th/20th century ‘In The Highlands’, signed lower left and inscribed on the stretcher, oil on canvas, 12” x 20”

£100-200

197 HENRY COOPER (b.1875) A river scene with a church beyond, signed lower left, oil on canvas, 16” x 24”

192 PHILIP L. POOLE, early 20th century A study of the ship “Lord Shaftesbury” under full sail off the coastline, signed lower right and dated 1924, and also inscribed “Ship Lord Shaftesbury Philip L. Poole (mate) London to Australia 81 days”, oil on board, 15” x 20”, in a burrwood frame

£80-160

200

5FREDERICK

£200-400

£100-200

VICTOR BAILEY (1919-1996) A German beer drinker, signed upper left, oil on board, 11½” x 9½”

Lot 201

202 CHARLES THOMAS BURT (1823-1902) Figures and sheep in a woodland with hills beyond, signed lower left, oil on canvas, 24” x 36”

201 CIRCLE OF WILLIAM SHAYER (1787-1879) A figure, a dog and a working horse at rest in a farm landscape, oil on canvas, 24” x 32”, in a gilt gesso frame

Provenance: Private collection, West Dorset.

£800-1,600

Provenance: Private collection, East Dorset.

£1,000-2,000

Lot 202

203 FRANCIS R. ROBJOHNS, 19th century A shepherd with his flock at the edge of a town at sunset, signed lower left and dated 1866, oil on canvas, 18” x 14”

Lot 203

£100-200

204 ENGLISH SCHOOL, 19th century A naive portrait of a boy and girl, she holding a basket of flowers, oil on canvas, 30” x 25”, in a gilt gesso frame

Lot 204

Provenance: With Frost & Reed .

Private collection, Hampshire.

£300-600

205 CONSTANT TROYON (1810-1865) Cattle watering, signed lower left ‘53, oil on canvas, 34½” x 23”

£1,000-2,000

206 FOLLOWER OF GEORGE ROMNEY (1734-1802) A mythological portrait of a semi-naked young lady, possibly Emma, Lady Hamilton, oil on canvas, 30” x 25”

Lot 205

Provenance: Private collection, Hampshire.

£1,000-2,000

Lot 206

207 ATTRIBUTED TO JOSEPH MARSHALL (c1773 - 5) A three-quarter perspective view of a Royal Navy Frigate, oil on board, 17¾” x 26”

Provenance: Possibly King George III. This is thought to be one of a group of three-quarter perspective drawings of ships of the Royal Navy produced by Joseph Marshall. The paintings were ordered by the First Lord of the Admiralty for King George III. These works were produced from the original Navy Board plans, and each work was accompanied by a memorandum describing the improvements in design that had taken place in recent years. A number of works from the collection are in permanent collections of the Science Museum and the National Maritime Museum. Private collection West Dorset.

This panel was discovered being used as a table top, the painting was discovered quite by chance as it was concealed on the underside of the top, securely glued and nailed in place. How this fine work of art came to be used in this manner has not been ascertained.

We are grateful to John Graves at the National Maritime Museum Greenwich for his assistance with the cataloguing of this lot.

£200-400

208 HEYWOOD HARDY (1843-1933) Gun dogs at rest in a landscape, signed lower left, oil on canvas, 20” x 30”, in a gilt gesso frame

Lot 209

£300-600

209 LIONEL PERCY SMYTHE (1839-1918) A girl on a swing in a garden, signed verso and dated 1879, oil on canvas, 10” x 7”.

Provenance: Private collection, Dorset.

£1,000-2,000

210 HENRY LIVERSEEGE (1803-1832) A cobbler seated at his shop window, signed lower centre and dated 1830, oil on canvas, 8” x 10½”, in a giltwood frame.

£300-500

211 H. SPERNON TOZER (1864-1938) ‘Been in mischief again’, signed lower left and dated 1888, also signed, titled and dated to the reverse, oil on board, 10” x 14”, in a gilt frame

Lot 210

£200-400

Lot 211

212 JAMES HERBERT SNELL (1861-1935) ‘Haddon Hall’, signed lower right, titled and signed verso, oil on canvas, 14½” x 18”

Lot 212

£200-400

213 FOLLOWER OF GEORGE MORLAND (1763-1804) A family beside a cottage with farm animals and a landscape beyond, oil on canvas, 25” x 30”, in a parcel-gilt foliate frame Lot 213

Provenance: Private collection, West Dorset.

£1,000-2,000

214 ENGLISH SCHOOL, 19th century A view of Arundel Castle across the river with boats in the foreground, oil on canvas, 19” x 26”

Provenance: The Stephen Unwin Collection

£200-400

214A FOLLOWER OF JEAN HONORE FRAGONARD (1732-1806) A lady on a swing, oil on canvas laid on board, 15” x 12”

Lot 214

£100-200

Lot 215

215 ASCRIBED TO GIOVANNI DA UDINE (1487-1564) ‘Head of a Guinea Pig’, oil on canvas laid on panel, 6½” x 7”

Provenance: Dr. Gordon Scott (1905-1986) and thence by descent.

Private collection, Oxfordshire.

£1,500-2,500

216 GEORGE WILLIAM JOY (1844-1925) ‘The Kelpie (girl seated on rock in stream)’, signed lower left, old Stacy-Marks label verso, oil on canvas, 15” x 19”

This work is sold with a book ‘The Work of George W. Joy’ by the artist, limited edition 227 of 1,000, in which this work is illustrated.

£600-800

Lot 216

Lot 223

221 VIVIAN PHILLIP WEBB (b.1892) ‘At Collins Vale, Tasmania’, signed and dated lower left, oil on canvas board, 12” x 15½”

217 JOSEPH ANDREWS?, early 20th century A farmyard scene, signed lower right and dated 1918?, oil on canvas laid down, 10” x 11½”

£100-200

218

5FRANCES

MABEL HOLLAMS (1877-1963) A country lane through a woodland, signed lower left, oil on canvas, 14” x 21”; and a companion picture of a heathland lane (2)

222

5GEORGE

£200-400

£300-600

MELVIN RENNIE (1874-1953) ‘Skye The Coullins from Elgol’, signed lower right, titled and signed verso, oil on canvas, 12” x 18”

223 ERNEST CHARLES WALBOURN (1872-1927) ‘A Dorset Village’ (Wareham), signed with artist’s stamp lower right, oil on panel, 10½” x 14½”

219 EUGENE BOUCHE, 19th century Fishing vessels off a Mediterranean coastline, a pair, signed lower left, oil on canvas, 13½” x 24” (2)

Provenance: Private collection, Oxfordshire.

Provenance: The collection of the artist

£400-600

Private collection, Dorset

£400-600

220 ENGLISH SCHOOL, 19th century A rocky coastline with waves breaking, oil on canvas, 28” x 50”

224 ALBERT ABRAM GITTLESON (fl. 1911-1940) ‘North Berwick’ and ‘The Stream Stewarton’, each signed, dated and titled, oil on canvas, 12” x 15” (2)

£200-300

£600-800

Lot 225

225 HERBERT NYE (fl.1885-1927) ‘INDIA TIGER HUNTING p.127”, signed lower right and titled lower left, oil on canvas, 58” x 75”, in a gilt frame with leaf moulded borders

226 HERBERT NYE (fl. 1885-1927) “INDIA TIGER HUNTING p.127”, signed lower right and titled lower left, oil on canvas, 58” x 75” £500-1,000

£500-1,000 Lot 226

Lot 227

228 FRANCESC HERNANDEZ MONJO (1862-1937) A figure beside a building on a tree-lined lane, signed lower left, oil on canvas, 22½” x 35”

227 FOLLOWER OF CLAUDE MONET (1840-1926) ‘Pont de l’Arche Seine, France’, signed lower left, oil on canvas, 20” x 30”

Provenance: Private collection, London. Owned by the same family since the mid-20th century.

£300-600

Lot 228

£300-600

229 LIONEL PERCY SMYTHE (1839-1918) Haymaking, signed lower left and dated 1909, oil on canvas.

Provenance: Private collection, North Dorset.

ÂŁ2,500-3,500

Lot 230

230

5CONSTANT

Provenance: Private collection, Sussex.

£800-1,600

231 5FRANCIS EDWARD COLTHURST (1874-1945) ‘The Post Office, Itchen Stoke, Hampshire’, signed lower right and also signed and titled verso, oil on board, 10” x 14”

ARTZ (1870-1951) A duck and ducklings on a river bank, signed lower left, oil on panel, 9½” x 11½”

Lot 231

£200-400

Lot 232

232 FRIEDRICH KONIG (1857-1941) A pair of Austrian alpine landscape scenes, one with buildings amongst trees, the other of a distant vista, oil on canvas board, Rudolph Bauer of Vienna labels verso, 10½” x 10½” (2)

£1,000-2,000

Lot 233

233

5CHARLES

Provenance: Private collection, West Dorset.

£800-1600

CUNDALL (1890-1971) ‘The Thames near Lechlade’, signed lower left and with old label verso, oil on canvas, 14” x 21”, in a period painted foliate frame.

234 FOLLOWER OF JEAN BAPTISTE CAMILLE COROT (1796-1875) ‘Le Matin dans la Foret de Fontainebleu’, signed lower left, oil on board, 11½” x 15”, in a giltwood and gesso frame

Provenance: Mrs E.G. Redmond (1901-2013), and thence by descent.

£500-1,000

234A J OHN FREDERICK HERRING SR. (1795-1865) A goose and goslings in a landscape, signed lower right and dated 1855, oil on panel, 9¾” x 12”, in an ornate giltwood and gesso frame

Provenance: Christie’s, London, 11th June 2004, lot 70.

£6,000-10,000

Lot 235

235 5CHRISTOPHER PERKINS (1891-1968) ‘Morning in Venice’, signed with initials lower right, oil on board, 14½” x 18½”

236 5CHARLES CHURCH (b.1970) A bay thoroughbred in a stable, signed lower left, oil on canvas, 13” x 16”

Exhibited: The Royal Institute of Oil Painters, 1956.

Provenance: Private collection, North Dorset.

Provenance: Private collection, Dorset.

£1,000-2,000

£400-800 Lot 236

237

5BERNARD

Bernard Gribble was one of the foremost maritime painters of his day. He exhibited at the Royal Academy and the Paris Salon and his works were collected by Franklin D. Roosevelt, Queen Mary, Jackie Onassis and others. The current work was probably painted during the inter-war period after the artist settled in the area.

Provenance: Private collection, East Dorset.

£6,000-8,000

FINEGAN GRIBBLE (1873-1962) Poole Quay on a busy day with boats and figures, signed lower left, oil on panel, 24” x 32”

Lot 238

238

5GUSTAV

CARIOT (1872-1950) A figure walking beside buildings with hills beyond, signed lower left and dated 1950, oil on canvas board, 12½” x 17½”

239

CARIOT (1872-1950) A field of haystacks, signed lower left and dated 1949, oil on canvas board, 13” x 22”

Provenance: Private collection, West Dorset

Provenance: Private collection, West Dorset.

5GUSTAVE

£500-1,000

£500-1,000 Lot 239

Lot 240

240

5GUSTAVE

CARIOT (1872-1950) A courtyard garden, signed lower left and dated 1944, oil on board, 11” x 17”

241

5CHARLES

Provenance: Private collection, West Dorset.

Provenance: Private collection, East Dorset

£500-1,000

£400-800

Lot 241

MURRAY (1894-1954) A still life of flowers and fruit, signed lower right, oil on board, 15½” x 17½”

Lot 242A

242 ENGLISH SCHOOL, early 20th century A portrait of Roland Burke Williams (1887-1916), killed in action during the First World War, inscribed verso, oil on canvas, 30” x 25”

243 HERBERT JAMES DRAPER (1864-1920) A portrait of a lady seated, wearing a star-burst diamond necklace and holding a feather fan in her right hand, signed lower left, oil on canvas, 49” x 33”, in a gilt foliate frame

£300-600

242A P HILIP WILSON STEER (1860-1942) A girl on a seat, signed with initials lower left, oil on panel, 8½” x 6¼”

Provenance: With Roland, Browse & Delbanco, London.

Mrs Holden-White of Lowndes Square, London

Mrs Donald Fraser, and thence by descent

£300-600 78

Provenance: Private collection, North Dorset.

£5,000-10,000

Lot 243

244

5ERNEST

The model of St George and The Dragon appears to have been added to this work sometime after its initial creation. It’s presence has several possible layers of symbolic meaning. Firstly, it may represent the Allied victory of good over evil during World War II. In addition, as St George is the patron saint of Moscow, it may be emblematic of the alliance between Britain and Russian at the time. It may also have been added to celebrate Elizabeth II’s Coronation in 1953. Finally, the presence of St George and The Dragon could allude to the Great George insignia given by Queen Anne to John Churchill, Ist Duke of Marlborough, to celebrate his victory at the Battle of Blenheim.

This portrait is illustrated opposite page 1 of The Victory Book, published by Odhams Press Ltd to commemorate the Allied victory in World War II. A copy of this publication is included with this lot.

WALLCOUSINS (1883-1976) A three-quarter portrait of Sir Winston Churchill (18741965), wearing a bow tie and standing before a table displaying St. George slaying The Dragon, oil on canvas, 54” x 35”

Provenance: Private collection, London.

£10,000-15,000

245 MANNER OF JOHN BRATBY (1928-1992) A boy seated on a wall, oil on canvas board, 14” x 10”

Lot 245

£200-400

246 ANGLO-IRISH SCHOOL, 20th century ‘Dublin Boys’, signed with initials verso ‘P.P.’, oil on canvas, 32” x 21½”

£500-1,000

247

5MARY

£400-800

Lot 246

Lot 247

ADSHEAD (1904-1995) A study of a manor house with a viaduct beyond, thought to be New Mills House, Ledbury, inscribed and signed verso, oil on canvas board, 17” x 17”

248

5DONALD

MCINTYRE (1923-2009) ‘Mussel Boats, Bangor’, signed lower right, original artists and exhibition labels verso, oil on board, 16” x 20”

Provenance: Private collection, Somerset. Exhibited: The Royal Society of Marine Artists Exhibition, Earls Court, London 1967.

£3,000-6,000

Lot 249

249 KHANNA (Indian, 20th century) An abstract block study in polychrome, signed lower right, oil on board, 20” x 25”

251

5JOHN

Provenance: Private collection, East Dorset.

£100-200

£800-1,500

250

5IRENE

WEBSTER, 20th century ‘Early morning Grand Harbour, Malta’, signed lower right, oil on board, 18” x 24”

252 GURIN (UKRAINIAN) 20th century Two boys fishing on a pier with boats and sea beyond, signed lower right, oil on canvas, 27” x 31”

LESLEY MAIN (b.1959) ‘Yellow Umbrella’, signed lower left, oil on board, 5” x 5”

£100-200 Lot 252

£200-400

253

5MANOLIS

CALLIYANNIS (1916-2010) A bust-length study of a young lady, signed lower right, old label verso, oil on canvas, 31½” x 25½”

Lot 253

Provenance: With The Mayor Gallery, London.

Private collection, West Dorset.

£500-1,000

254

5RUSKIN

The sitter of this portrait is identified in the letter attached to the back of the painting as a regular at the Cross Keys and the Carpenters Arms in London W6. He was, at the time, a film stand-in for Telly Savalas.

SPEAR (1911-1990) ‘Sid Head’, signed and titled verso, oil on board, 24” x 20”

Lot 254

£800-1,500

255 ATTRIBUTED TO TOM KEATING (1917-1984) Rembrandt in his studio painting his brother, the ghost of his dead wife behind him, oil on canvas, 36” x 48”

Lot 255

£500-1,000

256 FREDERICK STUART RICHARDSON (1855-1934) A still life study of roses in a pottery jug, signed lower left, artist’s label verso, oil on canvas, 24” x 20”

Lot 256

£200-400

257 GERMAN/DUTCH SCHOOL, 20th century A peasant lighting a pipe beside a fire in a rustic interior, old inscribed label verso dated 1914, oil on canvas, 35½” x 43½”

Lot 257

£300-500

Lot 258

258

5ARTHUR

£250-450

259 JAMES AUMONIER (1832-1911) Sheep in a landscape, signed lower left, oil on canvas, 13½” x 19”

FRIEDENSON (1872-1955) Ponies in a landscape, signed and dated lower left, oil on panel, 13” x 16”

£150-250

260 MARJORIE M. INCLEDON (b.1891) ‘Autumn Tangle’, old labels verso, oil on canvas, 18” x 24”

£100-200

Lot 261

261

5SVEN

263

BERLIN (1911-2000) ‘The Drunken Poet’, signed lower left and dated ‘87, also signed, dated and titled verso, oil on board, 24” x 36”

£1,000-2,000

262

5SVEN

BERLIN (1911-2000) Stag and Deer in a landscape, signed lower right and dated ‘92, oil on board, 20” x 25”

£1,000-2,000

264

5SVEN

BERLIN (1911-2000) Gypsy man, signed lower left and dated ‘94, oil on board, 16” x 12”

Provenance: The Estate of the artist

Provenance: The Estate of the artist.

BERLIN (1911-2000) Still life of flowers, signed lower right and dated ‘69, oil on board, 36” x 24”

Provenance: The Estate of the artist

5SVEN

£800-1,500

£500-800

264A STEPHANIE HURST (20th century) ‘Sunrise, Weymouth Bay’, oil on board, 5” x 6¼”

£80-150

265

5REG

GAMMON (1894-1997) ‘Evening in Connemara’, exhibition label verso, signed lower left, oil on board, 24” x 28”

Provenance: Private collection, Castle Cary, Somerset.

£1,500-2,500

266

5SIR

MATTHEW SMITH (1879-1959) A still life of pears and other fruit on a table beside a sculpture of a dancer, signed with initials lower right, oil on canvas, 36” x 25½”

Provenance: The collection of the Countess of Darnley, purchased in the 1930’s (possibly from The Lefevre Gallery), and thence by descent.

£20,000-40,000

267

5SIR

Literature: Keith Bell, ‘Stanley Spencer A Complete Catalogue of the Paintings’, London 1992, no. 69, p. 403, illustrated p. 324.

Spencer almost certainly painted this work while he was staying at Cornerways, around 1920. This was the family home of the Slessers. The sitter, Phyllis Grant, was the sister-in-law of Lady Slesser.

STANLEY SPENCER (1891-1959) ‘Portrait of Mrs C.P. Grant’, painted circa 1920-21, oil on canvas, 17” x 13”

Provenance: The sitter, and by descent.

Christie’s, London King Street, 6th June 2003, Lot 50.

Private collection, East Dorset.

£100,000-140,000

Detail

268

5SIR

“Potato Patch, Rostrevor”, 1952 “inscribed on a label on the reverse oil on canvas 20”x24” Provenance: Arthur Tooth & Sons Limited 31 Bruton Street London W1 (No. 282) purchased the 6th November 1952 for £170 (a copy of the original invoice available for inspection)

Provenance:

R. Colin Smith, 1952

Private Collection, London

STANLEY SPENCER (1891-1959) ‘Potato Patch, Rostrevor’, 1952, oil on canvas, 20” x 24”

Literature: Keith Bell – “Stanley Spencer – a complete catalogue of the paintings”, page 495, no. 371 (illustrated)

This work comes from a select group of mature landscapes with trees painted by the artist in the early 1950’s. It may be compared to ‘Shillington’s House, Whitehouse’ painted in 1951 and illustrated in the catalogue of The Royal Academy Exhibition in 1980, no. 258, page 213. This work was painted by the Spencer whilst visiting his brother and staying at the home of his friends, Stevenson’s, in Rostrevor.

£200,000-400,000

FOSSILS

300 A SECTION OF STROMATOLITE on a perspex base, circa 2.5 billion years old, 8½” x 10”. See illustration

306 A POLISHED SPHERE OF FOSSILISED WOOD, 3” wide, on a contemporary stand

£80-150

301 A FOSSIL AMMONITE, the ammonite cut in half and polished to reveal numerous chambers, possibly Moroccan, circa 150 million years old, 10” wide

307 A LARGE POLISHED SPHERICAL AMETHYST BALL, 3” wide, on a contemporary stand

£80-150

£500-700

£140-180

305 A FOSSIL EUHOPLOCERAS, MODESTUM, Inferior Oolite, Squezi Zone, purportedly from Sandford Lane in Dorset

£50-100

310 A COLLECTION OF SEVEN CUT AND POLISHED AMMONITES including examples from the Jurassic Junction Bed, 5” and smaller (7)

304 A POLISHED FOSSIL AMMONITE from the Jurassic Junction Bed, 185 million years old, 10” wide

£150-250

309 A COLLECTION OF SEVEN POLISHED AMMONITES including an Echioceras, Lower Jurassic, from Lyme Regis, Dorset (7)

303 DINOSAUR EGGS: A pair of fossilised Oviraptor eggs, 100 million years old, 7” long, and a reproduction Oviraptor egg and chick. See illustration

£80-150

308 A FOSSILISED SECTION OF SEA BED, lower Jurassic Period, from Burton Bradstock, Dorset, 9½” x 14”.

302 A FOSSIL AMMONITE, the ammonite cut in half and polished to reveal internal chambers, possibly Moroccan, circa 150 million years old, 10” wide

£60-80

£40-80

311 A COLLECTION OF ASSORTED FOSSILS including a cut and polished ammonite half, lower Cretaceous period, from Madagascar and other similar items (a lot)

£80-150

£60-80

Lot 300

Lot 303

Lot 160 99

Lot 312

312 A SEMI-AQUATIC FOSSIL REPTILE Keichousaurus Hui, Triassic Period, circa 210 million years old, from China, 7¾” x 11¾”. See illustration

316 A FOSSIL PROROSISPHINCLES MESERES, from the Parkinsoni Zone, Burton Bradstock, 8½” high

£80-150

317 A COLLECTION OF ASSORTED FOSSILS including ammonites, a Sea Urchin, shark tooth, wood and other similar specimens (9)

313 SPARE LOT 314 A DOUBLE AMMONITE GROUP including an Asteroceras Obtusum with carved tentacles, the group 6¾” x 9”

£150-250

£80-150

318 A COLLECTION OF FOSSILISED MONKEY PUZZLE CONES including examples from Patagonia, 100 million years old (7)

315 A FOSSIL OF A KEICHOUSAURUS HUI, 3½” x 7½”

£80-150

£140-180

£60-80 319 A COLLECTION OF FOSSILS including halved and polished ammonites, a quartz geode, Ichthyosaurus vertebra sections from Lyme Regis and others (2) 100

£40-80

320 A LARGE SECTION OF FOSSILISED SEA BED from Burton Bradstock, 180 million years old, 17½” x 12”.

£200-300

101

321 A LARGE SECTION OF FOSSILISED SEA BED from Burton Bradstock, 180 million years old, 17” x 12”

329 A SELECTION OF CUT AND POLISHED AMMONITES including an ammonite from Lyme Regis, 180 million years old (a lot)

£100-200

322 A SECTION OF POLISHED MALACHITE with an undulating surface, 7½” wide

330 A COLLECTION OF CUT AND POLISHED FOSSILISED AMMONITES (7)

£70-90

323 A FOSSILISED AMMONITE “MULTI BLOCK” ARNIOCERAS, Jurassic Period, from Humberside, 7” x 6½” See illustration

£40-80

324 A FOSSILISED SECTION OF STROMATOLITE, 8” wide, circa 2.5 billion years old £40-80

£180-250

327 A FOSSILISED MAMMOTH TOOTH, a fossil of a Crinoid plant form, 300 million years old and other similar items (a lot)

£60-80

335 A COLLECTION OF ASSORTED FOSSILS including cut and polished ammonites, belemnites and similar fossils, many local

£80-150

328 A QUANTITY OF FOSSILS including a polished ammonite from Burton Bradstock, 190 million years old, 4½” wide, a section of fossilised wood with unusual wormholes and a collection of similar fossils (a lot)

£80-150

334 A POLISHED FOSSIL AMMONITE 190 million years old, 6” wide

£50-80

333 A FOSSILISED SECTION OF A FISH TAIL, 8”, a similar brittle star Ophiuroidae Ordovician fossil, a quartz geode and other similar items (a lot)

£80-150

326 A SPLIT TWO-PART PERCIFORM FISH TYPE FOSSIL, Cretaceous period, from Lebanon, 4¼” wide, a quantity of belemnites, two reproduction dinosaur skulls and other items (a lot)

£40-80

332 A COLLECTION OF ASSORTED FOSSILS including belemnites, ammonites, cut and polished stalactites and other similar items (a lot)

325 A FOSSIL: EMILEIA BROCCHI Jurassic period, Dorset

£40-80

331 A FOSSILISED SEPTARIAN SECTION, circa 190 million years old, 13½” wide, and a fossil containing graptolites tetragraptus, circa 400 million years old, from Abavaidy, South Wales, 4½” wide (2)

£40-60

£70-90

336 A COLLECTION OF NINE CUT AND POLISHED BELEMNITES, circa 190 million years old, from Lyme Regis, and a collection of polished ammonites from Morocco (a lot)

£80-150

102

£40-890

Lot 323

337 A COLLECTION OF FIVE HARDSTONE “EGGS” (5)

342 A SINGLE LARGE AMMONITE and two similar ammonite sections, the largest 18” wide, all Jurassic Coast (3)

£40-80

338 A COLLECTION OF ASSORTED FOSSILS including ammonites, belemnites and other similar items

343 THREE AMMONITES, the largest broken, 20” wide, all Jurassic Coast (3)

£30-50

£40-80

£50-100

£80-150

346 A SET OF FIVE LIGHT OAK SHELVES, each with moulded cornices above straight sides accommodating adjustable plate glass shelves, on bracket feet, each 74” x 35”

341 THREE AMMONITES, the largest 13” wide, all Jurassic Coast (3)

£80-150

345 A LARGE COLLECTION OF STONES containing fossils for cutting and polishing, from the Charmouth and Lyme Regis sections of the Jurassic Coast (a lot)

340 A COLLECTION OF BOOKS on fossils, fossil collecting and similar subjects, including H.H. Swinnerton “Fossils”, Bloomsbury Books 1973, and other similar fossil books, and a small quantity of plastic ammonites and similar items (a lot)

£150-250

344 A LARGE COLLECTION OF STONES CONTAINING FOSSILS for cutting and polishing, all from the Charmouth and Lyme Regis section of the Jurassic Coast (a lot)

339 A COLLECTION OF BOOKS on dinosaurs and fossils, including Carroll Lane Fenton and Mildred Adams Fenton “The Fossil Book” Doubleday, 1958, and other similar volumes (a lot)

£100-200

£80-150

103

£200-400

BOOKS AND MANUSCRIPTS 350 BILIBIN, IVAN (1876-1942 ILLUSTRATOR): A set of five Russian childrens books, all with gilt and coloured plates, by Ivan Bilibin, published 1901, 1902 and 1903. See illustration

356 WILLIAM WHISTON, M.A.: Four Volumes of “The Genuine Works of Flavius Josephus, The Jewish Historian”, translated from the original Greek, according to Havercamp’s Accurate Edition, printed for D. Brown, 1755 (4)

£300-600

351 RUDYARD KIPLING: “A Song of the English”, with illustrations by W. Heath Robinson, and two copies of “The Maltese Cat” by Rudyard Kipling, illustrated by Lionel Edwards (3)

357 C. H. GIFFORD, ESQ.: “History of The Wars Occasioned by the French Revolution, from the Commencement of Hostilities in 1792, to the end of the year 1816”, 2vols, printed and published by W. Lewis, St. John’s Square, London 1817 (2)

£50-100

352 J. OTHO PAGET: “Hunting”, The Haden Hall Library, edited by the Marquis of Granby and Mr George A.B. Dewar, “150 copies of this edition have been printed on hand made paper for England and America, of which this is no. 36”, 1900, and two other books, “Hounds” by T. Ivester Lloyd, and “The Sport of our Ancestors” edited by Lord Willoughby DDE Brooke” (3)

£50-100

£80-120

359 JAMES MACKNIGHT, D.D.: “A New Literal Translation from the Original Greek, of all the Apostolical Epistles”, 1821, 4 vols, and “Sermons” by Hugh Blair D.D.F.R.F.ED, 1818, 5 vols, (9)

£50-100

360 WILLIAM JAGGARD: “A Catalogue of The Kings of England Ever Since it was so Called”, printed by William Jaggard 1610

£50-100

354 LIONEL EDWARDS: “A Sportsman Bag”, with an introduction by Crascredo, 1937, and a collection of similar hunting books (9)

£300-600

361 JOHN HUTCHINS M.A.: “The History and Antiquities of the County of Dorset”, 2vols, printed by W. Bowyer and J. Nicholls, London 1774

£50-100 355 JOHN TALBOT DILLON, ESQ. B.S.R.E.: “Historical and Critical Memoirs of the General Revolution in France, in the year 1789”, printed at the Topographic Press, London 1790.

£50-100

358 GEORGE ALLEN: “Ionica”, printed by Ballantyne Hanson & Co. London and Edinburgh 1891. Only 100 copies of this edition on handmade paper have been printed. This is no. 5.

353 LIONEL EDWARDS R.C.A. & HAROLD FRANK WALLACE: “Hunting and Stalking The Deer. The Pursuit of Red, Fallow and Roe Deer in England and Scotland”, published by Longmans, Green and Co. Ltd, 1930

£80-120

£800-1,600

104

£400-800

Lot 350

105

367 CAPTAIN A.T. MAHAN, D.C.L., LL.D.: “The Life of Nelson. The Embodiment of the Sea Power of Great Britain” 2vols., published Little Brown & Co. Boston 1897, and “Nelson and His Captains. Sketches of Famous Seamen” by W.H. Fitchett, B.A. LL.D. published by Smith, Elder, and Co., 15 Waterloo Place, London 1902 (3)

362 WILLIAM WORDSWORTH: “The Miscellaneous Poems”, 4 vols, printed for Longman, Hurst, Rees, Orme, and Brown, London 1820, “The White Doe of Rylstone” by Wordsworth, and “ Poems on Several Occasions” by Matthew Prior (6)

£80-120

363 NICH. CULPEPPER: “The English Physician Enlarged with Three Hundred and Sixty Nine Medicines, made of English Herbs”, printed for S. Ballard, R. Ware, S. Birt, C. Hitch, L. Hawes and J. Hodges, 1752

368 ALFRED POPE: “The Old Stone Crosses of Dorset”, illustrated with numerous plates and a key map of the county, printed at the Cheswick Press, and sold by Henry Ling, Dorchester 1906

£50-100

364 R.O. L’ESTRANGE: “Twenty Select Colloquies, Out of Erasmus Roterodamus, Pleasantly Representing Several Superstitious Levities that were Crept Into the Church of Rome in His Days”, printed by Theo. Newcombe, for Henry Brome at The Gun in St. Paul’s Church-yard 1680

£50-100

369 JOHN AUBREY’S: “Monumenta Britannica” parts one and two, edited by John Fowles and Annotator Rodney Legg, published at the Dorset Publishing Co. Knock-na-cre Milborne Port, Sherborne, Dorset 1980, including part three and index, published 1982 (2)

£50-100

365 CHARLES DICKENS: “Little Dorrit”, printed by Bradbury and Evans, 11, Bouverie Street, London 1857, and “Pickwick Papers”, 1837, and “The Mystery of Edwin Drood”, 1870 (3)

£80-160

370 BENJAMIN BRITTEN: A signed letter to Victor from Benjamin Britten addressed Crabbe Street, Aldeburgh, dated February 23rd 1950, “Dear Victor, Please forgive this much delayed reply to your letter - letter writing gets very neglected with me, and this is only being scribbled off on an off-moment, the middle of a Scottish tour! ...”, signed Ben. Including two other letters, three cards and a book “Benjamin Britten Pictures From a Life 1913-1976” compiled by Donald Mitchell and John Evans, published by Faber and Faber, London and Boston (a lot)

£100-200

366 HER MAJESTY’S STATIONERY OFFICE: “Royal Commission on Historical Monuments England. An Inventory of the Historical Monuments in Dorset. Volume One West”, published 1952., “Volume Two South-East Dorset” in three parts, published 1970. “Volume Three Central Dorset” in two parts, published 1970. “Volume Four North Dorset” published 1972, and “Volume Five East Dorset” published 1975 (8)

£200-400

371 GLADSTONE: A postcard album with original drawings including one pencil sketch of Gladstone, autographed to the side “I remain your very faithful Gladstone”

£80-160

106

£100-200

Lot 372

372 THE BEATLES: Autographs in an autograph book containing all four Beatles: Ringo, John, Paul and George, Helen Shapiro, Frank Ifield, The Springfields/Mike and Dusty, Billy J Kremer, The Dakotas, Cliff Richards, Roy Orbison, Freddie and the Dreamers, The Searchers, The Shadows and many more. All autographs were acquired at the Winter Gardens in Bournemouth in the early 1960â&#x20AC;&#x2122;s. See illustration

ÂŁ800-1,500

107

Lot 376

373 BERNARD SHAW: A photographic portrait of Bernard Shaw, the reverse with a label stating “Cabinet Portrait of Bernard Shaw” photographed by W & D. Downey 1891, 5½” x 3½”

376 THOMAS HARDY: A TYPED LETTER, typed on Max Gate, Dorchester headed paper, dated 28th September 1923 ‘Dear Sir, I appreciated the request you make in your letter of 26th. Unfortunately, I am compelled to reply that it is quite beyond my physical powers nowadays to read and estimate the respective merits of any pieces of modern fiction by young writers, as adjudicator of the magazine prize, even supposing I were capable in other ways. I trust you may discover a fit person for the decision, and am, yours truly’ signed in ink, T Hardy, to include a photograph of Thomas Hardy (2)

£100-200

374 A MOUNTED AND FRAMED PHOTOGRAPH OF A BURQUA, titled to the mount “The Burqua of the Pathan Frontier”, 11” x 8”

£250-450

£40-80

375 LAMORNA BIRCH: TEN LAMORNA HANDICRAFTS POSTCARDS, with views of the Lamorna Valley, all signed by Lamorna Birch (10)

377 A CHINESE GOVERNMENT BOND FOR ONE HUNDRED POUNDS, print no. 828214, dated 21st day of May 1913, 17½” x 12½”

Provenance: A gift from the artist to the vendor

£50-100

£100-200

378 A LETTER, SIGNED BY KING OF SIAM, to King Mongkut discussing tactics "... There is other Siamese Ambassy intent to be sent for the Count of His Imperial Majesty Napolean III the Emporer of France.... This from your... King of Siam 2294 days ago... 24th August 1857". Sepia ink with numerous red printed seals, further letter and signature, verso. 108

£300-600

WORK S OF ART

Lot 400A 109

379 TWO TURNED MARBLE SPHERES, believed to be souvenirs of the eruption of Krakatoa in 1883, 4” wide

385 H M S ASSOCIATION: A collection of seven variously shaped and worn Spanish or South American reales, in a fitted display case

Provenance: G.W. Hills who served aboard S S Glenfruin, and thence by descent in the family

Provenance: These are part of lot 152 in Sotheby’s sale of “Further Treasurers Recovered from the site of HMS Association”, London, 28th January 1970.

£50-100

HMS Association struck the Gilstone Reef at approximately 8.20pm on October 21st 1707 when due to severe weather its position at sea had been mistakenly charted. The ship sank ‘within minutes’ with no survivors, four other vessels, the Romney, Eagle, Firebrand and Pheonix also floundered in the same storm. This lot also includes a copy of the Sotheby’s catalogue for the auction.

£100-200

380 A REGENCY LACQUER-WORK TRAY of elongated rectangular form with a raised border painted in gilt with vine leaves and grapes, the border with pierced carrying handles, 29” wide

£200-400

381 A VICTORIAN TOLE WARE TRAY of rectangular form with rounded corners and a raised border, painted with flowering foliage and butterflies, 30” wide

386 TRIBAL ART: A COCONUT SHREDDER in the form of an Iguana, with a metal scraping tool and carved wooden body, possibly Pacific Islands, 31” long See Illustration

£200-400

382 A MINIATURE GEORGE III STYLE BUREAU, with all over painted effect decoration, the sloping fall painted with crossed quivers of arrows beneath ribbons, within a satinwood border, all above four short graduated drawers with conforming painted decoration and brass handles, on an open plinth base, 7” wide

387 TRIBAL ART: A KNOBKERRIE TYPE WEAPON with turned terminal, possibly African, 33” long

£100-200

£400-800

389 A TWIN BLADED WOODEN PROPELLER, stamped ‘Ebora Propeller, type 29A. no. 951.50H.P.Gnome’, 93”

£100-200

384 A VICTORIAN STYLE THREE DIMENSIONAL COACHING PICTURE, with a stagecoach and horses in a street scene, constructed on several layers of glass, 3¾” x 5”

£50-80

388 A SET OF TWELVE IVORY BILLIARD BALLS, some stained, one red, 2” wide (12)

383 A VICTORIAN LEATHER BOUND AND GILT METAL FITTED TRAVELLING CASE, by Halstaff & Hannaford, Manufacturers, 2-8 Regent Street, London, fitted with twin inkwells, writing slope and stationery compartments, 16” wide

£200-400

The Gnome 7 Omega, known as the Gnome 50HP, is a French seven cylinder air cooled Aero Engine that was first shown at the Paris Aero Salon in December 1908 and was the first rotary engine produced in quantity.

£500-1,000

£50-100 390 SPARE LOT

110

Lot 386

111

391 A NEEDLEWORK PANEL worked with ribbon tied flowers and foliage against a red ground, 88" x 60"

397 A GROUP OF THREE SMALL BRONZE SCULPTURES, each of two stylised figures with small heads and simplified bodies, with stamped marks ‘Nijo 3/4EA.’, 7½” high and smaller (3)

£50-100

392 AN 18TH CENTURY NEEDLEWORK PELMET with tassels

398 CHARLES PAILLET, (1871-1937): A CAST BRONZE STUDY OF TWO YOUNG BEARS surprised by a frog, on a naturalistic base, with cast signature and no. 3504, 11” high. See illustration

£100-200

393 AN EARLY 18TH CENTURY TAPESTRY PANEL worked with central flowers within a cartouche and further flowers, 50" x 63"

£150-300

£2,000-4,000

£200-400

400 AFTER MENE: A STAG BY A TREE, a cast bronze sculpture mounted as a table lamp with cast mark, ‘Falkirk, for the Falkirk Foundry’, 14” wide

£200-400

400A 5 SVEN BERLIN (1911-2000) “Oriental Girl”, cast bronze on a wooden plinth, the bronze 8½” high. See illustration on page 109

£50-100

£40-80

396A A CAST BRONZE WALL PLAQUE, in the form of a stags head on a cartouche, 14" long

396 A VICTORIAN COPPER CHESTNUT ROASTER, with four raised uprights and a broad tray with raised border, 7½” wide

Provenance: Private Collection, Wiltshire

£100-200

395 A PAIR OF BRASS AND COPPER CACHE POTS by Head & Co, of straight sided tapering form with indented corners and carrying handles on small animal paw feet, 11” wide (2)

399 GRACE CRITCHLEY: “Leaping Salmon”, a cast bronze sculpture of a leaping fish on a bed of yellow quartz, with applied signature, 9” wide

394 A BRONZE SCULPTURE of a warrior, withdrawing his sword, the base cast "HONOR PATRIA", 15½" High

£50-100

£80-160

112

Provenance: The estate of the artist

£1,000-2,000

Lot 398

113

Lot 402

Lot 403

401 R. POLLIN: AN ART DECO BRONZE SCULPTURE of a Parrot and Cockatoo perching on a branch, set on an etched glass base, the cast bronze with green patination, with stamped mark ‘Fonderie Cooperative des Artistes, Paris’, 25½” high x 18” wide. See illustration

405 A CIRCULAR PEWTER CHARGER with moulded rim, the reverse with various touch marks including “Baldwin”, 18th/19th century, 19½” wide

Provenance: Commissioned in the 1920's for a Grand Salon by decorator George Boisselier, Paris.

Private Collection, East Dorset

£5,000-10,000

402

406 A PAIR OF REGENCY ORMOLU AND BRONZE CANDLESTICKS with sconces supported on shaped bows, held aloft by winged cherubs, on column form bases, 13” high (2)

£200-400

407

5FRANZ

£200-400

5ANNE

SHINGLETON: ”Lotus Leaf ”: a cast bronze study of a Lily pad supported by three snails, and with a dragonfly and other insects, with cast signature to the underside ‘Shingleton 2/12 ‘99’, 16” wide. See illustration £800-1,600

£1,000-2,000

404

5LUCY

HAGENAUER A pair of brass sculptures of fox terriers, stamped to the reverse “Made in Austria, Franz, Hagenauer, Wien”, 10¾” high (2)

408 A PRIMITIVE SHEET METAL WEATHER VANE in the form of a running greyhound, gilt, 48”

403 MARION THYSSEN EDWARDS: ‘SERENITY’, A cast bronze bust of a naked woman looking over her right shoulder, 19” high, on a wooden plinth. See illustration

£80-150

£200-400 409 A CAST BRONZE BELL with cast foliate style decoration, possibly an Indian mission bell, 12” wide, suspended on a metal frame

POETT: ‘Going to the River’ a cast bronze resin sculpture of woman wearing a broad hat and carrying a basket driving six geese, on a naturalistic base, 20” wide

£200-400

114

£400-800

Lot 401

115

410

5MARY

The elm boards for this work were purchased from the Rempstone Estate.

SPENCER WATSON (1913-2006) “Bethlehem Nativity”, Mary and Joseph with the infant Jesus in a crib, two shepherds, an ox and an ass, 1997/8, elm, the tallest figure 92” high, the ox 92” wide. See illustration

Provenance: From the Estate of the artist. Exhibited: The work was exhibited at Dorset County Museum in 1998 and Wells Cathedral in 1999.

Literature: The work is exhibited on page 144 in situ at Wells Cathedral in “Mary Spencer Watson, Sculpture, Catalogue Raisonne”.

£5,000-10,000 116

411

5MARY

SPENCER WATSON (1913-2006): Onyx figure, 1975, 36½” high. See illustration

Provenance: Private collection, Castle Cary, Somerset. Exhibited: Dorset County Museum in 1976.

Literature: This work is illustrated on page 107 of “Mary Spencer Watson, Sculpture, Catalogue Raisonne”.

£3,000-6,000

412, 413 & 414 Spare Lots 117

ARMS AND MILITARIA

Lot 419

415 AN EARLY 19TH CENTURY FLINTLOCK PISTOL, the mechanism signed ‘Barwick’, with circular ended barrel with foliate engraved decoration, with a shaped walnut mount and shaped and engraved finger guard, 13¾”

418 AN EARLY 19TH CENTURY FLINTLOCK PISTOL with decorated browned barrel with various proof marks, on a walnut mount with elaborate pierced and cast mounts, possibly Spanish, 15½”

£500-800

419 A PAIR OF OFFICER’S FLINTLOCK PISTOLS, the mechanism signed ‘H. Knock’, the barrels indistinctly signed with elaborately engraved and decorated finger guard and mechanism, with cross-hatched, 12” long (2). See illustration

416 AN EARLY 19TH CENTURY FLINTLOCK PISTOL with long polished barrel and cross-hatched walnut grip, with brass mounts and two Arabic style motifs highlighted in gilt, possibly Dutch, 17”

£500-800

417 A BRASS FLINTLOCK PISTOL, signed ‘Bath & Pinkney, Bristol’ with a brass cannon type barrel and spring-mounted bayonet and side mounted ram-rod, 13¼”

£500-800

£2,000-3,000

420 A LONG BARRELLED MUZZLE LOADING PERCUSSION-CAP FOWLING GUN, with a Damascus barrel, signed ‘Carl Bros., Huddersfield’, the mechanism stamped ‘W. Wyatt’, 63½” long

£700-900

118

£700-900

Lot 424

421 A 19TH CENTURY PISTOL with revolving ‘over and under’ barrels and percussion-cap firing mechanism, with a finely cross-hatched handle and engraved mounts in a fitted case with accessories, the gun, 8” (2)

424 A JAPANESE KUNISDA, apparently circa 1868, with a cast tsuba and gilt decorated handle mount, in a lacquered scabbard, 40” long, on a later wooden stand. See illustration

£200-400

422 A FRENCH RIFLE, the mechanism with various stamped numbers and marks including, ‘Manufacture Imperiale, St Etienne, Mde. 1866 74’, the barrel numbered F21428, 46”

Provenance: Apparently purchased from Wallis & Wallis

£1,000-2,000

425 A GROUP OF THREE VICTORIAN MEDALS, awarded to Private A. A. G. Ward. R.A.M.C. 9867, comprising a Queens South Africa Medal with Cape Colony, Orange Free State, Transvaal and South Africa 1902 bars, a Queens Sudan Medal and a Khedive’s Sudan Medal, 1896-1908, and a Queens South Africa and Kings South Africa pair, awarded to Private A.J. Ward, 11069, RAMC, the Queen’s South Africa with Laing’s neck, Transvaal, relief of lady Smith and Tugela heights bars, the Kings South Africa with 1901 and 1902 bars, and a German Cross, dated 1914 (6)

£100-200 423 A LARGE CROSSBOW, the head stamped ‘W. Lauwers’, with brass fittings and steel bow, 60” long x 27” wide

£400-600

119

£400-800

426 A GROUP OF FOUR VICTORIAN NAVAL MEDALS, one named Fredr. Hy. Hodd, comprising a Naval General Service Medal with Syria Bar, a Baltic Medal, (unnamed), a Second China Medal with Canton 1857 Bar (unnamed) and a St. Jean d’Acre Medal (silver), in a small glazed display case

£1,500-3,000

120

LIEUTENANT F.ABBOTT A SET OF FOUR IMPORTANT AND HISTORIC VICTORIAN NAVAL MEDALS AND PERSONAL ARCHIVE

121

427 AN IMPORTANT AND HISTORIC SET OF FOUR VICTORIAN MEDALS

awarded to Lieutenant .F. Abbott R.N. comprising; An Indian General Service Medal with Perak Bar, A South Africa Medal with 1879 Bar, An Egypt Medal with 1882 dated reverse and a Khedive’s Star

The associated miniatures, and a larger quantity of related ephemera and family documentation to include letters to and from his parents, sketches, photographs, newspaper cuttings, hand written notes on various naval subjects, naval instructions and many other related items.

These fascinating journals include the necessary information of navigation and climate that would be important to a Naval officer, as well as personal reflections and reports of the day to day activities. These journals explain more thoroughly than any other source the day to day operation of the late Victorian Navy, details of taking on board coal, deaths of seaman in accidents, exercises with newly developed torpedos, playing croquet, dining ashore and the many other varied activities are all recorded in great detail.

Two photograph albums: containing numerous large format photographs of such subjects as landscape views, group photographs of ships companies for HMS Active, HMS Minotaur, ruins at Alexandria, ‘Bob’ the bear aboard ship, HMS Shah at anchor, the British residency at Bauda Bahru, the Ex – Sultan & Chiefs of Perak and many other similar subjects.

All contained in a seaman’s chest.

Four Journals: A private journal covering the period from January 1st 1874 – March 1875. A Journal and Remark book Covering the period 1874 – 1877, a similar journal from October 1877 – 1878 and another from January 1879 – 1882.

Provenance: The family of Thomas Francis Abbott and thence by descent.

122

Thomas Francis Abbott (1854 -1886)

One of seven children born to Admiral Jonas Archer Abbott and Mary Ellis Stevens, Abbott had a short but distinguished Naval career that saw him play a leading part in a number of historic actions, and brought him into contact with many important Victorian figures including Queen Victoria, the First Sea Lord Louis Battenberg, Lord Charles Beresford the Admiral of the Fleet and many others. Abbott seems to have seen almost uninterrupted service from the age of 13 visiting many varied countries and experiencing a huge variety of different cultures. Thomas Abbott joined HM Training Ship Britannia on 9th March 1867, he achieved the rank of Midshipman by 1869 and Sub Lieutenant by 1873. Abbott served on a large number of different ships that saw active service around the globe including HMS Modeste, Thistle, Shah, Cambridge, Alexandra and from 1884 as first Lieutenant aboard Her Majesties Yacht Victoria and Albert.

state ruler Sultan Abdullah. Relations deteriorated, and whilst Birch took a bath in a palm leaf clad hut, Malays surrounded the hut and thrust spears through the walls and Birch was killed. Further deaths ensued and it was only as a result of the endeavours of Abbot and his small force defending the residency against a number of attacks that the position was held and order was maintained.

Abbott saw service in a large number of different geographical regions including service with the Naval Brigade in Zululand, he visited Pitcairn Island at a time when Mrs Young, the second child born on the island to mutineers was still alive. Abbott goes into some detail of the life on Pitcairn in his journals. Abbot was involved in two particularly important actions during his career, the first whilst Sub Lieutenant aboard the Thistle when he accompanied James Birch, her Majesties commissioner, at Passir Sala, Malay Straits, in 1875 when Mr Birch was murdered. Birch, who is remembered as an abrupt and cantankerous man, had been sent to impose British authority on the young

In 1877, whilst aboard the ‘Shah’ as Lieutenant, Abbot was involved in the attack on the Peruvian ironclad ‘Huascar’, an action that seems to have been long and drawn out with many attempts by the Frigate to capture the ironclad. Abbott was given command of the Steam Pinnace, a handwritten memo amongst the papers in this lot record this instruction: ‘You are to take command of the Steam Pinnace in the Expedition tonight …. The intention is, if possible, to strike first with the Whitehead Torped ….or .. endeavour to blow her up with the outrigger torpedo.’ Abbot was consequently involved in one of the very first aggressive uses of a torpedo against another ship, and the action of a traditional craft against an ironclad marks a fascinating point in Naval history.

Abbott was buried at Brading on the Isle of Wight, his oak coffin was borne on a ‘Wellington funeral car’ followed by nine mourning coaches and private carriages, Queen Victoria sent a telegram of condolence as did the Prince of Wales. Both these telegrams are contained within this archive.

£3,000-5,000 428 & 429 Spare Lots 123

CLOCKS AND SCIENTIFIC INSTRUMENTS 433 A GEORGE III OAK LONGCASE CLOCK, the brass dial with silver chapter ring with central subsidiary seconds dial, the chapter ring flanked by pierced spandrels, the arch with dolphin spandrels and a figure of ‘Old Father Time’, with a two-train movement striking on a bell, the flat topped hood with turned columns and gilt fittings above a conforming trunk door, 88” high

Lot 432

£400-600

434 A GEORGE III OAK AND MAHOGANY CROSSBANDED LONGCASE CLOCK, the silvered dial signed ‘Saml. Olliver, Tonbridge’, with silvered chapter ring and subsidiary seconds dial and inner date dial, the arch with a strike/silent dial, the hood with arch top surmounted by three turned finials, with a tall trunk door with central shell inlay, on conforming base, with an eight-day two-train five pillar movement, striking on a bell, 88” high 430 A 19TH CENTURY FRENCH GILT METAL MANTEL CLOCK in an elaborate case mounted with blue Sevres style porcelain plaques with floral decoration, the circular dial flanked by a figure playing a flute, the clock with an eightday Japy-type movement, striking on a bell, the clock on a wooden stand beneath a glass dome, the clock 16” high, the dome, 22”. See illustration

435 A GEORGE III OAK LONGCASE CLOCK, the white painted dial signed “Geo. Smith, Huntly”, with Roman numerals, subsidiary seconds and date dial, the arch decorated with a spray of fruit, with an eight day two train movement striking on a bell, the hood with swanneck pediment, central eagle and ball finial, the trunk with a tall door, 86” high

£300-600

431 AN EARLY 19TH CENTURY BRACKET CLOCK, with a mahogany and brass inlaid case with a serpentine top above brass inlay and a broad circular white painted dial with Roman numerals, with an eight-day movement with broad outside count-wheel striking mechanism striking on three bells, the movement signed, Lenard, 15½” high, on an associated bracket See illustration

£300-600

£200-400

436 A LATE GEORGE III MAHOGANY LONGCASE CLOCK, the white painted dial with date aperture and subsidiary seconds dial, the chapter ring with Roman numerals, the spandrels and break arch with floral painted decoration, with an eight-day two-train movement striking on a bell, the hood with swan-neck pediment and twin turned fluted columns, the trunk with a tall door with ebonised stringing, 81” high

432 A REGENCY ROSEWOOD STICK BAROMETER, the ivory scale signed T.B. Winter, Grey Street, Newcastle on Tyne, with a mercury filled tube with twin markers, the case surmounted with a thermometer, 40” high See illustration

£800-1,500

£400-600

437 – 439 Spare Lots

124

Lot 430

Lot 431

125

RUGS AND CARPETS Lot 445

440 A NORTH WEST PERSIAN PRAYER RUG, the central blue rectangular panel worked with ochre stylised vases, within ‘tarantula’ outer borders and guards, 58” x 44”

444 A SMALL KELIM TYPE CARPET, with a central brick red rectangular panel, worked with green and multi-coloured floral central medallion and spandrels, within grey and black shaded floral pattern outer borders and guards, circa 140” x 110”

£50-100

441 A NORTH WEST TRIBAL PERSIAN RUG, the brick red ground with a central double pole medallion within multi-coloured running borders and guards, 72” x 48”

445 A TABRIZ TYPE RUG, with a dark blue and salmon pink field, central ivory and floral patterned medallion within Herati style outer borders and guards, 80” x 46”

£50-100

£100-200

£200-400

447 – 449 Spare Lots

443 A TEKKE BOKHARA KELIM, the madder ground worked with numerous multicoloured diamond lozenges within serrated leaf and key pattern outer borders and guards, circa 110” x 70”

£150-250

446 A KAZAK TYPE RUG, the aubergine ground with a central pale blue brown and ivory shaped medallion with hooked boteh outer borders and guards, 82” x 60”

442 A CAUCASIAN TRIBAL RUNNER, the central blue/green panel worked with numerous ivory and multi-coloured diamond quadrilaterals within Herati style outer borders and guards, circa 220” x 24” (def.)

£200-400

£100-200 126

ENGLISH AND CONTINENTAL FURNITURE

127

456 A SET OF 19TH CENTURY MAHOGANY POLE-FORM LIBRARY STEPS, the two halves opening to reveal seven circular treads, 92” high

450 A WILLIAM AND MARY “X”-FORM OPEN ARMCHAIR with upholstered back and seats with scrolling oak arm supports and shaped feet, late 17th/early 18th century.

£100-200

451 A REGENCY MAHOGANY OPEN ARMCHAIR FRAME IN THE MANNER OF GILLOWS with a reeded frame with downswept arms on baluster turned supports and conforming reeded legs, the frame pierced for canework. 24" wide.

457 A 19TH CENTURY FRENCH ROCOCO REVIVAL STOOL, with a square overstuffed seat on cabriole legs in a carved frieze, with all over gilt highlights and black background, 19” wide

£80-150

£200-400

£300-500

£200-400

461 A LATE GEORGE III MAHOGANY CARD TABLE, the rectangular top with rounded corners and satinwood crossbanding and ebonised stringing, above a similar ebony stung frieze on reeded tapering legs, 36” wide

£1,000-2,000

455 A GEORGE III MAHOGANY TIP-TOP TRIPOD TABLE, the top with a wavy border and raised edge, on a turned tapering column with leaf and blind-fret carving on three downswept cabriole legs with foliate carved knees and feet, 24½” wide, 18th century and later

£500-800

460 A PAIR OF GEORGE II MAHOGANY CHAIRS with baluster splats and drop-in seats on cabriole front legs joined by turned stretchers

454 A GEORGE II WALNUT SECRETAIRE CHEST ON CHEST, the upper section with a moulded cornice above two short and three long graduated drawers with brass handles with tulip engraved back plates, the lower section with a broad secretaire drawer, fitted with a central cupboard flanked by short drawers and pigeon holes, above two further graduated long drawers, on ogee bracket feet, 43” wide. See illustration

£600-800

459 A GEORGE III NORTH COUNTRY DRAWER FRONTED DRESSER BASE, the rectangular top with a rising surface with moulded border above two columns of a dummy drawer and three short graduated drawers, between square fronted reeded columns on ogee bracket feet, 69” wide

453 A GEORGE III MAHOGANY DRUM TABLE, the circular top with satinwood stringing above six bowfronted triangular shaped drawers with ring handles, the top rotating on a turned column and four downswept legs with brass cap castors, 18th century and later, 35½” wide

£150-250

458 A GEORGE III MAHOGANY AND BRASS BOUND HEXAGONAL WINE COOLER with broad brass banding and twin carrying handles, with a lead-lined interior, on a detachable base with moulded border and rectangular tapering legs, with small leather castors, 21” wide

452 A GEORGE III STYLE CABINET, the upper section with a moulded cornice above twin glazed doors with satinwood fronted glazing bars, enclosing a shelved interior, the lower section with conforming broad satinwood crossbanding above a central drawer flanked by twin pairs of short drawers with ring handles and square tapering legs with conforming stringing, 41” wide

£200-400

£300-600 128

£250-450

Lot 454 129

467 Spare Lot

462 A 19TH CENTURY CAMPHORWOOD TRAVELLING CHEST of rectangular form with a rising top with twin recessed handles and the ends with heavy brass carrying handles, fitted with three locks, 41” wide

468 A LOUIS XVI STYLE LADIES DRESSING TABLE, the three part top with a central rising mirror, flanked by twin lidded compartments, each with an arrangement of kingwood, rosewood and satinwood veneers, the front with a slide and two short drawers and conforming dummy drawers, on cabriole legs with gilt metal mounts, 29” wide

£200-400

463 LIBERTY & CO: A 1980’S MARBLE TOPPED DINING TABLE, the octagonal top with a moulded border on a central octagonal column, 51” wide

Provenance: Purchased by the vendor from Liberty’s, Regent Street in the 1980’s

469 A GEORGE III MAHOGANY CIRCULAR TOPPED ‘BIRD-CAGE’ TRIPOD TABLE, the circular top with a raised border on a four pillar birdcage movement, and a central turned tapering column with three downswept cabriole legs with pad feet, 24” wide

£200-400

464 A PAIR OF 19TH CENTURY MAHOGANY AND ASH READING TABLES, each with rectangular rising tops on square column supports with curved “X”-form bases and castors, 28” wide. See illustration

£800-1,500

£500-1,000

471 A PAIR OF EARLY VICTORIAN MAHOGANY HALL CHAIRS, with leaf-cartouche shaped backs above solid seats on octagonal tapering legs with turned feet, 35” high

£200-400

466 A POST WAR ITALIAN GLASS LIGHT FITTING, the twin light mount decorated with twenty one triform glass drops of varying lengths, some with pale yellow colouring, the drops 10”, 9” and 5½” long

£300-500

470 A WILLIAM IV ROSEWOOD DRESSING STOOL, the broad rectangular top on a moulded frame with leafcarved border on short carved cabriole legs with brass castors, 47” wide

465 A POST WAR ITALIAN GLASS WALL LIGHT, with a rectangular textured glass panel with five broad leafform glass appliques, 24” x22” wide

£200-400

£100-200

130

£100-200

Lot 464

131

478 A REGENCY ROSEWOOD WORK TABLE, the rectangular top with raised centre and beaded borders, with a lined interior, on a shaped square section column and platform base with scrolling feet, 16” wide

472 AN ORIENTAL IVORY AND INLAID OCCASIONAL TABLE, the circular top with a central scene of figures working in fields with trees and clouds above, within a decorative border of animals and foliage, on a carved and turned column and platform base with three scrolling downswept feet, 22” wide

£200-400

479 A GEORGE III MAHOGANY AND SATINWOOD CROSSBANDED “D”-SHAPED CARD TABLE, the shaped top with broad satinwood crossbanding, enclosing a baize-lined interior, above a satinwood banded frieze and square tapering legs with conforming stringing, 36” wide

473 A REGENCY MAHOGANY BOWFRONT CHEST OF DRAWERS with a caddy moulded top above four long graduated drawers with brass-ring handles with embossed foliate back plates, on splayed bracket feet, 36” wide

£180-250

£200-400

480 A GEORGE II STYLE MAHOGANY CARD TABLE, the rectangular top with projecting corners concealing a baize-lined interior with square candle stands, the base with elaborately carved cabriole front legs with leaf-carved knees and ball and claw feet, 38” wide

474 A PAIR OF LOUIS XVI STYLE UPHOLSTERED ARMCHAIRS, with dished backs with upholstered back and arm panels, within a moulded and foliate carved frame, over an overstuffed seat on a serpentine seat rail with short cabriole legs, 34” high

£400-600

482 A GEORGE III STYLE MAHOGANY GAINSBOROUGH TYPE ARMCHAIR, with a rectangular raised back and upholstered armrests, above downswept supports and an overstuffed seat, on square section legs with “H”-section stretcher, 38” high

£200-400

476 A LOUIS XVI STYLE BOWFRONT DISPLAY CABINET, the upper section with a shaped shelf with threequarter pierced gallery and drapery effect mounts, above a beveledged mirror and rouge marble top, the lower section with twin bowfront doors with all over gilt metal mounts, 58” high

£300-600

483 A GEORGE I WALNUT CHEST ON STAND, the upper section with a moulded cornice above two short and three long graduated drawers apparently retaining the original brass handles and escutcheons, the lower section with two short drawers and a further long drawer, on short cabriole legs, 40” wide. See illustration

£700-900

477 A WILLIAM IV PIANO STOOL with a circular revolving top and a bulbous turned column and three downswept cabriole legs with leaf-carved knees, the seat 12” wide

£300-500

481 SPARE LOT

475 A 19TH CENTURY FRENCH LOUIS XIV STYLE WALNUT AND CANED ARMCHAIR, the shaped back with a serpentine top rail and cane panel, with twin leather clad arm supports with leaf-carved terminals, above upholstered seat on cabriole legs with wavy “X”-form stretcher, 42½” high

£100-200

£80-150

132

£1,500-3,000

Lot 483

133

484 A PAIR OF GEORGE III MAHOGANY DINING CHAIRS, each with serpentine top rails above pierced splats and broad overstuffed seats on cabriole legs (2)

490 A REGENCY MAHOGANY TWIN PILLAR DINING TABLE, the rectangular top with rounded ends and two removable leaves, on twin turned columns, each with three downswept legs and brass cap castors, basically 19th century, 89” wide

£100-200

485 A PAIR OF EARLY VICTORIAN HALL CHAIRS, with pierced and carved backs above tapering solid seats on turned legs, 35” high (2)

491 AN EDWARDIAN MAHOGANY EMPIRE STYLE ARMCHAIR with an upholstered back and seats within a carved reeded and fluted frame with leaf-carved arm supports, on short tapering fluted legs, 38” high

£150-250

486 A VICTORIAN STYLE ‘OVER-SIZED’ ROCKING HORSE, the horse a dapple grey with long brown mane and fitted saddle and harness, on a stained pine base with tapering hexagonal columns, 56” high x 72” wide

£800-1,500

£300-500

£250-450

494 A REGENCY ROSEWOOD STOOL with cross-over frame, 16" wide

£200-300

489 A SET OF EIGHT REGENCY MAHOGANY BAR-BACK DINING CHAIRS, comprising twin armchairs with broad bar-backs above foliate carved crossrails, each with scrolling arm supports, above overstuffed seats on sabre front legs (8)

£400-600

493 A GEORGE III MAHOGANY BOWFRONT SIDEBOARD, the shaped top with satinwood crossbanding above a bowfronted drawer with brass ring-handles, flanked by twin deep drawers with circular stringing and conforming crossbanding, on tapering legs with spade feet, 60” wide

488 A VICTORIAN WALNUT CENTRE TABLE, the rectangular top with a moulded border and broad crossbanding, above a frieze with twin flush fitting drawers, on trestle end supports with leaf-carved decoration and downswept cabriole legs, 53” wide

£150-250

492 A GEORGE III STYLE MAHOGANY OPEN FRONTED BOOKCASE with a rectangular top with moulded border above six adjustable shelves between fluted uprights, on short bracket feet, 60” wide

487 A CONTINENTAL WARDROBE with a shaped top with moulded border above twin panelled doors with arch panels and applied decoration in the form of vases of flowers, with all over blue detailing against a cream ground, 79” high x 44” wide

£500-1,000

£80-150

495 A GEORGE II STYLE MAHOGANY STOOL with a rectangular upholstered seat, acanthus carved cabriole legs terminating in claw and ball feet, 38" wide

£300-600

134

£300-500

496 A VICTORIAN MAHOGANY AND STAINED PINE BUTTERFLY COLLECTOR’S CABINET by Watkins & Doncaster, Cabinet Makers & Naturalists, 36 Strand, London, WC, with twin doors with arched topped glazed panels, enclosing an interior fitted with forty short drawers with glass tops, many containing butterfly specimens, the cabinet on a plinth base, 53” high, 39” wide. See illustration

Provenance: Private collection, Hampshire

£1,000-2,000

135

497 A PRIMITIVE STOOL with a rectangular top on splayed legs, 19th century and later, 13¾” wide

503 A SET OF FOUR LOUIS XVI STYLE GILT METAL TWO BRANCH WALL LIGHTS with neo-classical urn supports, 13½” high

£50-100

498 A VICTORIAN MAHOGANY EXTENDING DINING TABLE, the rectangular top with two removable leaves on four heavy turned fluted and carved legs and castors, 98” wide (fully extended)

504 A LOUIS XIV STYLE HIGH BACK UPHOLSTERED ARMCHAIR, the tall rectangular back above a similar upholstered seat with tasselled fringe, the chair with outswept scrolling arm supports, turned legs and stretchers, 44” high

£500-1,000

499 A MATCHED SET OF EIGHT HEPPLEWHITE STYLE DINING CHAIRS with variously pierced and carved backsplats above dropin seats, on square tapering legs and “H”-form stretchers, including two armchairs (8)

£200-400

500 A REGENCY ROSEWOOD NEST OF THREE TABLES, each with a rectangular top on slender ring-turned legs and splayed feet, 19” wide £200-400

£300-500

506 A REGENCY MAHOGANY FOUR TIER WHAT NOT with four rectangular open shelves and a single short drawer, all on turned uprights, with small brass castors, 18” wide

501 A PAIR OF VICTORIAN ROSEWOOD FOOTSTOOLS, each with oval button-upholstered tops on shaped aprons and short cabriole legs, 14” wide (2)

£200-400

507 A TABERNACLE RENAISSANCE STYLE GILT WALL MIRROR with a rectangular plate within a carved and moulded frame with all-over renaissance revival motifs, 35” x 27”

£50-100

502 A LOUIS XVI STYLE ORMOLU STANDARD LAMP with broad circular centre and rams-head legs and rams feet supports, 51” high

£300-500

505 A REGENCY MAHOGANY WHATNOT with a rectangular rising top shelf above three open shelves and a single short drawer, all supported on ringturned tapering uprights, on short legs and brass castors, 53” high

£300-600

£200-400

508 A CHARLES II STYLE OAK TRIDARN with a broad cornice on cup and cover supports, with a three panel back, above a pair of doors with all over carved decoration, the base with a similar pair of two panelled doors, with all over carved strapwork, foliate and animal carving, 17th century and later, 48” wide

£200-400

136

£600-800

509 A CHARLES II OAK CHEST OF DRAWERS with a rectangular three plank top above three long graduated drawers with semi-circular drawer dividers, on bracket feet, 43” wide

513 A PAIR OF FRENCH WALNUT DISPLAY CABINETS with bow fronted and shaped tops with a moulded border above three open shelves above three open shelves between turned and gilt decorated columns, with serpentine side panels and a bow fronted base, with applied gilt metal mounts, 27½” wide (2)

£150-300

510 A PAIR OF REGENCY JAPANNED MIRROR SHELVES, with scroll brackets and gilt decoration around redpainted shelves, 15" wide (2) See illustration

514 A NEAR PAIR OF REGENCY MAHOGANY HALL CHAIRS attributed to Gillows of Lancaster, with carved shell-shaped backs above solid seats on reeded sabre legs, 34” high (2)

Provenance: Private collection, West Dorset

£300-600

£50-100

£100-200

512 A CHARLES II REVIVAL OAK DRAWLEAF DINING TABLE, the rectangular top with twin draw leaves, on a carved frieze and heavy carved cup and cover legs with an “H”-form stretcher with a row of turned central supports, on compressed bun feet, 100” wide (fully extended)

£300-500

£200-400

515 A CANADIAN MAHOGANY PILLAR TABLE, the circular top with a border carved in shallow relief with scrolling decoration, on a vase and leaf-turned column, with three cabriole legs with pad feet, 27” wide

511 A GEORGE II MAHOGANY DRESSING TABLE MIRROR, the rectangular bevel edged plate within a gilt fillet and moulded frame, on sloping uprights, the box base with three small drawers with shaped fronts, on short bracket feet, 17” wide

£250-450

137

516 A LARGE LOUIS XIV REVIVAL CARVED GILTWOOD MIRROR, with a large rectangular mirror plate beneath an elaborate cresting with winged beasts, flowering cornucopia, ho ho birds and other subjects, in a conforming surround, 151” x 80½”. See illustration

Provenance: Fisherton House, Salisbury

Formerly the property of Cecil Chubb, the one time owner of Stone Henge who gifted the monument to the nation.

£2,500-5,000 138

517 A LARGE LOUIS XIV REVIVAL CARVED GILTWOOD MIRROR, with a large rectangular mirror plate beneath an elaborate cresting with winged beasts, flowering cornucopia, ho ho birds and other subjects, in a conforming surround, 136” x 73”. See illustration

Provenance: Fisherton House, Salisbury

Formerly the property of Cecil Chubb, the one time owner of Stone Henge who gifted the monument to the nation.

£2,500-5,000 139

524 A GEORGE III MAHOGANY CHEST ON CHEST, the upper section with a dentil-moulded cornice above two short and three long graduated drawers with gilt metal handles and key escutcheons, between quarterrecessed fluted columns, the lower section with three long graduated drawers, on ogee bracket feet, 44” wide

518 A WINDSOR BAR-BACKED ARMCHAIR, the raised back with a broad top rail above three pierced and shaped splats, with curved arm supports above a solid elm seat on turned legs and “H” form stretcher, 37” high

£50-100

519 A GEORGE III MAHOGANY ARMCHAIR, with a serpentine top rail above a pierced fan-shaped splat, with twin arm supports above a dished overstuffed seat, on square legs and rectangular stretchers, 38½” high

525 AN 18TH CENTURY NORTH ITALIAN WALNUT COMMODE, the rectangular top with quartered veneers within chequered stringing and broad crossbanding, above three long frieze drawers with conforming borders and ringhandles and pressed metal key escutcheons, on short cabriole legs, 48” wide

£60-120

520 A GEORGE I OAK CHEST ON STAND, the upper section with a moulded cornice above a flush fitting drawer and two short and three long graduated drawers with moulded borders and brass handles and key escutcheons, the lower section with a central and two small drawers, on turned legs and stretchers, 41” wide, 18th century and later

£300-500

£2,500-3,500

528 A PAIR OF SHERATON STYLE SATINWOOD AND GILTWOOD CONSOLE TABLES, the “D”-shaped tops with ebony and satinwood stringing and broad crossbanding, above a fluted gilt frieze, each table on four tapering legs with carved leaf and bead decoration on spade feet, 51” wide See illustration

£300-500 523 TWO SIMILAR 17TH/18TH CENTURY FRENCH CHESTNUT SIDE CHAIRS, with open backs above a serpentine fronted solid seat, on turned legs and moulded stretchers (2)

£3,500-4,500

527 A QUEEN ANNE WALNUT AND YEW VENEERED CHEST ON STAND, the upper section with a moulded cornice above two short drawers and three long graduated drawers with herringbone crossbanding and brass handles and key escutcheons with engraved decoration, the lower section with a central small drawer flanked by two deep short drawers above a wavy frieze on slender cabriole legs, 17th century and later, 41” wide

522 A LATE VICTORIAN AESTHETIC PERIOD WALNUT BOOKCASE, the rectangular top above twin glazed doors with bevelled glass panes, enclosing a shelved interior, the lower section with conforming panelled decoration, the doors with broad pierced brass hinges, between fluted uprights, on a plinth base, 58” wide

£3,500-4,500

526 A PAIR OF REGENCY ROSEWOOD FOLD-TOP CARD TABLES, each with rectangular tops with rounded corners, above carved friezes, on turned tapering legs on platform bases with scrolling feet and recessed castors, each 36” wide See illustration

521 A CHARLES II OAK TWO PANEL COFFER, the rectangular top with a moulded border above a two panelled front, on bracket feet, 33” wide

£5,00-1,000

£50-100

140

£3,500-4,500

Lot 526

Lot 528 141

529 A LATE 17TH CENTURY DUTCH MARQUETRY CENTRE TABLE, the rectangular top with a vase of flowers surrounded by numerous blooms and birds, within a similar scrolling border, the marquetry highlighted with ivory, within a moulded surround with chequered ivory stringing, above a single frieze drawer on spiral turned legs with wavy “X”-form stretcher and bun feet, 45” wide, 17th century and later

£3,500-4,500

142

534 A GEORGE III MAHOGANY ARTISTS TABLE with a rising tilting rectangular top with rounded corners and moulded border, above a support with a fitted drawer and two slides, on a turned column with three downswept legs with brass cap castors, 21” wide

£200-400

535 A GEORGE II SIDE CHAIR with a shaped back and “compass”-shaped seat on four cabriole legs with pad feet, apparently retaining the original upholstery, 40” high

£100-200

Lot 530 536 A QUEEN ANNE OAK CHEST, the rectangular top above a shallow drawer and a frieze drawer with a central doorway-effect moulded panel between half-turned uprights and geometric mouldings, the lower section with two conforming panelled doors enclosing three long drawers, 45” wide

530 AN EARLY 17TH CENTURY CHEST OF DRAWERS, the three plank top with a moulded border above two short and two long graduated drawers with moulded borders and drop handles, possibly chestnut or teak, 33½” wide. See illustration

537 A LATE GEORGE III MAHOGANY BREAKFAST TABLE, the rectangular top with rounded corners on a turned column and four downswept legs with leaf-cast brass capped castors, 42½” wide

£800-1,500 531 A LATE GEORGE III MAHOGANY EXTENDING DINING TABLE in the manner of gillows of lancaster: the rectangular top with twin drop-flap sides with rounded corners, with two additional leaves, on turned and reeded legs with brass wheel castors, the top, 96” (fully extended)

£50-100

533 A GEORGE II STYLE CANDLESTAND, the rectangular top with serpentine borders and raised edge, on a turned support and triple cluster column support and three downswept legs, 14” wide

£150-250

END OF SALE

£600-800

532 A GEORGE III MAHOGANY CELLARETTE, the rectangular top with satinwood stringing and a central inlaid shell motif, the sides with brass carrying handles, with fitted interior, and a side-opening flush fitting drawer, 16½” wide

£100-200

143

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

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.

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.

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.

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. 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 AUCTIONEERS SINCE 1823

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. 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.

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

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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

Duke’s AUCTIONEERS SINCE 1823

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

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

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

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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

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