Duke's 15th and 16th September 2016 by john holmes

Dukeâ&#x20AC;&#x2122;s Paintings and Furniture. Thursday, 15th and Friday, 16th September.

Paintings and Furniture

Thursday, 15th and Friday, 16th September

2016

PRINTED IN DORCHESTER BY EPIC CREATIVE PRINT

Including the Peter Wood Collection and a Private Collection from London and the Chalke Valley

Duke’s AUCTIONEERS SINCE 1823

Welcome to the Dorchester Fine Art Salerooms, which are centrally located in the county town, close to the main Dorchester South railway station. Trains run hourly to London Waterloo (approximately 2 hours 30 minutes) B31 47 and there are airports at Bournemouth and Exeter. The Saleroom has ample parking. If you require further information please refer to the buyer’s guide on page 3, visit our website, or contact Stephanie Smith. MILL

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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) 354100 Cornwall Charles Cox (01288) 354100 SOMERSET & AVON Richard Gold (01963) 34764 Hampshire Robert Nevin (0208) 7685152 North of England Nick Bray (07860) 642488

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 £500 only. Deposits: The Auctioneer may require a deposit of 5% of the hammer price immediately. If the buyer is unable to meet this requirement to the Auctioneer’s satisfaction they reserve the right to cancel the sale immediately. Buyer’s Premium:

22% plus VAT on the hammer price.

From mid February 2006 living artists are entitled by law to receive a resale Artist’s Resale Right: 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.

Furniture The nature of antique furniture means that much that survives has been restored, altered or repaired. If a lot has been catalogued without a specific date (i.e. circa 1760) it should be assumed that the lot in question may have been substantially restored, altered or repaired and may incorporate later elements. Collection: Our offices are open Monday to Friday, 9am - 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, 10th September, 9.30am – 12noon Monday, 12th September, 9.30am – 5pm Tuesday, 13th September, 9.30am – 7pm Wednesday, 14th September, 9.30am – 5pm and on the morning of the viewing days

Catalogues

£20.00 (by post)

Find us on Facebook https://www.facebook.com/dukesauctions

Coins and Medals, Militaria and Ephemera, A Private Collection of Fire Badges, A Private Collection of Cameras, October 13th 2016

For further information please contact Timothy Medhurst on 01305 265080 or email Timothy.Medhurst@dukes-auctions.com

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

Duke’s AUCTIONEERS SINCE 1823

Thursday, 15th September, 10.30AM Lots 1 – 219

The Peter Wood Collection

Lots 300 – 503

A Private Collection from London and the Chalke Valley

Friday, 16th September, 10.30AM Lots 600 – 624

Prints

Lots 650 – 719

Works on Paper

Lots 800 – 907

Oil Paintings

Lots 910 – 920

Alfred Wallis: The Emma Perkin Collection

Lots 921 – 926

A Private Collection of Alfred Wallis Books and Ephemera

Lots 1000 – 1011

Books and Ephemera

Lots 1018 – 1056

Works of Art

Lots 1056 – 1090

Antiquities to include an Important Private Collection from Cumbria

Lots 1100 - 1120

Clocks to include a Private Collection from Northamptonshire

Lots 1145 – 1161

Furniture

View images of all lots and bid live online

Photography by

JONATHAN GOODING www.jonathan-gooding.co.uk

T HURSDAY, 15 th September, 10.30A M

The peter WOOD COLLECTION

Detail of lot 00 9

This is a sale of personal effects collected by the late Peter Wood, one of the leading theatre directors of our time. The objects he bought, or was given, clearly reflect the personality of a most unusual and talented man. Peter Wood was born in 1925 into a family of modest means in Colyton, South Devon. His father was a basket weaver and his mother a lace maker. He won a place at Cambridge University, thanks to the efforts of his maternal grandfather, the manager of a locomotive works in Derby, who recognised his grandson’s intelligence and sent him to Taunton grammar school. Peter said of him: “He had a road map of my personality before I had even formed it.” A lifelong love of steam engines was the result.

Peter Wood with Ian McKellan

At Cambridge Peter developed a subtle and acute approach to the interpretation of text. It was a skill that actors found both stimulating and intimidating. His work in the theatre was in high demand from people such as Lawrence Olivier, Alec Guinness, Vanessa Redgrave, Maggie Smith, Michael Hordern, Diana Rigg and Felicity Kendal. He was best known for bringing to the stage the plays of his friends Tom Stoppard and Peter Shaffer. He also directed the first of Harold Pinter’s plays, but the two men did not see eye to eye. His classical work for the National Theatre, RSC, and the West End demonstrated among other qualities an unrivalled gift for staging ancient and modern English comedy; he had a particular genius for Restoration comedy. He was described by Irving Wardle of The Times as having “the most distinctive presence of any living British director.” Wood was also a great lover of music and later in his career directed many operas in Amsterdam and Vienna. Funny, witty and hospitable, he loved good food and the company of his friends. Peter’s love of the theatre was reflected in his artistic taste. His house, a monastic barn in Batcombe which he converted in Gothic style, was typically eclectic and idiosyncratic. Although not a collector in the strict sense of the word, he surrounded himself with objects which clearly express his personality, flamboyant, aesthetic, theatrical yet also domestic. They range from 18th century porcelain and fine examples of country furniture to handsome Regency mahogany library furniture, modern Picasso ceramics and important contemporary works of art. Ciaran Tyler, August 2016 Duke’s of Dorchester is delighted to be holding this sale, and hopes the catalogue will become in its way another memento of Peter Wood’s life.

Peter Wood and his dog True

Theatre Memorabilia

Lot 3

5 COSTUME SKETCHES FOR THREE 1920'S FEMALE CHARACTERS wearing furs and long dresses, mounted as one, each 20" x 10½", and smaller, and two similar works (3)

1 A COLLECTION OF SIX COSTUME AND STAGE SET STUDIES including a study of twelve characters in period costume, watercolour, 9¼" x 19", and five similar works (6)

£100-200

6 COSTUME STUDIES FOR THE CHARACTERS MR & MRS HARDCASTLE from "She Stoops to Conquer" by Oliver Goldsmith, watercolour on paper, indistinctly signed, mounted as one, each 19½" x 13", and five similar costume studies (6)

2 A COLLECTION OF THEATRICAL COSTUME DESIGNS including characters in period costume including a looselyrobed character reading from an open book with children behind, watercolour and chalk, 10" x 6¾", and seven similar works (8)

£100-200

Exhibited: The Stage Design in Great Britain since 1945 Exhibition, catalogue no. 149

£80-150

8 A THEATRICAL STUDY OF A STAGE SET worked in shades of green with a central chaise longue, watercolour, 13½" x 18¾", and three similar stage sets (4)

4 COSTUME STUDIES FOR SHEPHERDS AND SHEPHERDESSES FOR A WINTERS TALE with applied fabric swatches, watercolour and pencil, unsigned, 11¼" x 14¾"

£100-200

7 A COSTUME STUDY FOR HAMLET with fabric swatches, watercolour on paper, indistinctly signed, 22" x 9½", and five similar works (6)

3 HUTCHINSON SCOTT "The Iceman Cometh: Set, Harry Hope's Saloon", cut-out paper and watercolour, signed, 13¾" x 18¾", with Arts Council of Great Britain label to the reverse. See illustration

£60-80

£50-100

£50-100 12

Lot 9

9 DAVID WALKER "She Stoops to Conquer, Chichester 1992", signed and dated with a character top right "Peter", and an inscription to the foreground "Love from David, 1992", watercolour, 17½" x 12½"

12 A COLLECTION OF PRINTS OF THEATRE INTEREST including a colour print "Mr Melvin" as the Honourable Tom Shuffleton, 14" x 8", and seven similar works (8)

David Walker was a designer of the production of "She Stoops to Conquer" at The Chichester Festival Theatre in 1992/3, directed by Peter Wood. The current lot presumably a gift from one to the other.

13 A COLLECTION OF PRINTS OF THEATRICAL INTEREST including David Garrick, Esq. after Thomas Hudson, 12¾" x 9" and five similar works (6)

£40-80

10 A COSTUME STUDY inscribed in pencil "Miss Diana Wynyard, Scene III", the character in full length white Edwardian dress with yellow highlights, 18" x 9½", and five similar works (6)

£40-80

14 A SILK FLYER for the Royal Lyceum Theatre's 1885 production of Olivia starring Mr Irving as Dr. Primrose, and Bram Stoker, the acting manager, with tasseled border, 15½" x 13", and three flyers for the Theatre Royal Covent Garden and three similar items (7)

£50-100

11 A QUANTITY OF HISTORIC THEATRE PRINTS AND PROMOTIONAL IMAGES including Mr Preston as Ethalda, 5" x 3¾", and six similar works (7)

£50-100

£40-80 13

£80-150

Prints and Maps

Lot 17

15 JOHN SPEED: A HAND-COLOURED MAP OF THE COUNTY OF "DEVONSHIRE WITH EXCESTER DESCRIBED" with decorated details, 15" x 20", and a similar map of Dorset (2) £80-150 16 "SOMERSET TENSIS, COMITATUS. SOMERSETSHIRE" An uncoloured map of the county featuring family crests and decorated title, 15½" x 20", a similar map of "Wiltonia" and a map of the West Country (3) Lot 18

£100-200

17 TIMOTHY PONT (1565-1614) A hand-coloured map "Ivra Insvla, the Yle of Ivra, one of the Westerne Iles of Scotland", 16½" x 20½". See illustration

£80-150

18 JOHANES BLAEU: (1596-1673) "Insulae Albion et Hibernia", a hand-coloured map, 15¾" x 18¼". See illustration

£50-100

19 JOHN OGILBY (1600-76): "The Continuation of the Road from London to the Lands End", 13¼" x 18", and two similar items (3)

Lot 20

£50-80 20 WILLIAM NICHOLSON (1872-1949) "The Months of the Year", colour prints, each 10" x 8", and an additional print for August (13). See illustration

£100-200

21 WILLIAM NICHOLSON (1872-1949) Three prints from "An Alphabet": "A was an artist", "D is for Dandy" and "E for Executioner", each 10" x 7¾", and "An Alphabet" by William Nicholson, William Heinemann, 1988, a similar volume "An Almanac of Twelve Sports" and two modern volumes (7) £200-400 22 WILLIAM NICHOLSON (1872-1949) Three prints: "Sir Henry Irving", "Sarah Bernhardt" and "Eleonora Duse", 10½" x 9½" (3) 14

£100-200

23 A COLLECTION OF FOUR BOTANICAL PRINTS: plate I "Cinera Cum Flore", 20½" x 15¾" and 8 further prints (12)

Lot 24

£100-200 24 AFTER GEORGE ROWE: "Sidmouth" a colour print of the coastline with title "Taken from the cliffs near Ladrum Bay", 9¾" x 20" and a similar work "From The Sea" (2) £40-80 25 J.C. BOURNE, LITHOGRAPHER: "Hampstead Road Bridge, September 5th 1836", colour lithograph, 11¼" x 16½", and three similar works (4)

£100-200 Lot 29

26 THOMAS ROWLANDSON: "A French Family", colour print, 14½" x 18½", "An Italian Family", and a collection of similar prints (a lot) £30-50 27 A COLLECTION OF FRAMED GALERIE MAEGHT POSTERS including a poster for a George Braque Retrospective 1994, and others (6)

£30-50

28 A COLLECTION OF FRAMED MENUS for various restaurants (a lot) £20-40

Railway Memorablilia

Lot 30

29 PUBLISHED BY BLACKIE & SON: "Passenger Locomotive by John V Cooch for the London and South Western Railway", a coloured engraving, 14" x 19¼", and three similar works (4). See illustration £80-150 30 A COLLECTION OF STAFFORDSHIRE POTTERY MUGS transfer printed and over-painted, decorated with scenes of early locomotives and carriages and other similar items (11)

£20-40 15

31 THREE TRANSFER PRINTED JUGS decorated with scenes "Entrance to the Liverpool & Manchester Railway", 5½" high and smaller, and six Wedgwood "Travel" plates designed by Eric Ravilious, each 9" wide (9)

Lot 34

£40-80

32 A COLOURED LITHOGRAPH: "The Lightening Express Trains leaving The Junction", 6" x 9", and a collection of similar works (8)

£20-40

Ceramics and Glass 33 A MINTON STYLE ART NOUVEAU POTTERY PEDESTAL decorated with water lilies and dragonflies against a yellow ground, 32" high

Lot 35

£200-400 34 A LARGE STAFFORDSHIRE POTTERY MODEL OF AN ELEPHANT on a rectangular base with canted corners, 9¾" high. See illustration

£100-200

35 A STAFFORDSHIRE MODEL OF A RECUMBENT HOUND with black and white markings on a naturalistic base, 6½". See illustration

£100-200

36 A LARGE STAFFORDSHIRE POTTERY MODEL OF A ZEBRA on a naturalistic base, 9" high, and three similar smaller models (4)

Lot 37

£50-100

37 A STAFFORDSHIRE POTTERY MODEL OF A BULL standing on a naturalistic floral encrusted base, 4" wide, and three similar animal figures (4). See illustration

£40-80

38 A COLLECTION OF EIGHT STAFFORDSHIRE POTTERY FIGURES including boxers "Henan & Sayers", 9" high, a pair of drunken revellers, 10" high and four others (6)

Lot 39

£200-400

39 TWO SIMILAR STAFFORDSHIRE POTTERY PARROTS, each brightly coloured on naturalistic bases, 9½" high, and a similar inkwell (3). See illustration

£50-100

40 A PORTOBELLO TYPE POTTERY COW CREAMER with black and orange sponged decoration, with an attendant milkmaid, on a rectangular base with canted corners, and two similar cow creamers (3). See illustration

Lot 40

£200-400

41 A PORTOBELLO TYPE POTTERY COW CREAMER with sponged decoration, with attendant milkmaid on a rectangular base with canted corners, 6" wide, and two similar cow creamers (3). See illustration

£200-400

42 THREE SIMILAR BLACK AND BROWN GLAZED POTTERY COW CREAMERS with gilt highlights, 7" wide, and smaller (3)

£40-80 Lot 41

43 A COLLECTION OF STAFFORDSHIRE AND SIMILAR BACCHANALIAN MASK JUGS, 6" high and smaller (6) £50-100 44 A COLLECTION OF STAFFORDSHIRE AND SIMILAR TRANSFER PRINTED AND PAINTED POTTERY MUGS including a mug decorated with a print "Steeple Chase", 4" high (15)

£50-100

45 A PAIR OF DERBY RAM AND SHEEP FIGURES, each naturalistically modelled on floral encrusted bases, 5½" wide and smaller (2). See illustration

Lot 45

£100-200

46 A CREAMWARE MODEL OF A RECUMBENT LION on a serpentine edged stepped base, 7" wide. See illustration

£100-200

47 A LARGE CREAMWARE JUG decorated to one side with a view "A South East View of the Stupendous Iron Bridge ..." and to the other side "Made Peace with Plenty on our Nations Smile ...", 8¼" high. See illustration

Lot 46

£80-150

48 A DOCTOR WALL PERIOD WORCESTER LIDDED POT decorated with birds in compartments against a scale blue ground, 4½" wide, and a Royal Lily pattern straight sided cup (2)

£50-100

49 A WORCESTER TEAPOT decorated with Oriental style figures, 5" high, and a similar slops bowl and cup and saucer (4)

£50-100

50 A TALL POTTERY TRANSFER PRINTED STRAIGHT SIDED MUG decorated with repeated scenes of three cherubs cavorting on a cloud, 6" high, and a collection of similar pottery (7)

Lot 47

£50-100

51 A RELIEF MOULDED POTTERY JUG worked with huntsmen and hounds shooting birds, 6" high, a relief moulded "Wellington" jug and two similar items (4)

£50-100

52 A SUNDERLAND LUSTRE LIDDED JAR decorated with a print "New Bridge over the Weir at Sunderland" and a collection of similar creamware and pottery (a lot)

Lot 53

£50-100

53 A COLLECTION OF BLUE AND WHITE TRANSFER PRINTED POTTERY including a Spode plate "Death of the Bear", 9¾" wide (a lot)

£80-150

54 A SET OF TWELVE JOSIAH WEDGWOOD & SONS TILES decorated with characters from a Midsummer Nights Dream, including Bottom, Demetrius, and others, the tiles 8" square. See illustration

£100-200

Lot 54

55 A PART SET OF AESTHETIC PERIOD TABLEWARE including nine plates representing the months and two further items, the plates 9" wide (a lot)

£50-100

56 A COLLECTION OF 19TH CENTURY AND SIMILAR BLUE AND WHITE TRANSFER PRINTED POTTERY including Spode and other manufacturers (a lot)

£100-200 Lot 58

57 A COLLECTION OF GREEN GLAZED LEAF MOULDED POTTERY including Wedgwood plates and other items (a lot)

£40-80

58 A SET OF EIGHT WEDGWOOD GREEN AND YELLOW GLAZED BASKET EFFECT PLATES with pierced borders, 9¼" wide (8)

£40-80

59 A STAFFORDSHIRE GREEN, GILT AND FLORAL DECORATED PART DESSERT SERVICE and others similar ceramics (a lot)

Lot 62

£30-60

60 A CHINESE FAMILLE ROSE LIDDED JAR decorated with scholars and calligraphy, 4¾" high, and a collection of similar Chinese export wares (a lot)

£100-200

61 A STUDIO POTTERY BOWL decorated with abstract decoration, marked to the reverse C/D, 9½" wide, two Fornasetti ash trays and other similar items (7)

£40-80

Lot 63 62 A LARGE STONEWARE FLAGON stamped "260, Griffith, Frome", 19" high. See illustration

£80-150

63 AN OVAL BARREL EFFECT STONEWARE WATER OR BEER DISPENSER with tap, 19" high, a similar jug and large vase (3). See illustration

£80-150

64 A LARGE STONEWARE FLAGON stamped "Doulton & Co. Lambeth, London", 20" high, a similar flagon "Bees and Fear, Briston" and a flat-sided flagon (3). See illustration

Lot 64

£80-150

65 AN 18TH CENTURY CORDIAL GLASS with narrow straight-sided bowl, on a double opaque-twist stem and spreading foot, 6" high, and another similar glass with flared bowl (2)

£80-150

66 AN 18TH CENTURY WINE OR CORDIAL GLASS, the bowl engraved with grapes and vine leaves, on a double opaque twist stem and spreading foot, 5½" high, and another similar glass (2). See illustration

Lot 66

£80-150

67 A WINE GLASS with flared bowl and bubble inclusions, above a double opaque twist stem on spreading foot, 6" high, and three similar glasses, 19th century and later (4). See illustration

£80-150

68 A TALL GEORGE III STYLE WINE GLASS, the flared bowl above a bubble inclusion on an opaque twist stem and turned-over foot rim, 8¾" high, and four similar glasses with turned-over footrims (5)

Lot 67

£100-200

69 A GEORGE III STYLE WINE GLASS, the flared bowl on a straight stem with bubble inclusion, on a circular spreading foot, 6½" high, and seven similar glasses (8). See illustration

£50-100

70 A SELECTION OF BROAD RIMMED RUMMERS and similar glasses, including straight-sided and other examples, 19th century and later (13)

£50-100 Lot 69

71 A CLEAR GLASS "CELERY" GLASS with geometric decoration, a narrow-necked glass jug and other similar items (10)

£40-80

72 A COLLECTION OF CLEAR GLASS DECANTERS including mallet-shaped decanters and others (7)

£50-100

73 TIMO SARPANEVA: A MAUVE GLASS FLASK and a quantity of similar coloured glassware (a lot)

£40-80

Metalware, Works of Art and Books

Lot 74

74 A CAST BRONZE BELL dated 1850, 11" wide. See illustration £100-200 75 A PAIR OF WROUGHT IRON FIRE DOGS with scrolling bases and openwork finials, two fire irons and two further pairs of fire dogs (a lot)

£40-80

76 A CLEAR GLASS CLARET JUG with plated mounts, 11" high, a similar coffee pot, spill vase and other items (a lot) Lot 75

£40-60

77 A NOVELTY TOAST RACK, the divisions spelling out the word "toast", a plated peacock and peahen ornament and a quantity of similar plated wares (a lot)

£30-60

78 A PAIR OF VICTORIAN BRASS DOOR STOPS in the form of horses, on rectangular stepped bases, another similar and a quantity of brassware (a lot). See illustration

£40-80

79 A PAIR OF CAST IRON DOOR STOPS in the form of wheatsheafs, 7¼" high

Lot 79

£50-100

80 A WMF STYLE ART NOUVEAU PHOTOGRAPH FRAME and a similar frame with "Ruskin" style roundels, 9¼" x 9" (2)

£20-40

81 PETER WOOD: A PRESENTATION KEY "Presented to Peter Wood, July 9, 1987, by Harold Washington, Mayor of the City of Chicago", and an Edwardian mantel clock with plaque "Won by Frank Wood 1909" (2)

Lot 82

£30-60

82 A GEORGE III STYLE RELIEF PORTRAIT OF A GENTLEMAN in period costume holding a glass, with raised fabric coat, in gilt frame, 12¼" x 10½". See illustration

£50-100

83 A LARGE BRASS AND COPPER KETTLE, a brass fender mounting shelf, warming pan and other similar metalware (a lot)

£50-100

Lot 85

84 A LARGE INDIAN PAINTED WOODEN ELEPHANT with all over decorated surface, 18" high, and three similar smaller elephants (4)

£50-100

85 A VICTORIAN WOOL WORK PICTURE of a three-masted sailing ship in Malta Harbour, 18¾" x 25½". See illustration

£100-200 Lot 86

86 A VICTORIAN WOOL WORK PICTURE of a three-masted naval vessel with figures to the foreground, and a central gathering of flags, 22" x 23". See illustration

£100-200

87 TWO BRITISH MUSEUM REPLICA MODELS OF EGYPTIAN CATS, a carved mother and child group and four composition sculptures (7)

Lot 91

£80-150

88 A GEORGE IV PEWTER QUART MUG with scrolling handle, another similar and a broad brass basin, the basin 19½" wide (3)

£80-150

89 AN ARTS AND CRAFTS BRASS COAL BOX with repoussé decorated lid and front, 12" wide, a brass bodied oil lamp, a similar standard lamp and a students lamp (4)

£50-100

Lot 92 90 AN INDIAN PUPPET all over painted and pierced on leather with articulated arm, 39"

£40-60

91 TRIBAL ART: AN AFRICAN STYLE HANGING MASK with elongated face with white painted decoration and inset eyes, 33". See illustration

£80-150

92 TRIBAL ART: A TOTEMIC MASK FORM with a head-shaped base with pointy horns and painted geometric section above, 73" high. See illustration

Lot 93

£50-100 93 A PRE-COLUMBIAN STYLE TERRACOTTA FIGURE of a seated form with short limbs and pointed nose, with painted decoration, 19½" high and three similar items (4). See illustration £100-200

94 A CLASSICAL SCULPTURE of a naked man pouring wine from beneath his arm, on a stepped rectangular base, 9½" high, a modern bronze sculpture of a naked maiden descending into a lily leaf and a Mexican style sculpture (3)

Lot 98

£80-150

95 A LARGE PINE PIZZA BOARD with short handle, 29" (max)

£20-40

96 A COLLECTION OF BOOKS including works on art and the antiques, including volumes on Paul Klee, Egon Schiele and others (a lot)

£40-80 Lot 99

97 A COLLECTION OF BOOKS on literature, the theatre and other related subjects, including the "Oxford Book of 17th Century Verse"

£30-50

98 THE NONESUCH PRESS: Shakespeare, poems, comedies, tragedies and histories, 4vols, 1953, designed by Francis Meynell, and "In Memoriam" by Alfred Lord Tennyson, no. 784 from an edition of 2,000 copies designed by Francis Meynell (5). See illustration

£100-200 Lot 100

Oil Paintings 99 ENGLISH SCHOOL Manner of Sartorius, Two bay hunters in a stable with stable lad in attendance, oil on canvas, 31" x 42". See illustration

£600-800

100 ENGLISH SCHOOL A portrait of a gentleman with a lace collar and red ermine coat, holding a book in his right hand, oil on canvas, 46" x 39". See illustration

£600-800

101 ENGLISH SCHOOL, 17th century A primitive portrait of a Quaker boy, three-quarter length, holding a glove in one hand, oil on canvas, 31" x 24". See illustration

Lot 101

£500-800

102 ENGLISH SCHOOL A portrait of the young Nelson in Lieutenants uniform, oil on canvas, 27" x 32"

£400-600

103 PRIMITIVE SCHOOL, 19th century H. Taylor 1847 A brown and white cow in a landscape, living weight 116 stone 4 pounds, signed and dated, oil on canvas, 27½" x 20". See illustration

£400-600

104 W.H. DAVIS A primitive study of a heavy horse with a barn to the left, signed and dated 1843 lower left, oil on canvas, 21½" x 26". See illustration

Lot 103

£300-600

105 ENGLISH SCHOOL, 19th century Figures crossing a river in a small boat with buildings to the distance, watercolour, 12½" x 18½"

Lot 104

£50-100

Lot 107

106 ITALIAN SCHOOL A red chalk study of a naked man with arms held aloft, chalk on paper, irregular, 21" x 14" max

107 DAME ELIZABETH FRINK (1930-1993) A green man, painted wooden cut-out, 96" high x 48" wide. See illustration

£100-200

£500-1,000

20th Century Prints

Lot 108

110 ENGLISH SCHOOL, early 20th century Three elephants and an attendant, indistinctly monogrammed lower left, 9¾" x 14"

108 GEORGE BRAQUE (1882-1963) "Oiseau d'Octobre", signed and numbered 26/90 in pencil in the margin, 19" x 26¾". See illustration

£1,500-2,500

111 AN Op-ART WORK geometric lines and circles behind ribbed plastic, unsigned, 10" x 15½"

109 ERTE (ROMAIN DE TIRTOFF) (1892-1990) "Top Hats", colour print, signed and numbered 40/260 in pencil in the margin, and with blind stamp lower left, 25½" x 20"

£100-200

£200-400

£50-100

112 JOAN MIRO (1893-1983) Abstract composition, colour lithograph, signed in pencil in margin and inscribed "HC", 25½" x 19½". See illustration

Lot 112

£1,000-2,000

113 JOAN MIRO (1893-1983) La Siesta, lithograph, signed in pencil in the margin and inscribed "HC", 18" x 22". See illustration

£1,000-2,000

114 EDWADO CHILLIDA (1924-2002) 'Hands' signed in pencil and No. 13/20, 21" x 17" and a similar work, signed in pencil and No. 12/25, 30" x 22" (2). See illustration

£600-1,200

115 ANTONI TAPIES (1923-2012) A Rectangle Noir Collage, signed in pencil in the margin and No. 22/50, 35½" x 24½" and two similar works both signed in pencil and No. 22/75 and 68/75 (3). See illustration

£1200-1800 Lot 114

116 P.R. GEORGE' Blue and Black geometric circles (a pair). First Empreintes Raoul Dufy.' 21" x 32"

Lot 115

£200-400

117 HENRY MOORE (1898-1986) Sheep, signed in pencil and No. 3/50, 18" x 20". See illustration

118 HENRY MOORE (1898-1986) Sheep Heads XV, signed in pencil in the margin and No. 4/15, 17½" x 22½". See illustration

£700-900

£800-1,500

119 DAVID HOCKNEY (B.1937) 'Lilies', signed in pencil and inscribed 'H/C, 25" x 19½". See illustration

£4,000-6,000 31

120 DAVID HOCKNEY (b.1937) Figure before a curtain, signed in pencil and dated '64, No. 58/75 with E A Blind Stamp, 19½" x 25½". See illustration

£1,000-2,000

Pica sso Ceramics

Lot 121

121 Pablo Picasso (1881-1973) Têtes, stamped and marked 'Edition Picasso/Madoura Plein Feu/ Edition Picasso' white earthenware ceramic pitcher with black oxide and white glaze, 1956, 5¼" high. See illustration

Lot 122

£800-1,500

122 PABLO PICASSO (1881-1973) Visage à La cravate, stamped and numbered ' Madoura Plein Feu/ Empreinte Orginale de Picasso/ 6/100', white earthenware clay, partially glazed and painted blue, brown, black and green, 1960, 10" diameter. See illustration

£2,500-3,500

123 PABLO PICASSO (1881-1973) Quatre visages, stamped, marked and numbered 'Edition Picasso/Madoura Plein Feu/ Edition Picasso/ 11/300', White earthenware ceramic pitcher with coloured enlobe and glaze, 1959, 9¼" high. See illustration

Lot 123

£1,500-2,000

124 PABLO PICASSO (1881-1973) Yan pitcher, stamped and marked 'Edition Picasso/ Madoura Plein Feu/ Edition Picasso', red earthenware pitcher, decorated with engobes and painted in black and white, 1952, 10" high. See illustration

£1,000-2,000

Lot 402

125 PABLO PICASSO (1991-1973) Chouette aux plumes, stamped and marked 'Madoura Plein Feu/ D'apres Picasso/ Edition Picasso/ 1953', glazed ceramic pitcher with coloured engobes, 1951, 11" high. See illustration

Lot 403

£2,000-3,000

126 PABLO PICASSO (1881-1973) Visage au nez pincé, stamped and numbered 'Madoura Plein Feu/ Empreinte Orginale de Picasso/ 33/100', partially glazed ceramic plate decorated with engobes, 1959, 10" dia. See illustration

£2,500-3,500

127 PABLO PICASSO (1881-1973) Vase au décor pastel, stamped, marked and numbered 'Edition Picasso/ Madoura Plein Feu/ Edition Picasso/ 19/200', terracotta vase with coloured pastel, 1953, 12¾" high. See illustration

Lot 404

£5,000-7,000

128 & 129 Spare lots

FURNITURE

Lot 132

130 A GOTHIC REVIVAL STAINED PINE CHURCH TABLE, with plain top above open columns on chamfered supports, 36" high x 54" wide £250-450 131 A LARGE 19TH CENTURY CAMPHOR WOOD CHEST with escutcheons and heavy brass carrying handles, brass mounts to the corners and sides, 49" wide

£400-600

132 A GEORGE III MAHOGANY BACHELOR'S DRESSING TABLE, the rectangular top above a frieze drawer with brass swanneck handles, opening to a leather-lined writing surface and fitted compartments below, with two small drawers around an arched kneehole on square tapering legs, brass toes and roll castors, 30½" high x 39" wide. See illustration

Lot 134

£1,200-1,500

133 A GEORGE II OAK CORNER CHAIR with swept arms, shaped splat and turned tapering supports on central cabriole leg with paw feet, 33" high

£400-600

134 A GOTHIC REVIVAL MAHOGANY RECLINING ADJUSTABLE ARMCHAIR IN THE MANNER OF CHARLES BEVAN with folding arms upholstered in Afghan tribal material, 27". See illustration

Lot 136

£300-500

135 A GEORGE III CROSSBANDED MAHOGANY BUREAU, the sloping fall enclosing a fitted interior with central architectural cupboard, flanked by short drawers and pigeon holes, all above two short and two long graduated drawers, on bracket feet, 43" high x 42" wide

£80-150

136 A 'STRAWBERRY HILL' GOTHIC HALL BENCH with a raised pinnacle back with Gothic arches and quatrefoils above a solid seat on turned legs, 19th century and later, 60" high x 60" wide. See illustration 36

£100

137 AN 18TH CENTURY OAK BREAKFRONT DRESSER, the simple moulded cornice above serpentine-shaped sides and three shelf Delft rack, the base with three long and three short drawers with brass swan-neck handles, flanked by two panelled door, on bracket feet, 67" wide. See illustration

Lot 137

£2,000-4,000

138 A CHARLES II OAK CHEST OF DRAWERS with three plank moulded top, above two short and three long graduated drawers, with architectural moulding and brass pear-drop handles, with engraved and pierced escutcheons, on bun feet, 40" wide

£800-1,500

139 A GEORGE III NORTH COUNTRY OAK MULE CHEST with reeded columns and moulded top, three dummy drawers and five drawer below, crossbanded in mahogany, with brass swan-neck handles, on ogee bracket feet, 64"

Lot 138

£400-600

140 A GEORGE III MAHOGANY BOW FRONT CHEST OF DRAWERS with two short and three long graduated drawers with brass handles, on turned legs, with later moulded marble top, 41" high x 42½" wide

£150-250

141 A VICTORIAN HALL BENCH, the rectangular top with turned supports, above a moulded frieze on turned legs, 19" high x 42" wide

£40-80 Lot 143

142 A VICTORIAN WALNUT OCCASIONAL TABLE, the rectangular top with rounded corners on a turned column and three cabriole legs, 27" high x 21½" wide, and a folding coaching table (2) £40-80 143 A GEORGE III MAHOGANY CORNER CUPBOARD with arched moulded panelled doors with brass "H"-hinges, the moulded base with ogee bracket feet enclosing three small spice drawers to the bottom, 37" wide. See illustration

£500-700

144 A WILLIAM AND MARY STYLE OAK LOW DRESSER, the three frieze drawers with moulded fronts and brass pear-drop handles, on turned baluster legs, on block and half-ball feet, 73" wide. See illustration

Lot 144

£600-800

145 AN 18TH CENTURY OAK CHEST ON STAND, the moulded top with a plain frieze, with three long and two short graduated drawers below with brass swan-neck handles, on base with two long slender drawers and two small drawers, above a plain shaped apron, on cabriole legs with braganza paw feet, 39" wide. See illustration

£1,200-1,800

146 A VICTORIAN MAHOGANY READING TABLE, the rising top with adjustable supports, on an octagonal column and platform base with turned feet, 29" high x 36" wide

Lot 145

£50-100

147 A REGENCY ROSEWOOD WORK TABLE, the rectangular top with rounded corners above a single frieze drawer, on turned legs and stretcher, with downswept legs and castors, 28" high x 21½" wide

£40-80

148 A VICTORIAN MAHOGANY HALL STAND with a central upright and scrolling branches with turned hat knobs, above a marble top base with single short drawer and platform with umbrella stands, 87" high x 45" wide.

Lot 150

£50-100 149 AN EARLY VICTORIAN MAHOGANY OCCASIONAL TABLE, the rectangular top with rounded corners on a turned column with three downswept legs, 28" high x 22½" wide

£20-40

150 A REGENCY MAHOGANY BERGERE LIBRARY ARMCHAIR, the reeded frame with caned back, seat and side panels, on tapering reeded legs with brass castors, 39" high. See illustration 38

£700-900

151 A REGENCY MAHOGANY BERGERE LIBRARY CHAIR with swept back and caned sides, back and seat panels, with turned uprights, ring-turned legs and brass castors, 34" high. See illustration

Lot 151

£600-800

152 A REGENCY MAHOGANY FRAMED BERGERE LIBRARY CHAIR with a caned back, sides and seat panels, with turned uprights, reeded legs and brass castors, 36" high. See illustration

£400-600

153 A VICTORIAN STYLE OTTOMAN, the square top with Persian style needlework cover, 28" square x 14" high

Lot 152

£30-50

154 A MAHOGANY FRAMED DRESSING TABLE MIRROR with an oval plate between swept uprights, on splayed legs, 20" high x 22" wide

£40-80

155 AN INDIAN CAMPHORWOOD TRAVELLING CHEST, the one piece top above a similar front with shaped brass brackets and similar carrying handles, 24" high x 50" wide

£100-200

156 A RUSTIC PINE STOOL, the rectangular top with a central pierced detail above an arcaded frieze on turned legs and "X"-form stretcher, 20" high x 36" wide

Lot 157

£30-50

157 A YEW AND ELM WINDSOR CHAIR with a low comb back above a shaped arm and saddle seat, on turned legs and crinoline stretcher, 33½" high. See illustration

£150-250

158 A BEECH AND ELM HOOP BACK WINDSOR ARMCHAIR with raised back above solid seat, on turned legs and stretcher, 39" high. See illustration

Lot 158

£100-200

159 A YEW, BEECH AND ELM WINDSOR HOOP-BACK ARMCHAIR with raised back above a shaped solid seat and curved stretcher with turned legs, 37" high, and another similar (2)

£150-250

160 A GEORGE III MAHOGANY FOLDTOP TEA TABLE, the shaped top with reeded border above a plain frieze, on turned tapering legs, 27½" high x 36" wide

Lot 163

£80-150

161 A LATE GEORGE III MAHOGANY DINING TABLE, the rectangular top with satinwood borders, on a turned column and four downswept legs with brass cap castors, 19th century and later, the top 37½" x 52¾" x 28" high

£100-200

162 A MODERN LIGHT OAK SIX TIER SLOPE FRONTED BOOKCASE of modern design, 81" high x 34" wide

£80-150

163 A "CAMPAIGN" MAHOGANY FRAMED BERGERE THREE SEATER SETTEE with reeded frame and caned back, seat and sides, the detachable back on short tapering reeded legs and castors, 35½" high x 74½" wide. See illustration

Lot 164

£800-1,500

164 A PRIMITIVE OAK CUPBOARD, the three plank rising top above two dummy drawers, a deep drawer and fall front cupboard, with two short drawers on a moulded base and bracket feet, 18th century and later (reconfigured), 35" high x 43½" wide. See illustration 40

£200-400

165 A VICTORIAN WALNUT SIDE TABLE, the rectangular top above two frieze drawers with ceramic knob handles, on turned legs, 29" high x 45" wide

Lot 166

£40-80 166 A GEORGE II OAK DRESSER, the moulded top with two long drawers with brass escutcheons and drop handles, with two turned tapering legs, 18th century and later, 53" wide. See illustration

£300-600

167 A THONET TYPE BENTWOOD ROCKING CHAIR with caned back and seats between scrolling sides, 41" high, and a similar armchair (2)

£80-150

Lot 168

168 AN 18TH CENTURY WALNUT CHEST ON CHEST with canted reeded moulded corners, the three small drawers to the upper frieze and three long drawers below, with brass handles, the lower section with two long and two short drawers, on moulded bracket feet, 18th century and later, 70" high x 39" wide. See illustration

£1,500-2,500

169 A CHARLES II OAK COFFER, the three plank top above a three panel front with moulded decoration and applied turned divisions, on plain style legs, 48" wide. See illustration

£250-450

Lot 169

170 A WALNUT CASSONE of 17th century design, with domed top and carved floral swirl sunburst panels and iron lock, 31" wide

£700-900

171 AN 18TH CENTURY ELM FIVE PLANK COFFER, the top with moulded detailing above a similar front with carved diamond panels, 43" wide

£80-150

172 A 19TH CENTURY CARVED MAHOGANY SETTEE with scrollwork arms, on turned legs with brass castors, upholstered in Afghan tribal material, 84" wide. See illustration

Lot 172

£500-800

173 AN 18TH CENTURY OAK LINEN PRESS, the upper section with a descending linen press with screw-driven press above three short drawers and three long graduated drawers with brass handles, on bracket feet, 73" high x 34" wide. See illustration

£300-500

174 A LARGE GOTHIC REVIVAL CUPBOARD, the twin cupboard doors with all over lancet moulded tracery between octagonal divisions and canted sides, 84" high x 75" wide. See illustration

Lot 173

£800-1,500

175 AN 18TH CENTURY OAK TRAVELLING BOX with a rising lid enclosing a fitted interior above a flushfitting frieze drawer, with twin carrying handles, 15½" high x 25" wide

£100-200

176 A VICTORIAN FRUITWOOD OCCASIONAL TABLE, the one-piece circular top on a turned column and three downswept legs with scroll feet, 29" high x 27½" wide

Lot 174

£80-150

177 A 19TH CENTURY FRENCH BOULE WORK PIER CABINET, the panelled door with a central inlaid brass panel surrounded by gilt metal moulding and brass inlay, with a marble top, on turned legs, 44" high x 35" wide

£150-250

178 A VICTORIAN STYLE DAY BED or pouffe, the upholstered seat covered in kelim-type fabric on a moulded base and eight turned legs, 74" x 36" x 18" high £50-100 42

179 A LARGE FREESTANDING BRASS BIRD CAGE with an embossed and pierced cartouche, on cast rococo style base, on four cabriole legs, 72" high x 38" wide, and another similar smaller cage (2). See illustration

Lot 179

£250-450

180 A THONET STYLE GARDEN BENCH with pierced moulded plywood seat, downswept arm supports and turned legs, stamped "S504" to the reverse, 37" high x 72" wide

£80-150

181 AN 18TH CENTURY PINE CORNER CUPBOARD, the upper section with twin glazed doors with moulded glazing bars above panelled cupboards below, 77" high x 43" wide. See illustration

Lot 181

£100-200

182 A MATCHED SET OF SIX FAUX BAMBOO DINING CHAIRS with bamboo effect rail backs, rush seats, turned legs and stretchers (6). See illustration

£50-100

183 A REGENCY CONVEX WALL MIRROR, the circular plate within a reeded and ebonised fillet within a moulded border with applied ball decoration, 18" wide

£80-150

Lot 182

184 A VICTORIAN DOME TOP TRAVELLING TRUNK with metal and wooden banding, 23" high x 34" wide, and a similar camphorwood chest, 28" high (2) £80-150 185 A 19TH CENTURY PINE REFECTORY TABLE, the three plank top with cleated ends on turned legs with central stretcher, 28" high, the top 29" x 85½" wide

£600-800

192 A FOUR-FOLD BRASS SCREEN upholstered to one side with a kelim-type fabric, each panel 74" x 32"

186 A VICTORIAN PINE FARMHOUSE KITCHEN TABLE, the three-plank top with weathered surface above a shaped frieze, on square tapering legs, the top 30" x 95", 30" high

£200-400

193 AN OAK GOTHIC REVIVAL LECTERN with rectangular top on trestle supports, 29" high x 18" wide, and a hanging corner cupboard with carved panelled door (2)

187 A VICTORIAN CAST IRON AND MARBLE OCCASIONAL TABLE, the circular top within a moulded border on a tapering cast base, on three scroll feet, 31" high x 25" wide

£80-150

£50-100

189 A WHITE PAINTED LLOYD LOOM ARMCHAIR, 33" high, and another similar chair (2)

£20-40

£50-100

197 A VICTORIAN HIGH-BACK CANED ARMCHAIR, the tall back above scrolling arms and caned seat, on short turned legs and stretchers, 41½" high, and another similar (2) £30-50

£40-80

197A A CONTEMPOARY MARBLE SCULPTURE of freestanding adstract form, 26" high

191A A CONTEMPORARY GLASS TOP COFFEE TABLE with 'Rocco' style top and chrome base 18" high x 51½ wide

£40-80

196 A PAIR OF ARMCHAIRS with rush seats and ash rail backs, on turned legs, 32" high, and two similar chairs (4)

191 A LARGE TERRACOTTA GARDEN POT of bellied form with four loop handles, with glazed and trailed upper portions, 27" high

£40-80

195 A VICTORIAN CHAISE LONGUE with scroll end and back, all over upholstered, on short turned legs, 28" high x 69" wide

190 A VICTORIAN CAST IRON GARDEN TABLE, the circular top with all over pierced scrolling decoration, on a three-part column support and triform base, 27" high x 23" wide

£40-80

194 A "CHINESE CHIPPENDALE" STYLE BAMBOO ARMCHAIR with a dished arched back with scrolling splat above a caned seat, 41½" high, and a faux bamboo deportment chair (2)

188 A PINE CIRCULAR KITCHEN TABLE on square tapering legs, the top 51" wide, the table 29" high

£50-100

£30-60

198 A LARGE ARCHITECTURAL CARVED AND GILT HANGING CROSS with a central starburst motif, 64" high x 40½" wide. See illustration

Lot 198

£80-150

199 AN EARLY VICTORIAN OAK AND MAHOGANY LONGCASE CLOCK, the painted dial inscribed "W. Northwood, Ranton", with thirty hour movement, 92" high. See illustration

£300-600

200 A CAST IRON "COALBROOKDALE" STYLE GARDEN BENCH of scrolling naturalistic design, 35" high x 54" wide. See illustration £200-400

Lot 199

201 A RECONSTITUTED STONE STATUE OF A ROMAN WARRIOR in a tunic with a lion mask in his hands, 58" high £50-100 202 A VICTORIAN CAST IRON THREE TIER ETAGERE, the rectangular shelves with all over pierced decoration and scrolling edges on column uprights with splayed animal paw feet, 32" high x 17" wide, and a three branch wrought iron candelabra, 49" high (2)

£50-100

203 A RECONSTITUTED STONE GARDEN ORNAMENT in the form of a seated figure of Pan playing the pipes, on a circular base, 48" high

Lot 200

£100-200

204 A RECONSTITUTED STONE STATUE of a young boy playing bagpipes, with a hound at his feet, 32" high

£50-100

Lot 205

208 A RECONSTITUTED STONE PEDESTAL VASE of "Warwick" lobed form, on square base, 22" high x 24" wide, and another similar (2)

205 A BILSTON FOUNDRIES LTD CAST IRON SEAT designed by Edward Bawden, with arched geometric pattern back, down-curved arms and slatted wooden seat, 37½" high x 48" wide. See illustration

£300-500

209 A VICTORIAN WIREWORK PLANTER of circular form with a central rising column surrounded by a broad trough, on scrolling legs with platform stretcher, 55" high x 34" wide

206 A 19TH CENTURY PAINTED GARDEN BENCH with rail back, downswept arms and solid seat, the back inscribed "No. 20", the sides with arched Gothic panels, 43" high x 56" wide

£150-180

£150-250

210 A VICTORIAN WIREWORK PLANTER with a cartouche-shaped trough on scrolling base, 34" high x 35" wide, and another of similar 23" high x 33" wide (2)

207 A VICTORIAN LEAD GARDEN STATUE in the form of a young boy catching a fish in his hand, the boy wearing a straw hat, 29" high

£80-150

£100-200

£100-200 End of Collection 220-299 Spare lots 46

RUGS

211 A NORTH WEST PERSIAN RUG with a central diamond decorated with animals, birds and stylised creatures against a cream ground, all within a conforming multiguard border with fringed end, 121" x 82". See illustration

Lot 211

£200-400

212 A NORTH WEST PERSIAN CARPET, the central ground worked with repeated geometric motifs against a cream ground within a multiguard border and fringed end, 124" x 92"

£180-250

213 A PERISAN RUG with a central diamond motif within a pale blue surround with all over repeated stylised motifs within a multiguard border and fringed ends, 98½" x 77½"

217 A NORTH WEST PERSIAN RUG with central diamond motif within a floral surround, worked in reds and pale pinks against a dark ground, 80½" x 51"

£200-400

214 A PERSIAN "GARDEN" TYPE RUG with a central panel decorated with rabbits and exotic animals amongst flowering foliage, all against a deep blue ground within a pale multiguard border, with fringed ends, 101" x 64½"

218 A NORTH WEST PERSIAN CARPET, the central panel worked with repeated foliate and geometric motifs against a pale red ground with a multiguard floral border with tasseled ends, 115" x 78"

£80-150

215 A CAUCASIAN RUNNER with nine repeated geometric panels against a pale blue ground within a geometric border, 106" x 27½"

£80-150

219 TWO PERSIAN STYLE SADDLE BLANKETS with geometric stitched patterns and applied roundels with fringed borders and tasseled sections, 46½" x 28"

£50-100

216 A NORTH WEST PERSIAN RUG FRAGMENT with stylised foliate decoration against a pale red ground within a multiguard border, 77¼" x 51¼"

£80-150

£50-100

A PRIVATE COLLECTION FR OM LONDON AND THE CHALKE VALLE Y

PRINTS 305 CONTINENTAL SCHOOL, 18TH CENTURY, A study of two heads, etching, 3¼" x 4¼"

300 JACQUES RIGAUD (1681-1754) "Endroits Remarquables du Jarin en du Parc Versailles", four coloured engravings, 11" x 19¾" (4). See illustration

£200-400

306 TOMBLESON Panoramic Map of the Thames and Medway, lithograph, 19th century style, 40" x 10"

301 MOSES HARRIS (1731-1785) Studies of butterflies, moths and insects amongst flowers, a set of fourteen coloured engravings, 19th century, 12" x 9¼". See illustration

£300-500

£100-200

£80-150

308 W.J. BENNETT AFTER R. CATTERMOLE (1800-1868) "Buckingham House, Staircase", Coloured engraving, 9¾" x 12", and four companion engravings (4)

303 I NOUAT AFTER GIUSEPPE VASI (1710-1782) "A View on the Tyber and part of the City of Rome…", coloured engraving, 18th century, 7½" x 10¼", and a collection of nine other various engravings (10)

£100-200

£80-150

309 SPY: SIR LESLIE WARD (1851-1922) "Westminter", Headmaster of Westminster School, the Rev. William Gunion Rutherford, lithograph, 14½" x 10"

304 WILLIAM & JAN BLAEU, 17th CENTURY, "Cantivm Vernacule Ken", coloured engraved map, 15" x 21"

£30-50

307 JOSEPH B KIDD (1806-1889), "Loxia. Crossbills." coloured engraving, 16¼" x 12¾", and seven other similar coloured engravings and prints (8)

302 THOMAS BOWLES (b. 1707) "Inside View of the Rotunda in Ranelagh Gardens with the Company at Breakfast", engraving, c.1750-55, 11½" x 15½"

£50-100

£100-200

£30-50

310 VICTOR PETIT, 19TH CENTURY "Chateaux de la Vallee de la Loire", folio of lithographs, 25" x 18"

£80-150

Lot 300

Lot 301

311 ENGLISH SCHOOL, 19TH CENTURY A silhouette of a man on a horse, 4" x 3", and two other silhouettes (3)

313 PAUL JONES (1921-1997) "Camellia", limited edition colour print, No. 78/250, 24" x 17" and the companion print, "Hibiscus - Cameo Queen" (2)

£80-150

312 PERCY THOMAS (1846-1922) "Inner Temple", signed in pencil lower right, etching, 9¼" x 6¾" and the companion etching (2)

£30-50

314 JOHN WARD (1917-2007) London scene with Big Ben, signed in pencil lower right, limited edition colour print, No. 99/500, 13¼" x 19" and the companion colour print (2)

£100-200

£40-60

315 SIR HUGH CASSON (1910-1999) "Eton College", signed in pencil lower right, limited edition print, No. 12/650, 9" x 12¾" and the companion print, a reproduction map, and two other pictures (5)

Lot 320

£50-100

316 ELIZABETH HARBOUR (b. 1968) "Boy with a dog", signed and dated '92 lower right, 3/3, etching, 6½" x 5",

£50-100

317-319 Spare lots Lot 321

Works on Paper 320 LODOVICO CARDI, IL CIGOLI (1559-1613) A study for Christ and St. Peter Walking on the Water, red chalk, 12" x 8½". See illustration £500-1,000 321 AFTER WIILLIAM SCROTS (Active 1537-1553) A portrait of King Edward VI, gouache, 19th century, 9½" x 5½". See illustration

Lot 322

£200-400

322 CIRCLE OF CARLO MARATTA (1625-1713) Infant Christ with St. Anthony of Padua, pen and ink, 5½" x 4¼". See illustration

Exhibited: Jaques Seligmann & Fils, Paris, June 1930, No. 150

£300-600

323 ITALIAN SCHOOL, 17TH CENTURY, Men kneeling before their enthroned Emperor, pencil and wash, 5" x 8¾"

Lot 324

£100-200

324 CIRCLE OF JAN MEL (1599-1663) Study of a boy in period costume, black chalk on blue paper, 12" x 6". See illustration

£200-400

325 FOLLOWER OF CHARLES LE BRUN (1619-1690) "The Arrest of St. Paul", red chalk, 14" x 12"

Lot 327

£300-600 326 ITALIAN SCHOOL, 17TH CENTURY Study of three hands, red chalk, 4¾" x 7¾"

£150-300

327 ITALIAN SCHOOL, 17TH CENTURY A Roman soldier walking beside a robed man, brush and ink, 10" x 8¼". See illustration

£500-1,000

329 FLEMISH SCHOOL, 17TH CENTURY "Justice presiding over the gathering of tributes", red chalk, 5½" x 7½". See illustration

Lot 329

£300-600

330 ITALIAN SCHOOL, 17TH CENTURY A study of a robed man standing with outstretched arms, Indistinctly signed lower left, red chalk, 15" x 9¾". See illustration

Lot 330

£200-400 331 ITALIAN SCHOOL, 17TH/18TH CENTURY, A design for a ceiling, inscribed, pen and ink with watercolour, 9¼" x 14¾"

£150-300

332 VENETIAN SCHOOL, 17TH CENTURY, Squabbling Putti with a bird and dog, a ship in the distance, collector's mark lower left, pen and brown ink, 7½" x 10½".

Lot 333

Provenance: Von Parijs, L.2531

£200-400

333 CIRCLE OF ANGELO DE' ROSSI (1670-1742) Caricature of two Prelates, black stencil mark verso, pen and ink, 10" x 6½". See illustration

£200-400

334 JOHN VANDERBANK (1694-1739) "Hercules capturing Cerberus alive", signed and dated 1731 lower left, pen and ink with wash heightened in white, 14" x 10". See illustration

Lot 334

Provenance: Sotheby's 23rd January 1963, Professor Isaac's Collection

£300-600

335 ITALIAN SCHOOL, 18TH CENTURY A Town on a hilltop with fields and labourers in the foreground, pencil and sepia wash, 13½" x 18" and the companion drawing (2) £300-600 54

Lot 339

338 SIR NATHANIEL DANCE-HOLLAND (1734-1811) "Prevailing upon a Gentleman", pencil, Spink label verso, No. K3 9244, 6" x 5"

336 ITALIAN SCHOOL, 18TH CENTURY A man seated at a table with a wine bottle, red chalk, 8" x 7½"

£80-150

337 ATTRIBUTED TO BIAGO REBECCA (1735-1818) A design for a frieze, monogrammed lower left, pen and ink with wash, 2¾" x 15¼"

£200-400

339 LOUIS-LEOPOLD BOILLY (1761-1845) "Les Fumeurs et les Priseurs", charcoal heightened in white, old label verso, 10½" x 8½". See illustration

£200-400

£1,500-2,500

340 JOHN FLAXMAN (1755-1826) "The Death of Caesar", black ink, 8¾" x 14". See illustration

Lot 340

Provenance: The Collection of Sir Charles Robinson. Sotheby's 23rd January 1963, Professor Isaac's Collection

£300-600

341 THOMAS STOTHARD (1755-1834) Studies for a fireplace design, pencil, pen and sepia ink with wash, together with floral studies, the largest 4¾" x 7¼"

£100-200

342 JAMES WARD (1769-1859) Figures harvesting, pencil and wash, 4" x 6". Provenance: Sotheby's 23rd January 1963, Professor Isaac's Collection

£50-100

343 JOHN NIXON (1760-1818) "Syon House", pencil, David Ker Fine Art label verso, 4" x 6¼"

Lot 344

Lot 345

£50-100

344 SIR DAVID WILKIE (1785-1841) Studies for 'Sir David Baird discovering the body of Tipu Sahib', pen and brown ink recto and verso, 8½" x 7". See illustration

£500-1,000

345 SIR DAVID WILKIE (1785-1841) Study of a figure standing, another verso, pen and ink recto and verso, 6½" x 5". See illustration

£200-400

346 JOHN CHRISTIAN SCHETKY (1778-1874) "Portsmouth Point", inscribed and dated, "April 17 - 1818", pencil, 6½" x 10"

Lot 348

£50-100

347 DR. THOMAS MONRO (1759-1833) A landscape with a lake and boats, a tree in the foreground, charcoal and wash, 5" x 7½".

Provenance: Sotheby's 23rd January 1963, Professor Isaac's Collection

£50-100

348 WHIRSKER, 18TH CENTURY, 'Silhouetts sur le Vis", five caricatures, inscribed, pencil and watercolour, each approximately 3½" x 2½". See illustration

£300-600

350 ENGLISH SCHOOL, 18TH CENTURY Studies of birds and a vase, probably numbered patterns for porcelain, watercolour, 11" x 9", and the companion painting (2). See illustration

Lot 350

£200-400

351 L. MARSHALL, 19TH CENTURY A still life study of flowers on a window ledge, signed lower right, watercolour, 9¾" x 7¾"

Lot 350

£50-100

358 ALICE BENSON, 19TH CENTURY "An Italian Jar", watercolour, 13¼" x 10¼"

352 HIPPOLYTE-DOMINIQUE BERTEAUX (1843-1928) A figure on a stretcher being carried across a town square, with other figures and a military escort, signed lower left, gouache, 7" x 9½"

359 ENGLISH SCHOOL, 19TH CENTURY A study of a man with a beard, watercolour, 3½" x 3½", and two other watercolours, to include a view of St Peter's Church, London (3)

£100-200

353 COL LIONEL GRIMSTONE FAWKES (1849-1931) "Charles Hild 7 Army Corps", inscribed lower right, pencil and watercolour, David Ker Fine Art label verso, 4½" x 3¾"

£50-100

363 ENGLISH SCHOOL, 19TH CENTURY A study of a pink rose, watercolour, 7½" x 6", and two other similar studies (3)

£50-100

357 NAPOLEONE GAETANO VALERI (1810-1840) A woman collecting water from the well in a Palace Courtyard, signed and dated 1835 lower right, pencil and watercolour, 11½" x 9½"

£100-200

362 BOTANICAL STUDY, 19TH CENTURY Flowers with insects, watercolour on silk laid to paper, 10½" x 8¼"

£100-200

356 LOUISA ANNE, MARCHIONESS OF WATERFORD (1818-1891) "Bride Gladiolis, June 20 1884", inscribed in pencil, watercolour, 6" x 3¼"

£100-200

361 ENGLISH SCHOOL, 19TH CENTURY A set of four studies of wild flowers and berries, each inscribed and dated 1893, watercolours, 9½" x 6½" (4)

£200-400

355 FRANZ EYBL (1806-1880) A study of a sleeping child, signed and dated 1841 lower left, pencil and watercolour heightened in white, 5¾" x 7½"

£80-150

360 GERMAN SCHOOL, 18TH/19TH CENTURY A botanical study, "Genf. Sinapus.", inscribed, watercolour, 13" x 8"

£50-100

354 FREDERICK FRITH (1819-1871) A silhouette portrait of a gentleman, signed and dated 1848 lower right, black ink heightened with gold and white, 10¼" x 7"

£100-200

£150-250

£100-200

Lot 368

367 A STUDY OF A BUTTERFLY, watercolour heightened with silver and gold, O'Shea Gallery label verso, 19th century, 5" x 6"

364 ARCHITECTURAL PLANS OF AN INSTITUTION, ink and watercolour, 19th century, 35" x 23" and two companion plans and elevations (3)

£100-200

£80-150

365 A CHARCOAL STUDY, 19TH CENTURY A study of two male heads, charcoal, 4½" x 6½"

368 JOHN NASH (1893-1977) "In The Stalls", pen and ink, O'Shea Gallery label verso, 7¾" x 6". See illustration

£50-100

366 WILLIAM JAMES YULE (1867-1900) "Portrait of David Muirhead", embossed initials lower right "WJY', pen and ink, Pyms Gallery label verso, 7½" x 6"

Exhibited: Spring 1983, Catalogue No. I

£100-200

£300-600

374 RICHARD FOSTER (b.1946) Nude study of a female, pencil on paper, signed lower right, Spink label verso, No. K3 8306/34, 9" x 6¼"

369 LEWIS BAUMER (1870-1963) "The Chintz Dress", signed lower right, watercolour, 12¼" x 9¼"

£80-150

370 EDWARD SEAGO (1910-1974) "Fish Wharf, Great Yarmouth", signed lower left, bistre and wash, P & D. Colnaghi & Co Ltd label verso, 7¼" x 10½". See illustration

375 SALLY JACOBS (b.1932) Costume design for "Turandot" at the Royal Opera House, 1984, signed, inscribed and dated "Turandot, Female Dancers Basic, April 84" black ink and material samples, O'Shea Gallery label verso, 11½" x 8" and a companion work, "Ladies Act I, Basic in various whites, various stoles", (2)

£1,500-3,000

371 HENRY MATTHEW BROCK (18751960) "Johnson and Boswell at Temple Bar", signed lower left and inscribed "Under Temple Bar", pen and ink with watercolour, 8¼" x 5½"

£50-100

£100-200

377 ANNE HEAD "The Mauve Chair, 1999", signed lower right, oil on paper, 13" x 9¼"

£50-100

373 GRAHAM RUST (b.1942) "Boy Dreaming", ink on paper, signed lower right, Graham Rust label verso, 8¼" x 10¾"

£150-300

376 OLIVER MESSEL (1904-1978) "Throne Room", pencil and wash, Redfern Gallery Ltd label verso, dated 1951, 8¾" x 14¼", and the companion drawing, "Colonnade" (2)

372 LUCIEN HENRI GRANDGERARD (1880-1970) "Une Femme Assise au Chapeau", pencil heightened in white, signed lower right, Park Walk Gallery label verso, 11" x 7¾"

£50-100

378 ANNE HEAD "The Quay III (red) 2001", signed and dated lower right, oil and conte on paper, 13" x 9¼"

£80-150

£50-100

Lot 370

382 JAPANESE ARTIST A study of a nude female, ink and wash, signed with seal mark, O'Shea Gallery label verso, 18" x 16½" and two companion paintings (3)

379 ANN SWANTON A garden with parasols, signed lower right, watercolour, 11¼" x 15¼" and four other similar watercolours (5)

£80-150

£150-300

380 ANTHONY MURPHY (b. 1956) "Femme Penchée", pastel on card, signed and dated '98 lower left, 8½" x 12"

383 UNKNOWN ARTIST A figure on a bicycle, signed and dated '95 lower right, ink on paper, O'Shea Gallery label verso, 7¾" x 5¾" and the companion drawing (2)

£80-150

381 LUCY CAVENDISH (b. 1973) "Along the Escarpment, Cumbria", graphite on paper, signed lower right, Charles Mayes Gallery label verso, 25" x 39½"

£50-100

384 UNKNOWN ARTIST Sweet peas in flower, signed with initials and dated 1985 lower right, watercolour, 14¼" x 21¼" and a pastel study of flowers (2)

£100-200

£50-100

Lot 385

Lot 386

385 LADY EMMA TENNANT (NÉE CAVENDISH b. 1943) "Flowering Cherry", signed and dated '96 lower right, watercolour, O'Shea Gallery label verso, 15½" x 16". See illustration

388 LADY EMMA TENNANT (NÉE CAVENDISH b. 1943) "Sweet Peas II", signed and dated 1996 lower left, watercolour, 11½" x 9¼" and two similar watercolours, "Pandorea Jasminoides Rosea", "Greek Rose Hips" (3)

£500-1,000

389 PAMELA KAY (b. 1939) "Venice Piazietta, towards St Marks", signed lower right, watercolour, O'Shea Gallery label verso, 12" x 17"

386 LADY EMMA TENNANT (NÉE CAVENDISH b. 1943) "Lilium Speciosum", signed and dated '96 lower right, watercolour, Mallet and O'Shea Gallery labels verso, 11½" x 14¾". See illustration

£50-100 390 PAMELA KAY (b. 1939) "Narcissus, Helebore and Soleil D'Or", signed lower right, watercolour, Chris Beetles Gallery label verso, 18" x 14"

£500-1,000

387 LADY EMMA TENNANT (NÉE CAVENDISH b. 1943) "Strawberries and Delphinium", signed and dated 1997 left and lower right, watercolour, Mallet label verso, 15½" x 16" and a similar study, "Magnolia Simonsis and Wild Roses", signed with initials and dated '96 left and lower right, Mallet label verso, 16½" x 11½" (2)

£500-1,000

£80-150

394 PETER BROOKES (b. 1943) "A future fair for all", signed and inscribed, ink and watercolour, 9½" x 12½". See illustration

391 INDIA-JANE BIRLEY (b. 1961) "Dying Roses", black chalk, Wildenstein & Co Ltd Gallery label verso, 11" x 13½"

Exhibited: "A Second View", 9th April - 8th May, 1992

£100-200

£300-600

392 MARY COOKSON (b. 1923) "St. Sophia", watercolour, Charles Mayes Gallery label verso, 14¼" x 11¼"

Provenance: Sotheby's 16th December 2010, lot 161

395 'LARRY' TERENCE PARKES (b. 1927) "Police Hat Pass", signed top right, pen, ink and watercolour, Chris Beetles Gallery label verso, 5" x 8" and a similar drawing (2).

£30-60

393 SPARE LOT

Exhibited: Larry At The World Cup 2002, No. 63 and 71

£50-100 396 UNKNOWN ARTIST, 20TH CENTURY A study of a nude woman, signed lower right, graphite on paper, 12" x 9" and a similar study (2) 63

£80-150

397 DAVID HOCKNEY (b. 1937) "Michael Horovitz reading the crossword page", signed and inscribed upper right, graphite on paper, 13¾" x 17". See illustration

£8,000-15,000

398 & 399 Spare lots

OIL PAINTINGS

400 ENGLISH SCHOOL, 18TH CENTURY A View of Fort St. George, Madras, titled within a ribbon "A View of Fort St. George In The East Indies", oil on canvas, 29" x 53½". See illustration

£3,000-5,000

Lot 401

Lot 402

403 ROBERT HUDSON JR (1852-1884) A study of a bunch of flowers, signed lower right, oil on board, Pawsey & Payne Gallery label verso, 8½" x 11"

401 ASCRIBED TO GEORGE MORLAND (1763-1804) A portrait of a girl in a white dress in a landscape, signed with initials and dated 6th July 1854 verso, oil on canvas, 9" x 6½". See illustration

£300-600

404 EDWIN DOUGLAS (1869-1892) A portrait of a King Charles Spaniel, oil on panel, David Ker Fine Art Gallery label verso, 9" x 7¼"

402 EDWARD LADELL (1821-1886) A still life of fruit and nuts on a ledge, signed with monogram lower left, oil on canvas, 17" x 13". See illustration

£80-150

£800-1,500

£200-400

405 ENGLISH SCHOOL, 19TH CENTURY An arrangement of roses and other flowers resting on a bank, oil on canvas, 12½" x 16½"

£100-200

406 SPARE LOT 67

Lot 412

410 LINDA HEATHCOAT-AMORY, 20TH CENTURY "The Dining Room", oil on canvas, Jonathan Clark & Co Gallery label verso, 14" x 8"

407 LINDA AITKEN, 20TH CENTURY A view of Battersea Power Station, signed with initials and dated '95, acrylics on canvas, 22" x 18"

£50-100

408 PAMELA KAY (b. 1939) A still life study of apples on a table, signed with initials lower right, oil on board, O'Shea Gallery Label on verso, 11¾" x 15½"

411 INDIA-JANE BIRLEY, 20TH CENTURY "Gypsophylla", oil on board, Wildenstein & Co Ltd Gallery label verso, 9½" x 7½"

£150-250

409 PAMELA KAY (b. 1939) A still life study of redcurrants in a copper pan beside flowers, signed with initials lower right, oil on board, 11½" x 13½"

£80-150

Exhibited: "A Second View", 9th April - 8th May, 1992

£50-100

412 KEN HOWARD (b. 1932) Figures on a Cornish beach, signed lower right, oil on board, 11½" x 15½". See illustration

£100-200

£500-1,000

Lot 413

413 SIR JOHN LAVERY (1856-1941) "Tangier Bay", signed lower left, inscribed, signed and dated 1920 verso, oil on canvas, 24½" x 29¼"

£15,000-25,000

SCULPTURE 420 BERNARD TAKAWIRA (1948-1997) "Sister in Law", signed on underside, soapstone carving, 21½" high

415 EMILE CORIOLAN HIPPOLYTE GUILLEMIN (1841-1907) A medieval court musician playing a flute, standing on a rouge marble base, signed "E. Guillemin", bronze, 9" high

£200-400

421 SCULPTURE, 20TH CENTURY Three naked females, signed with initials "CK 93", pottery, 9½" high

416 DAVID GERSTEIN (b.1944) "Ladderman, 2005", printed marks, serigraph on cut-out steel, 14" high

£200-400

£80-150

£50-100

417 DAVID GERSTEIN (b.1944) "Jockey", printed marks, serigraph on cut-cut steel, 13¾" high

422 AN AFRICAN CARVED WOOD FIGURE wearing beads, 9½" high, and a Benin style bronze wall plaque in the form of a face, 9¾" high (2)

£80-150

418 CANDIDA BOND (b.1973) A female nude dancer, signed with initials and numbered 2/6, bronze with green patination, 24" high including wooden base. See illustration

423 SCULPTURE UNKNOWN ARTIST A bust of an African woman, signed with initials "CA", bronze effect on a wooden plinth, 20th century, 13½" high

£800-1,500

£100-200

424 AN ARGENTINIAN CARVED HARDWOOD ORNAMENT OF A DUCK of various woods, 16" long, and three other similar smaller ducks circa 6½" long (4)

419 CANDIDA BOND (b.1973) A dancing female nude, signed "Candida Bond 1/6 1998", bronze with green patination, 20" high. See illustration

£80-150

£800-1,500

£80-150

Lots 418 and 419

CERAMICS AND GLASS 430 A PAIR OF LARGE MEISSEN PLATES with blue decoration on a white ground within pierced borders, blue crossed swords and incised marks, 11¼" dia., and a set of eight matching side plates (10)

425 NINE VARIOUS FROSTED AND COLOURED GLASS PERFUME BOTTLES with coloured glass stoppers (9)

£100-200

431 A SET OF TWELVE FRENCH PORCELAIN DESSERT PLATES with blue flower decoration, on a white ground, with fluted borders and gilt-lined rim, 7" dia., and a set of nine matching ramekins (21)

426 A SET OF SEVEN MEISSEN PORCELAIN PLATES with painted floral decoration on white ground within a basket-mould border, gilt line rim, blue crossed swords and impressed marks, 9½" dia.

£100-200

£50-100

432 A DRESDEN PORCELAIN INKWELL AND PEN TRAY with floral decoration and a set of seven Dresden dishes decorated with flowers, within a pierced border, 6" dia., and a matching bowl (10)

427 A SET OF TEN BERLIN PORCELAIN PLATES painted with floral decoration, on white ground within a basket-moulded and twisted border, with gilt line rim, blue and impressed marks, 8½" dia.

£80-150

£100-200

£80-150

428 A PAIR OF CONTINENTAL PORCELAIN PLATES with painted floral decoration, on a white moulded floral ground, within a fluted border and gilt line rim, brown and incised marks, 18th century, 9¼" dia.

433 AN ENGLISH PORCELAIN COFFEE SET of six cups and saucers, painted with flower decoration, on a white ground, within gilt and blue border, 19th century

£50-100

429 A SET OF FIVE ROYAL DOULTON PORCELAIN PLATES decorated with tropical birds within floral scroll borders, 9" dia., and a set of three Spode porcelain plates with painted floral decoration, on a white floral moulded ground, gilt line rim, 8½", 19th century (8)

434 A DRESDEN PORCELAIN PART TEA SET Comprising: Teapot, four coffee cups and five saucers, painted with flower decoration, on white ground within gilt borders, blue painted marks, early 20th century

£80-150

£50-100

£80-150

Lot 437

438 A PAIR OF CHINESE PORCELAIN OVERFORM JARS AND COVERS with floral decoration, on blue ground, blue seal mark, 16" high

435 A SET OF EIGHT MEISSEN TEA CUPS AND SAUCERS and a matching tray, decorated with blue floral decoration on a white ground, blue crossed swords and impressed marks

£80-150

439 A PAIR OF CHINESE PORCELAIN JARS AND COVERS of globular form, with polychrome fruit and butterfly decoration, on cream ground, standing on wood plinths, iron red seal mark, the jars 12½" high

436 A MEISSEN PORCELAIN FIGURE OF A CLASSICAL FEMALE standing on a rocky base, blue crossed swords and impressed mark, 19th century, 8" high

£50-100

£100-200

440 A PAIR OF CHINESE STYLE BLUE AND WHITE VASES with pomegranate decoration, on a blue leafy ground, 14" high

437 AN EXTENSIVE HEINRICH WEST GERMAN PORCELAIN DINNER AND TEA SERVICE, Villeroy and Boch Indian Summer pattern with flowers on white ground within green and gilt borders. Comprising: Five large tureens, two sauce tureens, 19 dinner plates, 12 soup plates, 10 side plates, 12 smaller side plates, a salad bowl, two oval meat plates, 12 twohandled soup cups and saucers, and other various teawares including tea and coffee pot. See illustration

£100-200

£800-1,500 73

£50-100

441 A PAIR OF BERLIN KPM PORCELAIN PLAQUES, decorated by F. Wagner, with portraits of an elderly man in a fur hat and collar, and his wife with green silk drape and fur collar, signed lower right, impressed 'KPM' below sceptre marks verso, contained in ebony cavetto frames with gilt slips, 19th century, 9Â˝" x 7". See illustration

ÂŁ2,000-4,000

LIGHTING AND WORKS OF ART

Lot 449

442 A JAPANESE PAINTING ON WOOD PANEL of a bird in a flowering tree, seal mark lower right, late 19th/early 20th century, 22½" x 23" and two Japanese wood cuts (3)

446 ANNABELLE JONES, LONDON: A SILVER PILL BOX, 2¾" wide, in original box

£80-150

447 COINS: A ROYAL MINT SILVER PROOF TWO COIN SET, 1989, and other various silver and commemorative coins

443 STELLA ASTOR "The Virgin Hodegetura", egg tempera on gesso, a Russian style icon, 14" x 10¼"

£80-150

449 A PAIR OF FRENCH GILT BRONZE BOUILLOTTE LAMPS with toleware type shades decorated with gilt flowers on green ground, 30½" high. See illustration

£80-150

445 DAVID ANDERSON; A SET OF SIX SILVER AND ENAMEL SPOONS contained in an Asprey box, and two other similar sets of silver and enamelled spoons, in cases (three sets)

£30-50

448 SPARE LOT

444 A PAIR OF SILVER SHELL-SHAPED SALTS and other various silver and silver plated condiments

£50-100

£100-200

£300-600

Lot 455

454 A PAIR OF FRENCH BRONZE AND ORMOLU FOUR LIGHT WALL SCONCES with scroll branches and foliate wall plates, 11½" wide, and other picture lights and wall lights

450 A FRENCH BRASS BOUILLOTTE LAMP with a toleware type shade, 24" high

£100-200

451 A PORCELAIN LAMP in the form of an oriental vase with famille rose decoration, 24½" high, and three other lamps (4)

455 A PAIR OF ITALIAN BAROQUE STYLE CARVED AND GILTWOOD CANDELABRA, the cherubs supporting gilt metal floral scrolls, 30" high. See illustration

£100-200

452 A TOLEWARE TYPE TABLE LAMP in the form of a column with gilt leaves, on red ground, 36" high

£100-200

£200-400

456 A VICTORIAN TOLEWARE STYLE OVERFORM VASE AND COVER decorated by Clare Mosley 1989, with gilt leaves, on a red ground, 18" high

453 A SET OF FOUR TABLE LAMPS in the style of Regency candlestick lustres with glass prismatic drops, 17" high, and one other pair of candlesticks (6)

£100-200

£100-200 76

£60-120

FURNITURE 460 A CAUCASIAN CHELABERD KAZAK RUG, the red field with two characteristic large white and dark blue eagles, wing panels, wine glass and leaf meander in the border, 86½" x 60" and another Eastern rug (2)

Lot 461

£400-800

461 A VICTORIAN STYLE GILT BRASS FIRE FENDER with padded cushions, on a rail support, 21½" high x 61" wide x 31" deep. See illustration

£300-600

462 A VICTORIAN TOLEWARE COAL SCUTTLE with painted snow drop decoration, on black ground, raised on four feet with castors, 18" high, and a set of brass fire irons

Lot 463

£80-150

463 A PAIR OF GILTWOOD WALL BRACKETS of classical form with acanthus leaf and fluted decoration, 17¼" high. See illustration

£200-400

464 A PAIR OF REGENCY CARVED AND GILTWOOD WALL APPLIQUES in the form of eagles with outspread wings, standing on rocks, early 19th century, 25" wide. See illustration £300-500 Lot 464 465 A VICTORIAN STYLE CAPTAINS SWIVEL DESK CHAIR with red button back upholstery, on five splayed legs with castors, 33" high

£200-400

466 A DRESSING TABLE MIRROR with chinoiserie gilt decoration on black ground, single strut support, 22" high

£80-150 77

467 A JAPANESE STYLE LACQUERED COFFEE TABLE, possibly Mallet's, the surface with carved and polychrome vases with flowers, beside a censer and other floral decoration, on black and gilt ground, 14½" high x 47" wide. See illustration

Lot 467

£300-600

468 A REGENCY MAHOGANY CARD TABLE with crossbanded veneers and ebony stringing, on tapered reeded legs, 28½" high

£150-250

469 A MAHOGANY AND SATINWOOD INLAID TEA TABLE with a circular folding top, the frieze inlaid with fan and floral garlands between bands of inlaid fluting, on tapered fluted legs, 29" high. See illustration

Lot 469

£300-500

470 A REGENCY ROSEWOOD AND SATINWOOD INLAID CARD TABLE on a turned column and four splayed legs, with brass lion paw feet, 29" high

£150-250

471 A FRENCH EMPIRE MAHOGANY SETTEE with carved sphinx head supports, on paw feet, 19th century, 36½" high. See illustration

Lot 471

£300-600

472 A MAHOGANY DAVENPORT with a sliding top section with sloping lid, on a panelled base with three drawers below, on bun feet, early 19th century, 32½" high. See illustration

Lot 472

£300-600

473 A VICTORIAN STYLE TRAY TOP EBONISED SIDE TABLE with raised gallery, on square tapered legs, 22" high

£50-100

474 A GEORGE I GILTWOOD WALL MIRROR with carved rosette and leaf spray flanked by phoenix, the apron base with scallop shell rosettes and scrolls, 42" high. See illustration

Lot 474

£300-600 475 A MAHOGANY CHEST OF DRAWERS with bow front and shaped bracket feet, 19th century, 38" wide x 40" high

£200-400

476 A BLACK JAPANNED AND GILT TWO TIER SHAPED RECTANGULAR ÉTAGÈRE on faux bamboo supports with raised pierced brass galleries, 29" high. See illustration £300-600 Lot 476

477 A VICTORIAN SEWING TABLE with inlaid mother of pearl and floral painted decoration, on an ebonised ground, hinged top, on a spiral column on three scroll feet, 28" high

£80-150

Lot 478

481 A LOUIS XVI STYLE FOOTSTOOL with serpentine sides, stuffed-over with floral needlepoint cover, gilt foliate rails on cabriole legs, 19th century, 13½" x 14½"

478 A ROCOCO GILTWOOD TRUMEAU, the upper panel containing a 17th century Italian oil on canvas in the manner of Panini, depicting ruins in a landscape above the triple divided plate, the frame carved with rococo scrollwork, acanthus leaves and flowers, 18th century, 52½" x 53" wide

£2,000-4,000

482 A REGENCY GILTWOOD PIER GLASS, a moulded cornice applied with spherical beads supported by two columns, 34" x 21½"

479 A VICTORIAN MAHOGANY FRAMED SPOONBACK OPEN ARMCHAIR with serpentine front, on turned legs and castors, 42½" high

£50-100

483 A GEORGE III STYLE MAHOGANY TWIN PEDESTAL DINING TABLE with splayed legs, on brass lion paw feet with castors, 120" long

£100-200

480 A PAIR OF LOUIS XVI STYLE CONSOLE TABLES with rectangular marble tops, the frieze applied with gilt stars, on fluted tapered legs, 30" high x 45½" wide x 23½" deep

£50-100

£300-600 80

£500-1,000

Lot 484

487 A SET OF EBONISED WOOD WALL SHELVES with serpentine front and turned columns, 21" high

484 A MAHOGANY SERVING TABLE, the rectangular top with three fluted frieze drawers, the central drawer with a raised panel carved with urn and laurel leaf festoon, on six fluted tapering square legs and spade feet, each headed with a carved oval paterae, early 19th century, 36" high x 71" wide x 23" deep. See illustration

488 A VICTORIAN OAK FRAMED OPEN ARMCHAIR with padded back, 33½" high

£1,500-2,500

485 A SET OF THREE VICTORIAN STYLE STANDARD LAMPS with articulated branches and another similar standard lamp (4)

£100-200

489 A VICTORIAN BLACK LACQUERED PAPIER MACHE SIDE CHAIR with inlaid abalone shell decoration within gilt borders, 34½" high and a Regency painted side chair with floral decoration on black ground within gilt borders, 33" high (2)

£100-200

486 A VICTORIAN OAK FRAMED OPEN ARMCHAIR with padded back, seat and arms, on turned legs, 35" high

£100-200

£50-100

Lot 490

Lot 495

493 AN EDWARDIAN SATINWOOD KIDNEY-SHAPED BIJOUTERIE TABLE with painted floral decoration, on splayed square tapered legs, joined by an under tier, 29¾" high

490 A FRENCH VENEERED AND GLAZED DISPLAY CABINET ormolu-mounted with a cushion top and a central drawer, with bevelled glass, standing on four cabriole legs, 76" high x 33" wide x 17" deep. See illustration

£1,500-2,500

494 A PAIR OF 19TH CENTURY CONTINENTAL OAK CORNER CUPBOARDS painted with floral panels, 57½" high x 33" wide. £300-600

491 AN OAK BUFFET, the rectangular top with bookrest, adjustable on tapered square trestle supports, two undertiers with three quarter ledge backs, on hipped and reeded splay legs with brass caps and castors, early 19th century, 31" high x 28" wide x 18"deep

495 A LACQUERED BOW FRONT HANGING CORNER CUPBOARD with a scroll arch ledge back, three shelves enclosed by doors decorated in colours with the Adoration of the Magi, 18th century, 45" high. See illustration

£200-400

492 A REGENCY MAHOGANY AND CROSSBANDED PEMBROKE TABLE with rectangular drop-leaf top above a deep end frieze drawer with an opposite dummy drawer, on turned legs with castors, 28½" high x 31½" wide x 20" deep

£300-600

£150-300

£200-400

496 AN OAK GATELEG TABLE painted with blue floral borders, on bobbin-turned legs joined by stretchers, 19th century, 28½" high x 68" wide x 43" deep

£200-400

Lot 502

497 TWO CONTEMPORARY INLAID WOOD WALL MIRRORS with bevelled plates, 32" x 27½" and 28" x 24" (2)

501 DAVID LINLEY: A BLOTTER PAD with lozenge medallion corners, 18" x 23¼", an oak square reading box, the hinged top with pollard panel, a parquetry square medallion to the centre and Macassar ebony strung, 12¾" square (2)

£200-400

498 A KING-SIZED FOUR POSTER BED with a sprung interior mattress and base, ebonised and gilt foliate turned posts, similar cavetto tester, headboard drapes, tester and valance to match the curtains, and an upholstered headboard cover and valance

502 DAVID LINLEY: A PAIR OF SYCAMORE CONSOLE TABLES banded with inlaid Burr Elm, Macassar Ebony and Madrone Burr, the rectangular tops on six square tapered legs, 31" high x 46½" wide x 19½" deep, and the original David Linley furniture plans, pencil and watercolour, 11¼" x 15". See illustration

£500-1,000

499 A TWO SEATER SOFA upholstered in eastern style bands of coloured decoration, on red ground, 29" high x 72" wide x 36" deep

£1,000-2,000

£100-200

500 A TWO SEATER SOFA with cream patterned upholstery, 33" high x 74" wide x 45" deep

£100-200

503 DAVID LINLEY: AN OAK AND BURR OAK PEDESTAL DESK with Macassar Ebony and Burr Elm inlaid borders, the rectangular top on an arrangement of nine graduated drawers with ebony handles, 30" high x 71" wide x 31½" deep, and the original David Linley furniture plans, pencil and watercolour, 15" x 22½". See illustration

£5,000-10,000 End of Collection

FRIDAY, 16 th September, 10.30A M

PRINTS Work s on paper

Detail of lot 689A 85

Lot 600

600 AFTER JOSEPH HIGHMORE (1692-1780) "Samuel Buck and Nathaniel Buck", Richard Houston Sculp, printed for Robert Sayer, London 1774, mezzotint, 9" x 12¾" (plate)

£50-100

601 AFTER EIRHARD SCHON (1491-1542) A profile portrait of Albrecht Durer with Durer's monogram and date 1527 within the image, woodblock, 11½" x 10" Lot 602

£100-200

602 ELYSE LORD ASHE (1900-1971) A pair of Asian dancers, signed to the margin and numbered 44/100, Aldridge Brothers Little Gallery, Worthing label verso, hand coloured etching, 13" x 18¼", in a black chinoiserie decorated frame

£100-200

602A THREE LEATHER BOUND ALBUMS containing 18th and 19th century engravings, some trimmed and stuck, others sheet, including a late 18th century battlescene engraving dated 1728 after Philip Wouwerman, 6¼" x 8½" (plate) and another after Snairs (3 folios)

Lot 604

Lot 606

£100-200

603 ELYSE LORD ASHE (1900-1971) "Two Branches", signed in pencil to the margin and numbered 30/100, Aldridge Brothers Little Gallery, Worthing label verso, hand-coloured etching, 13¾" x 11¼", in an ebonised chinoiserie frame

£80-120

604 EILEEN A SOPER (1905-1990) "The Scooter, 1922", signed in pencil to the margin, apparently one of fourteen signed copies of the 4th state, etching on woven paper, 4¾" x 7¼" (plate). See illustration 86

£200-400

Lot 610

605 EILEEN A SOPER (1905-1990) "The Explorer, 1928", signed in pencil to the margin, etching on laid paper, 5½" x 7¾". £200-400

609 WILLIAM RUSSELL FLINT (1880-1969) "Spanish Ladies", printed signature within the image and further signed in pencil to the margin with publishers blind stamp, published by Frost & Reed, sepia and black lithograph on a buff ground, 15¾" x 28½"

606 EILEEN A SOPER (1905-1990) "Flying Swings, 1924", signed to the margin, apparently one of eight signed impressions of the 3rd state, etching, 7¼" x 10¾" (plate). See illustration

£100-200

610 JOHN G. WALKER (b.1939) An abstract expressionist landscape, signed in pencil lower right and dated '69, numbered 41/75, coloured lithograph, 28" x 41", framed, and three others similar in alternative colour ways (4) See illustration

£300-500

607 EILEEN A SOPER (1905-1990) "The Boat Swing, 1924", signed in pencil to the margin, apparently one of thirty two signed impressions, etching on laid paper, 10¾" x 7¼". £300-500 608 MORGAN WALKER (1957-) "Imaginary Dog", signed and dated '97 in pencil, titled and marked artists proof to the margin, etching, 11½" x 9¾", and "Pupetta" (2) £100-200 87

John Walker's work is characterised by the use of flat shapes and forms to create the 3D landscapes which perfectly suit his choice of acrylic, dry pigment and print making mediums. These four works show the beginnings of his layering patchwork technique which he championed during the 1970's. Walker wone the 1976 John Moores painting prize and was nominated for the Turner Prize in 1985.

£1,000-2,000

611 BRYAN WYNTER (1915-1975) "Landscape with Zerophyte", printed signature and date '48 within the image, further signed in pencil and titled by the artist verso, three colour lithograph, 13" x 15¾". See illustration

Lot 611

£500-1,000

612 "THE GREAT STORM OF OCTOBER 1987 AND IT'S AFTERMATH" A set of five wood engravings by Claire Dalby, Monica Poole, Peter Reddick, Peter Smith & George Toot, published by The Society of Wood Engravers, each signed in pencil, titled and numbered 100/250, each mounted with foreword and in a blue linen-bound box

Lot 614

£300-500 613 DAVID SHEPHERD (b.1931) "The Lunch Break", printed signature and date '83 within the image, printed title and signed in pencil, numbered 346/850 to the margin, with publishers blind stamp, 20¾" x 30¼", and another "Tiger in the Sun", numbered 4/850 (2)

Lot 615

£100-200

614 VALERIE THORNTON (1931-1991) "Buildings and Tombs", signed in pencil to the margin and titled, artists proof, monochrome etching, 13½" x 18½" (plate)

£150-250

615 JOHN BELLANY (1942-2013) "Untitled (Red Earth) 1995" , signed in pencil, initialled G.F.L.I. with publishers blind stamp, a red screen print, apparently from an edition of 20, 29½" x 22" (page). See illustration

£300-500

Lot 717

Lot 616

616 DAME ELISABETH FRINK (1930-1993) "A Shipmans Tale 1972", printed circular frank with Shipman's Tale text to mount, lithograph etching, 24" x 14½". See illustration

£400-600

617 ALAN DAVIE (1920-2014) "Ra Drak" (variation II) 2000, signed in pencil and dated, numbered CSLI, two colour screen print, apparently an artists proof, 24½" x 29". See illustration

Lot 618

£400-800

618 JOHN PIPER (1903-1992) "Blenheim Palace 2012", printed title and publishing details in margin, numbered in pencil 55/100, with Goldmark Gallery label verso, colour lithograph, 22½" x 15". See illustration

£400-600

619 JOHN BRUNSDEN (1933-2014) "Dunes and sea mist at Aberffraw", signed, titled and numbered 10/100 in pencil to the margin, etching and aquatint, 19" x 25". See illustration

Lot 619

£200-400

620 AFTER GERALD COOPER (fl. 1928-1940) "Striped Lily", printed signature and date 1946 within the image, further printed title and publishers details for the Baynard Press for School Prints Ltd, London to edge of image, Goldmark Gallery label verso, colour lithograph, 28" x 19¼" See illustration

Lot 620

£150-250

621 TESSA NEWCOMB (b.1955) "Daffodil, 1989", initialled and dated lower right, coloured monoprint, 7½" x 5¼" See illustration

£150-250

622 CIRCLE OF EMIL ORLIK (1870-1932) Two gents resting on a beach beside a rowing boat, etching, 17½" x 19½", and two other similar etchings (3)

£100-200

623 AFTER WASSILY KANDINSKY (1866-1944) "Lyrishes", a man on horseback, limited reprint numbered 213/300, 13½" x 20" plate

Lot 621

£50-100

624 DAVID SHEPHERD (b.1931) "Lion Majesty", copyright Solomon & Whitehead (Guild Prints) Ltd by courtesy of the Tryon Gallery Ltd, numbered 37 in the margin £100-200 625-649 Spare Lots 90

WORKS ON PAPER 650 DAVID COX (probably the Senior, 1783-1859) "Old Mill House," signed lower right, sepia watercolour, 5¾" x 8".

Lot 651

£150-200

651 DAVID COX SNR (1783-1859) "The Path by the River", Agnew & Sons Ltd label on verso, charcoal and watercolour, 6" x 8½". See illustration £300-500

Lot 655

652 DAVID COX (probably the Jnr. 1809-1885) Fishermen on the shore with other figures, Frost & Reed No.6886 Sept 9, 1948 label on verso, watercolour over pencil, 6" x 9".

£200-400

653 ATTRIBUTED TO DAVID COX JUNIOR (1809-1885) A stream in Dovedale, watercolour, 14" x 20”

£150-300

654 THOMAS ROWLANDSON (1756-1827) A study of mythical figures, indistinctly marked lower right, pen and ink over traces of pencil, 8¾" x 7", and the companion studies of grotesques (2).

£400-600 655A NATHANIEL BUCK (18th century) "The east view Butley-Priory, in the county of Suffolk", pen, black ink and wash, 9½" x 15", and companion drawing of "The west view of Bury Abbey, in the county of Suffolk" (2).

655 FOLLOWER OF JEAN AUGUSTE DOMINIQUE INGRES (1780-1867) Portrait of lady with dog, pencil and wash, 13" x 10¼". See illustration

Provenance: Private collection, Merseyside.

£500-1,000

£400-600

656 EDWARD DUNCAN RWS (1803-1882) Study of a fisherman, monogrammed lower right with studio stamp, pencil drawing, 7¾" x 5"

Lot 659

£60-100

657 WILLIAM HENRY HUNT (1790-1864) Still life, Irises in a vase, signed, watercolour, 21" x 17½", and the companion, Still life with fruit (2)

£300-600

658 WILLIAM HENRY HUNT (1740-1864) "The Newspaper Seller", watercolour, 14½" x 12"

£300-500

659 ANTHONY DEVIS (1729-1817) A view in Spring Park near Tetbury Gloucestershire, watercolour, pencil and chalk, 10" x 15". See illustration

Lot 660

Provenance: Christies Lot 36 2001, from the collection of Lord Ducie with Colnaghi, London.

£700-900

660 ANTHONY VANDYKE COPLEY FIELDING (1787-1855) Coast scene near Filey Bay, Yorkshire, signed and dated 1842 lower right, watercolour over pencil, 18" x 29". See illustration

Lot 661

Provenance: Lawrences Lot 1981, 2011. Exhibited: Society of Painters in Watercolours 1842. No. 183.

£800-1,500

661 GEORGE JOHN PINWELL (1842-1875) Market at Tangiers, signed, dated and inscribed 'GJ Pinwell/Tangiers 74' lower left, artist's address and the address of Mr C Waithman inscribed on verso, watercolour, 15½" x 27". See illustration 92

£500-1,000

662 EDWARD WILLIAM COOKE R.A. (1811-1880) Shipping in the harbour, signed and dated 1832 in pencil lower left, watercolour, 7" x 10".

Provenance: Gorringes, Lewes. Lot 1372, 2011

£250-450

Lot 664

663 GEORGE ARTHUR FRIPP (1813-1836) Wooded river landscape with a figure in a punt and other boats, signed and dated 1843, watercolour over pencil, 11" x 17"

£300-500

664 SARAH SETCHELL (1813-1894) "Jessie and Colin", labels from Abbey, Antiques and Arts, St Albans and Thos, Agnew & Sons, Liverpool and printed old stock number on verso, watercolour, 31" x 25". See illustration

Provenance: Exhibited at Manchester Jubilee Exhibition 1887, inscription on verso.

£200-400

Lot 665

665 ALBERT ROSSER "Rydal-Water and the river Rothay from White Moss Common", dated 1859 on verso, watercolour, 9½" x 13½". See illustration

£150-250

666 19th CENTURY MILITARY INTEREST, "John Young, Of Her Majesty's 2nd Queens Royal R(egiment)", watercolour over pencil, 6" x 8", and the companion study of "Private George Coombes" (2)

Lot 667

£100-200

667 CONTINENTAL SCHOOL, 19th century, The old Citadel Aurangabad, Maharashtra, Deccan, old label to verso indistinctly inscribed, watercolour, 8¾" x 11¾", and companion painting (2). See illustration

£200-400

668 SIR GEORGE HAYTER (1793-1871) "Male Nude", pencil sketch, 7" x 4¾"

Lot 671

£100-200

669 RICHARD HENRY NIBBS (1810-1893) "On The South Downs, Sussex", watercolour, 18¼" x 37¾"

£80-150

670 THOMAS BUSH HARDY (1842-1897) "The Jetty", watercolour, signed lower left, 6¾" x 9½"

£200-400

Lot 672 671 THOMAS BUSH HARDY (1842-1897) Fishing boat and three-masted barque in a squall by a pier, watercolour, signed lower left, 13" x 18". See illustration

£300-500

672 WILLIAM WYLD R.I. (1806-1929) Fishing boats in a gale, signed and dated 1831 lower right, watercolour, 4" x 6". See illustration Lot 673

Provenance: Frederick J. Butts, The Salterns, Parkstone Dorset. 1879. Duke's Dorchester Lot 42, 2010.

£400-600

673 THOMAS CHRISTOPHER HOFLAND (1777-1843) Farmer and cattle at rest between the trees, inscription to label on verso "(T)he subject for the poem 'The Wonders of the La(ne)' by Ebenezer Elliot", miniature watercolour on ivory, 3" x 3¾". See illustration

£200-400

Lot 675A Lot 678A

677 ENGLISH SCHOOL, 19th century Winfrith Newburgh church, Dorset, old label on verso reads "The church Miss Chapple was married from- daughter of Sir W. Chapple Turbeville", pencil drawing with watercolour and gouache, 12¾" x 20½"

674 ORLANDO NORIE (1832-1901) "French Infantrymen" Zouaves troups in the Crimea, c.1850's, watercolour, 12½" x 19¾"

£200-400

675 AMERICAN SCHOOL, 19th century A study of a coaching scene, monogrammed R.T.B. and dated 1832 lower right, watercolour, 8" x 12"

678 CHARLES NAPIER HEMY (1841-1917) "Falmouth Harbour", signed lower right, watercolour, 9" x 12"

£300-500

675A M ONOGRAMMIST CJ (19th century) Pre-Raphaelite study of a red-haired lady holding fan, possibly Elizabeth Siddal, watercolour and bodycolour, 5" x 6". See illustration

£150-250

£300-500

678A FRANK RANDAL (fl.1887-1901) After Titian, The Holy Family, "Ru(skin)" Exhibition, Manchester City Art Gallery old label on verso, watercolour and bodycolour, 6½" x 9¾". See illustration

£200-400

676 HENRY B. WIMBUSH (1858-1943) "The Fairy Glen, Bettws-y-Coed", watercolour, 8" x 11¾", and the companion study "Snowden, from Pont-y-Garth" (2)

Provenance: Manchester City Art Gallery 1904, No. 133

£300-600

679 FRANK WASLEY (1848-1934) A riverside view of St Paul's and the Thames, watercolour, 14½" x 19¼"

£80-150

£300-600

686 FRANCIS NICHOLSON (1753-1844) "Wenlock Priory- Salop", watercolour, 8½" x 12"

680 WILLIAM PYE (fl. 1881-1908) "Evening, A Dorsetshire Hamlet", signed lower right, watercolour, 14¼" x 20½"

£150-300

687 HENRY BARLOW CARTER (1804-1868) "Fishing Boat off Whitby", watercolour, 8" x 12¼", and the companion painting "Coastal Backwater" (2)

681 DAVID BATES (fl. 1868-1904) "On the Machno River, North Wales", signed lower right, watercolour, 9¾" x 14½"

£80-150

£50-100

684 HENRY BURDON RICHARDSON (1826-1874) "Sailing In A Swell", watercolour, 12½" x 17½"

£100-150

689A WILLIAM HEATH ROBINSON (1872-1944) "One of the objections of Salisbury Plains as a hunting ground", signed lower right, pen, black ink and grey wash, 15" x 9¾" See illustration on page 85

£100-200

685 ENGLISH SCHOOL, 19TH century A continental townscape with cathedral, canal and bridge in the foreground, watercolour, 13" x 19"

£80-150

689 ARTHUR REGINALD SMITH (1871-1934) "A wet lamb fair", The Fine Art Society, Ltd label dated 1946 and The Royal Society of Painters in Watercolours label on verso, signed lower right of centre, watercolour, 12" x 21"

683 J.A ..ILL (19th century) Vagrant boy, indistinctly signed lower left, watercolour, 10" x 7"

£100-150

688 ARTHUR REGINALD SMITH (1871-1934) "Landscape in Cumberland", The Fine Art Society, Ltd label dated 1946 on verso, signed lower right, watercolour, 13¾" x 21"

682 ATTRIBUTED TO H.J. MOULE View of Dorchester looking up High West Street, inscription on verso, H.J. Moule being the former curator of Dorset County Museum, watercolour, 7"x 7"

£100-150

£200-300

690 CHARLES EDWARD DIXON R.I. (1872-1934) "The Two Admirals", signed and dated 1924 lower left, watercolour, 13" x 9¾". See illustration

Lot 690

£300-500

691 FRANK WATSON WOOD (1862-1953) Battle of Jutland, HMS Barham, Malaya, Valiant and Warspite of the 5th Battle Squadron, signed and dated 1922 lower right and each Battleship named underneath respectively, watercolour, 11½" x 28¼". See illustration

£200-400

692 FRANK WATSON WOOD (1862-1953) "HMS Cornwall", name of Cruiser inscribed lower centre and signed and dated 1919, watercolour, 7" x 13"

£80-150

Lot 691

693 WILLIAM MINSHALL BIRCHALL (1884-1941) "Waiting for the ebb tide- Tilbury", titled, signed and dated 1922 lower left, watercolour, 13" x 20"

£100-200 Lot 695

694 CHARLES. E. GEORGES (19th/20th century) Thatched cottages and a country lane, watercolour, 11" x 15"

£150-250

695 JOHN TERRIS RSW RI (1865-1914) Winter in Rye, signed lower right, watercolour, 15" x 21". See illustration

£300-600

696 ALBERT GOODWIN (1845-1932) "Winchester", titled lower left, signed lower right, Fine Art Society label dated March 1951, No.13 on verso, watercolour highlighted with pen, ink and white, 9½" x 14¼". See illustration

Lot 696

£400-600 697 WILLIAM FREDERICK MAYOR (1866-1916) "Boats at Runswick Bay with Whitestones Cliff in the background", signed lower right, 12" x 15". See illustration

Lot 697

Provenance: with the Mayor family, signed certificate by James Mayor on verso.

£800-1,600

698 ALEXANDER CARRUTHERS GOULD (1870-1948) "Windsor Castle from the water meadows", signed lower left, watercolour, 11" x 17½" £80-150

Lot 699A

699 EDOUARD VUILLARD (1868-1940) "Madame Hessel", monogrammed E.V lower right, pencil sketch, 7¾" x 4½". £500-1,000

699A SIR WILLIAM ORPEN (1878-1931) A profile portrait of a young man, signed lower right, c harcoal, 14¼" x 9¾". See illustration

Provenance: With a letter stating that this work was gifted from Orpen to the mother of the current owner, whilst studying together at The Metropolitan School of Art, Dublin, in around 1894.

Private collection, Wareham.

£3,000-5,000

Lot 705

704 PHILIP WILSON STEER (1860-1942) "Low Tide, Whitstable", Aitken, Dott & Son label, dated 43' and Christies stamp on verso, watercolour, 8¾" x 12"

700 WINIFRED BARHAM (19th/20th century) Collection of framed cards and an archive of preliminary drawings within a sketchbook, including a sketchbook of 'anatomy' drawings and other material, watercolour and pencil (9).

£100-200

701 ENGLISH SCHOOL, (20th century) A series of Antarctic views, two framed sets of, watercolours, 12¾" x 18¾". (2)

705 CERI RICHARDS (1903-1971) "Violin PLayer I", Howard Roberts Gallery label on verso, along with a copy of 'The Graphic Works of Ceri Richards' by Robert Sanesi (Milan 1973), ink, watercolour and pastel, 15" x 21¾". See illustration

£200-400

702 ROLAND BATCHELOR (1889-1990) "A Seniors Talk", signed top left, watercolour, pen and ink, 6¾" x 4"

£50-100

703 GEORGE PENNEFATHER (1905-1967) Chrysanthemum still life, signed and dated 1954, watercolour, 17½" x 14½"

£100-200

£200-400

Provenance: From an early exhibition, receipt from The Howard Roberts Gallery included.

£1,000-2,000

706 JOHN NEWBERRY (1934-) View of the Thames pass from Wittenham Clumps, signed lower right, watercolour, 7" x 9½"

Lot 707

£100-200 707 SVEN BERLIN (1911-1999) Study of a Greyhound, black ink, 16" x 20". See illustration

Provenance: The collection of the artist.

£300-500

708 SVEN BERLIN (1911-1999) Girl with a shell, signed and dated '89, acrylic on paper, 25" x 18". See illustration

Lot 708

Provenance: The collection of the artist.

£500-600

709 SVEN BERLIN (1911-1999) Two geese, signed in pencil, ink and pencil, 8" x 11¾"

Provenance: The collection of the artist.

£200-400

710 SVEN BERLIN (1911-1999) Female head- study for a sculpture, ink, 16¾" x 11¾". See illustration

Lot 710

Provenance: The collection the the artist.

£300-500

711 SVEN BERLIN (1911-1999) Sunset, signed and dated '99 lower right, acrylic on card, 12" x 15¾"

100

Provenance: The collection of the artist.

£300-500

712 SVEN BERLIN (1911-1999) Sven and Julia- Double Portrait '99, signed in pencil, acrylic on card, 15¾" x 12". See illustration

Lot 712

Provenance: The collection of the artist.

£300-500

713 SVEN BERLIN (1911-1999) Peacock preening, signed, black ink, 19¼" x 22½". See illustration

Provenance: The collection of the artist.

£300-500 Lot 713

714 SVEN BERLIN (1911-1999) Study of a horse head, monogrammed and dated '85, black ink, 11½" x 16"

£150-250

715 MARK ROWBOTHAM (1959- ) "By the Breakwater", monogrammed lower right, pastel, 20" x 12". See illustration

£600-800

716 ROBERT A WADE (1930- ) "Venetian Evening", signed and dated '94 lower right, watercolour, 7" x 21½"

Lot 715

£100-200

716A C HARLES MARCH GERE (1869-1957) Boats in a harbour at dusk, signed lower right, watercolour, 13¾” x 19¾”

£400-800

101

717 DAVID DOWNTON (1959- ) Erin O'Connor, full-length portrait of the supermodel, signed lower right, black ink, gouache and mixed media on paper, 24" x 17". See illustration

£400-600

718 DAVID DOWNTON (1959- ) Erin O'Connor, portrait of the supermodel, signed lower right and dated 2002 in pencil, black ink on paper, 20" x 16¾". See illustration

£400-600

719 DAVID DOWNTON (1959- ) Erin O'Connor, portrait of the supermodel, signed lower centre, acrylic on acrylic glass, 20½" x 14½". See illustration

£400-600

720-799 Spare Lots

102

OIL PAINTINGS

Detail of Lot 851 103

Lot 800

Lot 801

803 MANNER OF FRANS DE MOMPER (1603-1660) Figures and animals outside buildings in a village square, oil on canvas, 10¾" x 12¾"

800 RUSSIAN ORTHODOX SCHOOL, 16th/17th century An icon of St. Nicholas the Wonderworker, traditionally painted, the Saint shown half-length with a scriptural quote from Luke 6:17 in his left hand, with the Mother of God and Christ at his shoulders, 13½" x 11". See illustration

£1,000-2,000

802 MANNER OF JEAN-BAPTISTE GREUZE (1725-1805) A portrait study of two young children, oil on canvas, 18¼" x 14½" Provenance: Formerly at Chateau de la Seilleraye, Carquefou, Loire-Atlantique, France.

£200-400

Provenance: Formerly at Chateau de la Seilleraye, Carquefou, Loire-Atlantique, France.

804 FLEMISH SCHOOL, 17th century A hermit in an interior, oil on copper, 8" x 6¼", in an 18th century carved giltwood and gesso frame

801 AFTER ANTONIO DA CORREGGIO (1489-1534) "Adoration of the Child", oil on canvas, 31" x 26". See illustration

104

£150-250

805 CIRCLE OF DIRCK DE QUADE VAN RAVESTEYN (c.1565-1619) "Feast of the Gods at the Wedding of Peleus and Thetis", oil on canvas, 28¼" x 42½". See illustration

£10,000-20,000

105

Lot 806

807 CONTINENTAL SCHOOL, 18th century A half-length portrait of a young man holding a scroll of paper, with architectural details to the background, oil on canvas, 17½" x 13"

806 ENGLISH SCHOOL, circa 1671 A full-length study of the deceased Sir Edward Widdrington Bt. wearing a friar's habit, recumbent in bed, a table by his feet with crucifix and candles, Latin inscription above reading "Vera Effigies Illustr Mi Domi Domini Edwardi Widdringtoni Eqvitis Et Barronetti Aetitis Sva 57 Obiit Ao 1671 13 Jvny, oil on canvas, 38¾" x 75". See illustration

808 AFTER TITIAN A portrait study of Catarina Cornaro as St. Catherine of Alexandria, oil on canvas, 33½" x 26¼"

In this work Sir Edward Widdrington is painted in the habit of a Friar as a member of the Third Order, that is to say, a patron rather than a religious or lay brother and therein lies its' uniqueness as a proud display of Catholic recusancy in a time of persecution.

Sir Edward Widdrington of Cartington was a member of an ancient Northumbrian family who gave their name to (or took their name from) the village of Widdrington near Morpeth, Northumberland. A strongly Royalist family during 17th century, they were rewarded with Baronetcies in England and Nova Scotia.

Provenance: Sir Edward Widdrington's daughter Mary married Sir Edward Charleton of Hesleyside. Their daughter Catherine married Sir Nicholas Sherburne of Stonyhurst whose daughter Elizabeth married William Weld of Lulworth, and thence by descent.

£8,000-£12,000

£200-400

Caterina Cornaro (1454-1510) was the last Queen of Cyprus and wife of James II (The Bastard)

£200-400

106

809 FRENCH SCHOOL, 17TH CENTURY A head and shoulders portrait of Thomas Charles de Becdelièvre (d. 1711), Marquis of Cany and Quevilly, with title inscription above and family arms to the right, oil on canvas, 26" x 23½". See illustration

Lot 809

The Becdelièvre family was a noble Breton family to whom ownership of Chateau Seilleraye passed following William Harouys death in 1699. Thomas Charles Becdelièvre was also Baron of Archigny and President Mortar of the Parliament of Normandy.

Provenance: Formerly at Chateau de la Seilleraye, Carquefou, Loire-Atlantique, France.

£500-1,000

810 THOMAS BEECH (1738-1806) A half-length portrait of Lady Elizabeth Berkeley, signed and dated 1777 lower left, oil on canvas, 29¼" x 24¼". See illustration

Lot 810

£500-1,000

811 ENGLISH SCHOOL, 17th century A head and shoulders portrait of a gentleman wearing a lace collar, oil on canvas, 24½" x 19½"

£300-600

812 ENGLISH SCHOOL, late 18th century A naive style portrait study of a young girl and her cat, with landscape beyond, indistinctly signed and dated December 19th, 1797 verso, oil on canvas, 17¼" x 13¼"

Lot 813

£150-300

813 ENGLISH SCHOOL, 18th century A head and shoulders portrait study of Catherine of Brazanga, wife of King Charles II, oil on canvas, 17¾" x 12¾". See illustration

£2,000-4,000

107

814 ATTRIBUTED TO JOHN RILEY (1646-1691) A half-length portrait of a gentleman wearing fur-lined robes and a lace collar, oil on canvas, 29¼" x 24¼". See illustration

Lot 814

£600-1,200

815 AFTER SIR WILLIAM BEECHEY (1753-1839) A full-length portrait study of a young boy standing on a tree-lined pathway holding a stick and hoop, oil on canvas, 17" x 13". See illustration £500-1,000 816 ENGLISH SCHOOL, 19th century A bust-length portrait of a gentleman before a curtain with landscape beyond, oil on panel, 4¾" x 4½", and the companion portrait of a lady (2)

Lot 815

£300-400

817 H. WILKINSON, English naive school, circa 1840 A half-length portrait of a gentleman seated in an elbow chair and holding a newspaper, signed lower right "H. Wilkinson. Portrait painter, Northwich", oil on canvas, 30" x 25", and the companion painting of a lady holding a book. See illustration Provenance: The Anthony Belton Collection, Drewett Neate,October 1992 Lot 817

£800-1,500

Lot 817

108

Lot 821A

821 SPANISH SCHOOL, 20th century A portrait study of a lady wearing a frilled dress and holding a fan, leaning against the back of a chair, oil on canvas, 39½" x 29¼"

818 AFTER GOVERT FLINCK (1615-1660) A half-length portrait of a bearded man wearing a red velvet hat and a fur-lined coat, 19th century, oil on panel, 13" x 10½".

£300-600

821A EMMANUEL FRIES (1778-1852) A still life study of roses and a basket of cherries atop a stone ledge with landscape beyond, signed and dated 1836 lower right, oil on canvas, 25" x 31". See illustration.

819 MARIA SCHOFFMANN (1859-1941) After Christian Seybold (1695-1768) A head and shoulders portrait of Seybold after the original self-portrait (1761), inscribed "Nach C. Seybold Von M. Schoffman", oil on copper, 16½" x 12¾".

Provenance: Acquired c.1970 in Florence and thence by descent.

£300-600

820 ENGLISH SCHOOL, 19th century A study of a young girl seated on a chair cradling her dog, oil on canvas, 17½" x 14½"

£150-250

£100-200

109

£5,000-10,000

823 EDUARD CHARLEMONT (1848-1906) A full length portrait of the Hon. Alice de Worms (1865-1952) aged eight, signed and dated 1873 lower right, oil on panel, 55¼" x 31½"

The Hon. Alice de Worms was the daugher of the first Baron Pierbright (1840-1903). She married David MacLaren-Morrison in 1892 and her daughter Theodora (1900-1928) married Herbert Weld (1852-1935) of Lulworth in 1923.

£7,000-£10,000 110

Lot 824

825 J & L TUDGAY (fl.1850-1877) "October 22nd 1805: The Day after Trafalgar", a study of HMS Neptune and HMS Prince clearing and sinking The Santissima Trinidad, 130 guns, the largest ship in the action, signed J.L. Tudgay and dated 1850 lower right, oil on canvas, 35½" x 63¼". See illustration

824 THOMAS LUNY (1759-1837) "H.M. Frigate 'Endymion' 40 guns, off Mount Edgecumbe", titled and dated 1803 to the frame, oil on canvas, 21¼" x 33½". See illustration

£4,000-6,000

The F., I., J., and L. Tudgay family of Steam and Sail Artists worked separately and together between circa 1850 and 1877.

£800-1,500

Lot 825

111

826 PAUL (PAOLO) MANZONI (c.1825-1906) A study of figures collecting wood in a forest clearing, signed and dated (18)74 lower left, oil on panel, 32" x 40". See illustration

Lot 826

£600-1,200

827 CONTINENTAL SCHOOL, 18th/19th century A landscape view with figures stood at the base of a statue, possibly of the River God Tiber, a ruined building across from them, and a river and mountains beyond, oil on canvas, 25" x 31¼"

£300-600

828 ANTON DOLL (1826-1887) An alpine valley landscape with figures and animals to the foreground, indistinctly signed and inscribed lower right, oil on canvas, 23½" x 30". See illustration

Lot 828

£800-1,500

829 STANLEY CLARK, 19th century A thatched cottage by a pond at dusk, signed lower left, oil on canvas, 15½" x 19½", and the companion painting of a thatched cottage beside a path (2) See illustration

Lot 829

£400-800

Lot 829

112

830 A. WILSON, 19th century A figure leading a cow across a stone bridge, signed lower left, oil on canvas, 9¼" x 12¼", and the companion painting of a figure seated before an alpine lake (2)

Lot 833

£150-300

831 J. WALTER GOZZARD (1888-1950) Horses and figures on a country path, signed lower right, oil on canvas, 15½" x 23½"

£150-300

832 CONTINENTAL SCHOOL, 19th century Two men conversing on a country path while a small dog waits for them, oil on panel, 8¼" x 10"

Lot 834

£100-200 833 MANNER OF JAMES SALT (1850-1902) An arcadian canal scene at dusk after JMW Turner, oil on canvas, 16¾" x 26". See illustration £250-450 834 MANNER OF JAMES SALT (1850-1902) A Venetian canal scene looking towards The Piazza San Marco, after JMW Turner, oil on canvas, 22½" x 34¼". See illustration

£500-1,000 Lot 835

835 MANNER OF RICHARD PARKES BONNINGTON (1802-1828) An Italianate view with a beach side tower to the foreground, monogrammed RPB lower right, oil on canvas, 9¼" x 12½". See illustration

£300-600

113

Lot 838

836 AFTER FRANCOIS BOUCHER (1703-1770) "Venus at Vulcan's Forge", oil on panel, 19th century, 16¼" x 23½". See illustration

Lot 836

£200-400

837 AFTER ESAIAS VAN DE VELDE (1587-1630) A gathering of figures dining in a garden landscape, 19th century, oil on canvas, 15¼" x 23½". See illustration

Lot 837

£200-400

838 ALFRED AUGUSTUS GLENDENING (1840-1910) "Gathering May Flowers", monogrammed and dated 1885 lower right, oil on canvas, 19¾" x 29¾". See illustration

114

£1,000-2,000

Lot 842

841 NAIVE SCHOOL, 19th century A study of a black horse outside a stable with two gentlemen in attendance, oil on canvas, 18" x 22¼"

839 CONTINENTAL SCHOOL, 19th century A study of St. Peter at prayer beside a cockerel, oil on canvas, 23¾" x 29" £300-600

840 J.D. ALLAN, 19th century A still life study of dead birds and fruits on a table top, signed and indistinctly dated lower right, oil on canvas, 11¼" x 9½"

£100-200

842 JAMES BARENGER (1780-1831) A study of woodcock in a woodland setting, one drinking from a stream, signed lower right, oil on canvas, 30" x 24½". See illustration

£100-200

£6,000-8,000 115

843 ATTRIBUTED TO DALBY OF YORK, 19th century A study of the racehorse Theodore with jockey up, oil on canvas, 11¼" x 14". See illustration

Lot 843

Theodore won the Doncaster St. Leger on Monday September 16th 1822 at odds of 100 to 1.

£400-800

844 ATTRIBUTED TO THOMAS SIDNEY COOPER (1803-1902) A pair of head studies of sheep, oil on board, 3¾" x 7" (2)

Lot 844

£400-800

845 SIR JOHN ALFRED ARNESBY BROWN RA (1866-1955) Cattle in a roadside meadow on a sunny day, signed verso, oil on canvas, 16" x 20". See illustration Lot 844

£400-800

846 ANDREW BEER (1862-1954) "Red Cheq Coq Winner of 1st Marennes Owner: G.H. Pemberton", signed lower left, oil on canvas, 11½" x 15½". See illustration

£300-600

847 ANDREW BEER (1862-1954) "Blue Cheq Hen Owner: G.H. Pemberton", signed lower right, oil on canvas, 11½" x 15½". See illustration

Lot 845

£200-400

848 ANDREW BEER (1862-1954) "Blue Cheq Coq Winner of 1st Guernsey, Owner: G.H. Pemberton", signed lower right, oil on canvas, 12" x 16". See illustration 116

£200-400

Lot 846

Lot 847

Lot 848

Lot 849

849 PIGEON RACING INTEREST: THE WALLASEY BOROUGH HOMING SOCIETY CORONATION CUP 1953, a silver tyg by Lee and Wigfull Ltd, Sheffield, 1890, 6" high. See illustration

850 GEORGE STIRLING-BROWN, 20th century "Cyclonic with C. Elliott up", signed and dated 1929 lower right, oil on canvas, 27" x 35". See illustration

£200-400

Provenance: Formerly the property of a gentleman.

Private residence, Little Aston Park, Sutton Coldfield.

£2,500-4,500

Lot 850

117

Two works by John Emms (1844-1912) From a private collection, New Forest.

Lot 851

852 JOHN EMMS (1844-1912) "New Forest Buckhounds - Guider and Druid", signed and dated (18)77 lower right, oil on canvas, 29½" x 24½". See illustration

851 JOHN EMMS (1844-1912) "The New Forest Buckhounds" A study of hounds, a huntsman and followers at rest under a tree, signed and dated 1896 lower left, oil on canvas, 29¼" x 42½". See illustration

Provenance: Anonymous sale; Sotheby's New York, 11th April 1997, lot 126 (where aquired by the present owner)

£40,000-60,000

118

£20,000-30,000

Lot 852

119

Lot 853

853 CHARLES HERMANS (1839-1924) A portrait study of a lady seated at a table resting her head on her hands, signed lower right, oil on canvas, 24" x 36". See illustration

Lot 854

£5000-10,000

854 MARGARET FISHER PROUT (18751963) "Reflections", a study of a nude female in an interior, seated by a mirror, the reflection showing a triptych mirror on a dressing table, signed lower right, oil on board, 44" x 37¼". See illustration

120

£2500-5,000

Lot 855

855 ERNEST ROSEN (1877-1926) A semi-clad lady reclining in a chair, signed lower left, oil on board, 23" x 15½", and the companion work of a semi-clad woman sleeping in a chair (2). See illustration

Lot 856

Lot 854

£2,000-4,000

856 ERNEST BORDES (1852-1914) A nude seated on a bed in an interior, signed lower right, oil on canvas, 21" x 17½". See illustration

£800-1,500

857 WILLIAM SAVAGE COOPER (1880-1926) "Spring", signed and dated 1896-7 lower left, oil on canvas, 29½" x 15¼". See illustration

Possibly the Royal Academy exhibit "Pamona" no. 289, 1897.

£2,500-5,000

Lot 858

858 GEORGE CARLINE (1855-1920) Gathering blossom, signed lower left, oil on panel, 11¼" x 8¼". See illustration

Provenance: The collection of Richard Carline.

The subject of this work is George Carline's wife and daughter (Hilda) who went on to marry Sir Stanley Spencer.

£500-1,000

121

859 ď&#x20AC;ľMANNER OF AUGUSTUS JOHN (1878-1961) "Young Gypsy Girl", oil on canvas, 20" x 14". See illustration

Provenance: Purchased from Leon Suddaby Fine Art, St Ives, Cornwall, 14th April 1989. Apparently acquired directly from the family of the artist.

Thence be descent to the present owner.

This work has only recently returned to the market and its authorship has been called into doubt. The current opinion appears to be at odds with the stated provenance. Having recently inherited the work and in light of the problems of attribution the owner has very generously decided to sell it with all proceeds going to benefit the R.N.L.I.

ÂŁ1,000-2,000

The model for this study by Augustus John is Marian Coles, who had a son by him. She was also involved in a shooting incident, when she is purported to have shot a Lord Vyvyan.

122

860 ATTRIBUTED TO GWEN JOHN (1876-1939) A portrait of "Aunt Molly", oil on board, 10¾" x 7½". See illustration

Provenance: The family of Molly Pearce (Aunt Molly) who was a contemporary of Gwen John at the Slade School of Art, London.

£400-800

Lot 860

861 SYDNEY LONG (1871-1955) A landscape with a group of trees to the foreground and water visible in the distance, signed lower right, oil on board, 14" x 18".

Provenance: Greenhill Galleries, 20 Howard Street, Perth, Western Australia.

£400-700

862 LOUIS MCCUBBIN (1890-1952) A landscape with trees, signed and dated '22 lower left, oil on canvas board, 12¾" x 9"

Lot 863

£200-400

863 SIR HERBERT HUGHES-STANTON (1870-1937) A view of a shepherdess and her flock beside water in a heathland landscape, possibly the edge of Poole Harbour, signed and dated 1905 lower left, oil on canvas, 23¾" x 38". See illustration

Lot 864

£500-1,000

864 BERNARD LAMOTTE (1903-1983) Figures crossing a city street at dusk, probably a view of Central Park, New York, signed lower right, oil on canvas, 26½" x 20¾". See illustration

£500-1,000

123

Lot 866 Lot 868

865 FRANK WASLEY (1848-1934) A view of figures in and beside a river, signed lower left, oil on board, 11¼" x 14¼"

867 HURST BALMFORD (1871-1950) A view of a thatched farm cottage and barn beneath oak trees, signed lower right, oil on canvas laid on board, 17½" x 23½"

£300-600

865A R SWADDLE, 19TH CENTURY “The Heirloom” a still life study of opulently presented fruit, signed and dated 1866 lower left, oil on canvas, 23¾" x 19½"

868 OTTO HELLMEIER (1908-1996) An Italianate lake scene with small fishing boats to the foreground and townscape and mountains beyond, signed lower right, oil on canvas, 22" x 31¼". See illustration

£150-250

866 CONTINENTAL SCHOOL, 20th century Buildings and farmland with mountains beyond, indistinctly signed and dated '47 lower left, oil on canvas, 19½" x 23½". See illustration

£200-400

£400-800

869 GODWIN BENNETT (1888-1960) Continental landscape view with a hilltop castle above a town, signed lower left, oil on canvas, 19½" x 23¾"

£200-400

124

£200-400

Lot 871

873 CHARLES CUNDALL (1890-1971) "Kavouri, Near Athens", signed and dated 1955 lower right, oil on canvas, 10¾" x 21"

870 ALFONSO TOFT (1866-1964) A rural landscape view with young trees to the foreground, oil on board, 11½" x 17¾"

£200-400

£100-200

874 MANNER OF PAUL HENRY (18761958) A rural landscape with cottages and mountains, possible Achill, oil on canvas, 11½" x 13½"

871 CIRCLE OF JOHN NASH (1893-1977) A boat in a pond with trees to the foreground and a house and hills beyond, oil on canvas, 21" x 29¾". See illustration

Provenance: Acquired in the mid-1980's.

Private collection, Bristol.

£1,000-2,000

875 DONALD APPELBE SMITH (b.1917) Woods and deep snow, Hockley Valley, signed lower right, acrylic on board, 17½" x 23½"

872 HENRY MAYO BATEMAN (1887-1970) A view of haystacks and farming equipment in a field, oil on canvas, 16" x 25¾" (rolled)

Provenance: Acquired from the artist's studio.

£80-150

£200-400

125

£200-400

876 ENGLISH SCHOOL, 20th century "Bass Rock, Edinburgh" A stylised landscape view, titled to the reverse, oil on canvas, 21¾" x 29¾"

Lot 877

£200-400

877 LAURA B.S. FIDLER (1857-1936) A young girl seated by a window reading a book, signed lower right, oil on canvas, 20½" x 15½". See illustration

£500-1,000

878 OWEN BOWEN (1873-1967) A still life study of flowers in a vase, signed lower right, oil on canvas board, 13¼" x 15"

Lot 879

£200-400

879 RUSKIN SPEAR (1911-1990) "A Cornish Beach", signed lower left, oil on board, 5¾" x 12½". See illustration

Provenance: Apparently acquired from the artist's studio, Fosse Gallery, John Lindsay Fine Art Ltd, Stow-on-theWold, Gloucestershire.

£400-800

Lot 881

880 MANNER OF LUCIAN FREUD (1922-2011) A study of a nude female from behind, oil on canvas board, 15¼" x 11¼"

£80-150

881 GWILYM PRICHARD (1931-2015) "The Thorn Tree", oil on board, 23¾" x 12¾". See illustration

126

Provenance: Acquired from the Martin Tinney Gallery, Cardiff, in 2002, with original receipt.

£300-600

882 PADRAIG MACMIADHACHAIN (b.1929) A stylised landscape in reds, browns, blacks and whites, signed lower left, oil on panel, 9" x 13"

Lot 883

£100-200

883 FRED YATES (1922-2008) "The Hospital Ward", signed lower left, oil on board, 17½" x 27". See illustration

£800-1,500

884 JOHNNY JONAS, 20th/21st century "The Last Race (Lingfield)", a study of racehorses with jockeys up, signed lower right, oil on canvas, 17½" x 21½"

Lot 885

£200-400

885 RICHARD PIKESLEY (b.1951) "Here comes the sun, Charmouth", signed lower right, oil on canvas, 23½" x 29¾". See illustration

Provenance: Messum's Exhibition label verso.

£300-600

886 SUSAN P. VOGEL, 20th century A still life study of butterflies, pears and a jug, monogrammed and dated '96 lower left, oil on panel, 7¼" x 9¾"

Lot 887

£150-250

887 JULIAN BAILEY (b.1963) "Beerhead, Dorset", signed and dated 1988 verso, oil on board, 23¾" x 29½". See illustration

Provenance: Acquired at Duke's, 10th April 2008, lot 194.

£1,000-2,000

127

Lot 893

892 ALEX LOWERY (b.1957) "West Bay 268", a stylised coastal landscape, signed, titled and dated 2013 verso, oil on canvas, 10" x 15¾"

888 LEONARD BEARD (b.1942) "Coastal - mixed media", a shoreline under cloudy skies, signed and dated '93 lower left, mixed media on board, 14¼" x 16½"

£200-400

892A HAMISH BLAKELY (b.1968) “Lady’s Day”, signed lower right, oil on canvas, 41” x 51”

889 CHRISTOPHER INSOLL (b.1956) "Man", a half-length portrait study of a young girl with her knee raised against her chest, signed and titled lower left, oil on canvas, 22¼" x 18¼"

£400-800

£200-400

891 ROBERT FREAM, 20th/21st century "Sandbanks" a stylised coastal view, monogrammed and titled lower left, mixed media on canvas board, 15" x 19"

£400-800

893 SVEN BERLIN (1911-1999) "Man Dreaming" a study of a man and tiger asleep by a pond, titled, signed and dated '96, oil on board, 24" x 48". See illustration

890 ROBERT FREAM, 20th/21st century "Charmouth", a coastal landscape, titled lower left and monogrammed lower right, mixed media on canvas board, 15" x 19½"

£50-100

£200-400 128

Provenance: From the Estate of the artist.

£1,200-1,600

894 SVEN BERLIN (1911-1999) A study of a plover and two deer, in a stylised landscape, signed and dated '86 lower right, oil on board, 24" x 36".

Provenance: From the Estate of the artist.

£1,000-1,500

Lot 894

895 SVEN BERLIN (1911-1999) A still life study of fruits on a platter, signed and dated '87 lower right, oil on board, 24" x 36". See illustration

Provenance: From the Estate of the artist.

£1,200-1,800

Lot 895

896 SVEN BERLIN (1911-1999) A study of a stag by an apple tree in a landscape, signed and dated '97 lower middle, oil on board, 22¾" x 34". See illustration

Provenance: From the Estate of the artist.

£1,000-1,500 Lot 896

897 SVEN BERLIN (1911-1999) A white horse seeking shelter under a tree in a rainstorm, signed lower right, oil on board, 18" x 24". See illustration

Provenance: From the Estate of the artist.

£700-900

898 SVEN BERLIN (1911-1999) A head and shoulders self-portrait of the artist, monogrammed and dated '75 lower right and verso, oil on board, 10¾" x 10¾".

Provenance: From the Estate of the artist.

£200-400

Lot 897

899 SVEN BERLIN (1911-1999) A head and shoulders portrait of a woman wearing a veil, signed and dated '81 lower left, oil on board, 16" x 12"

Provenance: From the Estate of the artist.

£500-800

129

900 ď&#x20AC;ľSVEN BERLIN (1911-1999) "Mother and Child" a figural sculpture of a child on their mother's shoulders, monogrammed to the reverse, bronze, 20" high. See illustration

Provenance: From the Estate of the artist.

ÂŁ5,500-7,500

130

Six works from the Estate of John Peter UHT (1924-2010) 901 JOHN PETER UHT (1924-2010) A head and shoulders profile portrait of Jill Uht, signed and dated '59 lower left, oil on board, 19½" x 15½". See illustration

Provenance: From the Estate of the artist.

£200-400

Lot 901

902 JOHN PETER UHT (1924-2010) "Marrianne" a head and shoulders portrait of a young woman, signed lower right, titled verso, oil on canvas, 11½" x 9½".

Provenance: From the Estate of the artist

£80-150

Lot 905

903 JOHN PETER UHT (1924-2010) A portrait of a female, nude except for her knee-high boots, signed lower right, oil on canvas, 11¼" x 8½"

Provenance: From the Estate of the artist.

£80-150

904 JOHN PETER UHT (1924-2010) A stylised study of nude females, signed lower left, oil on canvas, 24¼" x 36¼"

Provenance: From the Estate of the artist.

£100-200 Lot 906

905 JOHN PETER UHT (1924-2010) A stone sculpture of a stylised female nude, signed to the reverse, 9¼" high, on a marble plinth base. See illustration

Provenance: From the Estate of the artist.

£200-400

906 JOHN PETER UHT (1924-2010) A sculpture of two young children and a sheep, bronze, 9¾" high, on a wooden plinth base

Provenance: From the Estate of the artist.

£200-400

131

907 HERMANUS WILLEM KOEKKOEK (1867-1929) "Vedette on outposts duty", signed lower right, titled verso, monochrome oil on board, 22" x 15Â˝". See illustration

Provenance: Acquired in Paris at the end of the last century

This work with a label verso stating "Offered for Bruce Ingram Esq. of the Illustrated London News". Bruce Ingram was the editor of the Illustrated London News from 1900-1963. This work was featured in issue 317 (March 1 1902) entitled "The Mishapp to the Scots Greys at Klippan on February 18"

Another label verso uses the title "A Vedette, 2nd Dragoon". Vedette is a military term for a mounted sentry.

ÂŁ1,000-2,000 908 & 909 SPARE LOTS 132

ALFRED WALLIS THE EMM A PERKIN COLLECTION

The name Alfred Wallis is one of the most important in 20th century British art history. Much of the detail of Wallis’s life has been recorded by his various biographers and he continues to inspire debate and passion amongst art historians and collectors. What is beyond doubt is that this poor, semi-literate scrap metal dealer and rag and bone man was an artist of such talent and originality that his chance discovery by Ben Nicholson and Christopher Wood in 1928 changed the course of art history.

According to family tradition, in Wallis’ old age he was cared for by a woman called Alice Lugg, whose niece, Emma Perkin, was a close neighbour of Wallis. They developed a friendship, with Wallis styling himself ‘Uncle Alfred’ and gifting the young Emma many of his works, including sketches on old card and cigarette packets, painted tin lids, painted glass fishing floats, painted objects and oil paintings on board. He would often inscribe them lovingly to Emma from Uncle Alfred.

Wallis took up painting in the latter part of his life, after his wife’s death, ‘for company’. He couldn’t afford artists’ materials, so used found pieces; the reverse of wooden signs, box lids, transport timetables, and less obvious surfaces, such as glass fishing floats, and tin boxes. For paint, he would take leftovers from shipbuilders, resulting in a palette of subdued, gentle and utilitarian greys, blues and whites. His lack of artistic training and his reliance on memory, created a landscape where proportion, perspective and physics are discarded in favour of a subjective focus.

The ‘Emma Perkin’ collection first came to light some years ago, apparently undiscovered until her son, David, obtained it in 2006. The collection was contained in an old wooden trunk, which had been held for David by a family member in Falmouth since 1961.

133

REMEMBERING WALLIS

Researching in St. Ives for my first book on Alfred Wallis in the 1960s I tracked down as many people as I could who had known Wallis personally in the decades before his death in a workhouse in 1942. Knocking on door after door I became struck by how many now-elderly citizens of the town admitted to having been given paintings by ‘old Alfred’ which they promptly burnt or took to the local rubbish-dump. Some of them still hotly maintained this was the fate the paintings deserved. Others lamented the money they had lost.

It would have been about this time that young Emma Perkin took to to visiting Wallis with her aunt, and carrying out errands for him – perhaps bringing tins of tobacco from the local shop when he was too busy painting to go out himself. And she would be duly rewarded, with small sketches on whatever scarp of paper of cardboard was lying around, or with more elaborate paintings of the sea and ships done on the very tobacco-tins she had brought him – which comprise a large part of this present collection. And delightful they are: miniature seascapes with vessels painted from his memories of being a deep-sea fisherman in his youth, or of famous incidents at sea which he remembered such as the sinking of the Titanic.

This recently-discovered cache of paintings and painted objects comes from a local family which didn’t tip them on the rubbishdump. The recipient was a young girl, Emma Perkin, who used to visit ‘Uncle Alfred’ with her aunt who was a close neighbour of Wallis and would sometimes cook and tend for him in his old age. Wallis’s wife Susan had died in 1922. Loneliness set in, and within three years he gave up his rag-and-bone business down on the harbour and began to paint.

The collection perfectly illustrates Ivor Short’s remark to me that Wallis never wanted to do anything but paint all day. He painted anything he could lay his hands on. Elsewhere I have seen cereal packets, packing-cases, bellows, blotters, stoneware jars, table-tops and much else, all transformed in to a setting for Wallis’s nautical adventures.. But never before now have I seen a painted blowlamp. Here is a collector’s item which offers a challenge. How do you display it ? Then there is Wallis’s tool-chest – a formidable object which may have originally served as his sea-chest in his days as a mariner. Not only is this yet another collector’s item; the inside of the lid is painted with a ‘classic’ Wallis scene of St. Ives Bay. A powerful painting in itself, yet much of its impact derives from the evocative setting of the sea-chest which encloses it. Another display challenge.

Wallis was then around 70. Ivor Short, who I met in St. Ives, told me ‘He wanted to paint all day, and he had no one to interfere with him. . . He was happy when he was painting, a dear old chap really’. Not long afterwards, in 1928, the artists Ben Nicholson and Christopher Wood were walking past an open door on Back Road West and noticed an old man painting in the front room, looking ‘just like Cézanne’, Wood described him.

134

In the lengthy correspondence on Wallis I enjoyed with Ben Nicholson in the 1960s his letters constantly emphasised (in red !) how important to Wallis was the arbitrary roughness of the materials he worked on. Wallis painted on whatever scrap of board or wood was at hand, and would then make its shape and texture a vital ingredient of his composition. Ben was particularly irate at collectors and dealers who chose to round off Wallis’s paintings when framing them, thereby removing an important element of his art. I have often wondered if Wallis’s constant need to adapt to whatever strange shape or object he was painting may account for the remarkable fact that in all his huge output over a period of seventeen years he never to my knowledge repeated himself.

The free-standing painting in the collection, ‘A Schooner in St. Ives Harbour’ offers no such problems. It is touchingly inscribed ‘To my little Emma Perkin, Uncle Alfred’. The painting reminds me of several key features of Wallis’s art – qualities easily overlooked but which contribute to making him the unusual and special painter he was, rather than the ‘untutored’ and ‘naïve’ artist he is too often labelled. The painting demonstrates how Wallis’s use of colour was never decorative. A single chocolate-brown describes the quay, boat and sails (perhaps the only colour he had available). The sea is thinly-painted in a wash of white, except for areas deliberately left untouched so that the buff-colour of the bare board shows through and acts as a foil, cleverly setting off the images of ship and harbour.

Edwin Mullins, April 2016

135

Lot 910

911 ALFRED WALLIS (1855-1942) A fishing vessel leaving harbour, pencil on a Player's 'Navy Cut' packet, inscribed to the front, 'Alfred Wallis', 2¾" x 4¾". See illustration

910 ALFRED WALLIS (1855-1942) A Steamer leaving harbour, pencil on cigarette packet lining, inscribed to the front 'Alfred Wallis' and to the reverse 'Emma Perkin, Uncle Alfred', 2½" x 5½" (maximum dimensions). See illustration

£1,500-2,500

Presumably these are Godrevy Lighthouse on Godrevy Head with Wallis's characteristic depiction of the rocks going out to sea and St Ives New Lighthouse at the end of Smeaton's pier in St Ives with steps below

£1,500-2,500

Lot 911

136

912 ALFRED WALLIS (1855-1942) A boat entering St Ives harbour and three two-masted ships against a harbour wall, pencil on folded cardboard, presumably a cigarette packet, inscribed across the centre section 'Alfred Wallis', 3½" x 2¾". See illustration

Lot 912

£1,500-2,500

913 ALFRED WALLIS (1855-1942) A fisherman bringing his catch to shore in a horse drawn cart, pencil on a 'Wild Woodbine' cigarette packet, inscribed to the front 'Alfred Wallis', 2½" x 4½". See illustration

Lot 913

137

£2,500-4,500

"He used very few colours and one associates with him some lovely dark browns, shiny blacks, fierce greys, strange whites and a perticulartly pungent Cornish green" B Nicholson 1943

Lot 914

915 ALFRED WALLIS (1855-1942) Two fisherman in a boat casting a net, oil on tin, a flattened 'Oxo' tin lid, 'Oxo the Cook's Best Friend', 3" x 4". See illustration

914 ALFRED WALLIS (1855-1942) A fishing boat in a stormy sea, oil on tin, a flattened 'Oxo' tin lid 'Oxo for Cup or Cooking', 3" x 4". See illustration

ÂŁ2,000-4,000

ÂŁ2,000-4,000 Lot 915

138

Lot 916

916 ALFRED WALLIS (1855-1942) Two fisherman in a boat on a stormy sea, oil on a 'St. Bruno' tobacco tin, 4¾" x 6½". See illustration

917 ALFRED WALLIS (1855-1942) A steamer at sea, oil on a 'St. Bruno' tobacco tin, 4¾" x 6½". See illustration

£3,000-5,000

Lot 917

139

918 ALFRED WALLIS (1855-1942) A steamer and two paddle ships, painted on an 'Optimus Primus' blow torch, inscribed to the underside 'To Emma Perkin Uncle Alfred', 9" x 9Â˝". See illustration

Wallis is famous for having painted on any surface that he came across. Tales of marmalade jars painted with ships are common amongst those who remembered Wallis, a pair of bellows in a private collection are often illustrated, but these aside few objects have survived. This blow torch is almost certainly a unique survivor and is a rare example of Wallis picking up a household object and decorating it in his own inimitable manner. The three dimensional and sculptural nature of this item make it not only an important 'naive' work but there are irresistible links to the 'Objet Trouve' of the European Modernists

ÂŁ3,000-5,000

140

"You don't want to use too many colours" A Wallis

919 ALFRED WALLIS (1855-1942) A Schooner in St Ives Harbour, oil on a section of 'Liptons' tea chest, inscribed to the reverse 'To my little Emma Perkin, Uncle Alfred', 15" x 20¼". See illustration

£30,000-50,000

141

920 ALFRED WALLIS (1855-1942) A Brigantine leaving Hayle Harbour, with the power station to the foreground, oil on panel, the inside lid of a tool chest, the image 11" x 27", the chest 11" high x 28" wide x 12" deep. See illustration

This lot is sold with a copy of: St Ives Times, 1933, a bound volume that was apparently discovered with this box or tool chest.

ÂŁ20,000-40,000

142

143

A PRIVATE COLLECTION OF BOOK S AND EPHEMER A REL ATING TO ALFRED WALLIS

924 CHILDISH, B. ALFRED WALLIS, Bournemouth Arts Club, Alfred Wallis. And three similar Alfred Wallis exhibition catalogues.

921 LANYON, A. SLACK, DR R AND MATES, P. OLD IRON ALFRED WALLIS, Andrew Lanyon 1998. A hand-made book by Andrew Lanyon, signed in pencil and numbered 29 from an edition of 200.

£40-80 925 MULLINS, E. ALFRED WALLIS. Melly, G. A Tribe of One, four further exhibition catalogues and a DVD

£80-150

922 CAHIERS D'ART No. 1-2 1938. Art Contemporain: Allemagne, Angleterre Etats-Unis.

£50-100

926 THE ARTIST, OCTOBER 1986 and a small quantity of similar items

923 BERLIN, S. ALFRED WALLIS, PRIMITIVE. Jones, R. Alfred Wallis Artist Wallis, Two Painters, Whybrow, M. The Innocent Eye, Gale, M. Alfred Wallis. (5)

£40-80

£30-60 927-999 Spare Lots

£40-80 144

WORK S OF ART

Detail of Lot 1054 145

BOOKS and ephemera

Lot 1000

Lot 1004

1003 S.C. LEES: "Illustrations to Alfred Tennyson's Poem The Princess", Dickinson Bros., Bond Street

1000 RICHARD F. BURTON: "Falconry in the Valley of the Indus", published by John Van Voorst, Paternoster Row, 1852. See illustration

£500-1,000

£150-300

1004 JOHN HUTCHINS M.A.: A Grangerized set of "Hutchins History of Dorset", 3rd edition, 4 vols. See illustration

1001 BETTY RADICE (Ed.): "The Savings of the Seven Sages of Greece", limited edition 138/160, with abstract gilt-tooled leather binding by Elizabeth Greenhill (1907-2006)

£1,000-£1,500

£200-400 1005 THOMAS HARDY: A set of 27 books, including "Wessex Tales", "Jude the Obscure", "Far from the Madding Crowd" and "The Mayor of Casterbridge", Macmillan & Co. Ltd, St. Martin's Street, London.

1002 BERNARDINO BARDUZZI: "A Letter in Praise of Verona", limited edition numbered 38/150, 1974, with abstract gilt-tooled binding, by Elizabeth Greenhill (1907-2006)

£200-400

146

£150-250

Lot 1008

Lot 1010

1009 ELIZABETH FRINK: "Sculpture, Catalogue Raisonne", Harpvale, 1984, signed to the title page, one other soft-covered book with numerous letters and ephemera, and a Snowden limited edition (500) portfolio of eight wildflower photographs, signed by Snowden (a lot)

1006 JOSEPH CONRAD: A set of 21 novels, including "An Outcast of the Islands", "The Rover", "Notes on Life and Letters" and "Lord Jim", The Gresham Publishing Co. Ltd, 66 Chandos Street, London. £150-250

1007 THE BRITISH ANTIQUE DEALERS ASSOCIATION "The Grosvenor House Art and Antiques Fair Handbook" 2002, and five others (6)

1010 WILLIAM BARNES "Solace of the Fields", a previously unpublished poem in four verses, handwritten and inscribed at the end "Mrs Hodding with kind compliments WB". See illustration

£20-40

1008 SIR ERNST HART GOMBRICH: "The Story of Art" with 383 illustrations, the Phaidon Press London, signed and dedicated to the first page, six other volumes to include "Aby Warburg", a small quantity of soft covered publications, a Victorian tile from a fireplace in the previous Warburg Institute Buildings in South Kensington (demolished mid20th century), and Gombrich's ceremonial sword, the blade engraved "Sir Ernst Hans Gombrich, Lady Ilse Gombrich.....I Cut Down the Middle" 35". See illustration

£200-400

£500-1,000

1011 WILLIAM BARNES: A hand-written letter from William Barnes to Mrs Hodding, 8th October 1886. This letter originally accompanied Lot 1010 in this catalogue. It concerns Mrs Hoddings effort to publish William Barnes work.

Provenance: The Library of Siegfried Sassoon. Private collection.

£150-300

£100-200 1012-1017 Spare Lots 147

WORKS OF ART

1018 EMILE GALLE: A CARVED CAMEO GLASS VASE with trailing art nouveau foliate decoration in pale red against a textured green ground, signed 'Galle', 8¼" high. See illustration

Provenance: Private Collection, Somerset, since before c.1950

£3,000-5,000

148

1019 EMILE GALLE: A CARVED CAMEO GLASS 'CHIMNEY' VASE decorated with art nouveau lilies in purple against a pale green textured ground, signed 'Galle', 13¾" high. See illustration

Provenance: Private Collection, Somerset, since before c.1950

£3,000-5,000

149

1020 A GEORGE III MAHOGANY CHEESE COASTER of dished form with applied roundels, 6" high x 16½" wide. See illustration

Lot 1020

£100-200

1021 A REGENCY ROSEWOOD SARCOPHAGUS FORM BRASS INLAID TEA CADDY, the raised lid with central brass patera, the interior with twin lidded compartments and central cut-glass bowl, the front with geometric brass inlay, on ball feet, 7½" high x 13" wide. See illustration £300-600 1022 A REGENCY BURR YEW TEA CADDY, the rectangular top with canted sides and satinwood stringing, the interior fitted with twin lidded tea compartments, the glass bowl with engraved border, on round brass feet, 8" high x 12½" wide

Lot 1021

£100-200

1023 A CARVED AND PAINTED PANEL OF GOTHIC TRACERY with carved Gothic design against a gilt ground, with red borders, 15th/16th century, 16" x 8¼", and another similar panel, 13½" x 10" (2)

£200-400

1024 A PAIR OF SCOTTISH GRANITE CURLING STONES with wooden handles, each 10" wide (2)

Lot 1025

£150-250

1025 A STUMPWORK PICTURE with an imaginary palace above two figures, one representing justice, surrounded by insects and trees, 17th century, 7" x 8"

£300-500

1026 AN EMBROIDERED AND SILVER THREAD PICTURE of a kneeling king beside a harp and a man wrestling an exotic beast, 17th century, 7" x 10" £200-400 150

1027 A FRENCH IVORY FAN, the painted leaf with a scene of a courting couple in a landscape, on pierced and silver painted ivory sticks, 10½"

Lot 1028

£300-600 1028 A NAPOLEONIC PERIOD MINIATURE IVORY OR BONE SPINNING WHEEL, 3½" high, and a similar bowl with all over pierced decoration, 2" wide (2). See illustration

£100-200

1029 HMS LION: A WOOD AND BONE MODEL OF HMS LION made by Napoleonic prisoners of war with a plaque "HMS Lion 3rd Rate ... the model made by French prisoners from the Napoleonic Wars ...", in a glazed cabinet, the ship 14½" x 20". See illustration

Provenance: The Parker Gallery, London.

£5,000-10,000

Lot 1029

1030 A CARVED OAK ANGEL CORBEL or fragment, the angel with wings folded and hands held in prayer, on wooden base, 15th/16th century, 12" high

£200-400

1031 A CARVED OAK STATUE OF A FEMALE SAINT holding an open book in one hand and a sword in the other, showing signs of original painted finish, 16th/17th century, 11" high. See illustration

Lot 1031

£500-1,000

1032 A CARVED OAK SCULPTURE OF THE VIRGIN MARY AND CHRIST CHILD, 19th century, 13½" high £100-200 1033 A CARVED OAK ARCHITECTURAL FRAGMENT with the Christ Child to the centre flanked by The Virgin Mary and another seated female form with elaborate drapery, 9" x 10", 16th/17th century

£300-500 151

1034 A LARGE CARVED OAK FIGURE OF A KNEELING SAINT on a later stepped wooden plinth, 17th/18th century, 21" high. See illustration

Lot 1034

£500-1,000

1035 A PLASTER BUST OF SHAKESPEARE, 19th century 21" high

£100-200

1036 AN ITALIAN GILT BRONZE CLASSICAL STYLE PUTTO wearing a lion skin and holding a torch aloft, on slate base, 18th/19th century, 8" high

£200-400

Lot 1037 1037 V. BRUYNEEL: A CAST AND PATINATED ART NOUVEAU BRONZE OF A MAIDEN, head and shoulders, 10" high. See illustration

£200-400

1038 EMMANUEL VILLANIS (1858-1914) A cast and patinated bronze bust of an Art Nouveau maiden wearing a head dress, on marble plinth, with cast signature

£400-600

1039 BRUNO FRIEDREICH EMILE KRUSE (1855-1906) A cast and patinated Art Nouveau style sculpture of a naked woman with arms outstretched, with cast signature, on a marble plinth, 16" high. See illustration

Lot 1025

£400-600

1040 EMMANUEL VILLANIS (1858-1914) A "Sapho" cast and patinated bronze of a young woman playing a harp, with cast signature and foundry mark, on a marble base, 10½" high

152

£500-800

1041 DIMITRI CHIPARUS (1886-1947) A gilt bronze and ivory sculpture of a schoolgirl holding a satchel, on a marble base, unsigned, 6¾" high. See illustration

Lot 1041

£400-600

1042 GEORGI DIMITRIVITCH LAVROFF (1895-1991) A cast and silver patinated bronze sculpture of a panther, on a polished marble base, 21" wide. See illustration

£1,200-1,500

1043 O. RUFFONY: A CAST, PATINATED AND GILT BRONZE STATUE OF JOAN OF ARC with cast signature to the reverse, on marble base, 17½" high

Lot 1042

£250-450

1044 A SET OF FOUR FRENCH BRONZE FIGURE OF THE SEASONS, each loosely clad females holding appropriate attributes, on square marble bases, 19th century, 9" high. See illustration

£1,000-2,000

1045 ROLAND MASSON (b. 1946) A small abstract bronze, loosely figurative in form, stamped "RC Masson EA2", 6½"

£300-600

1046 A SCRIMSHAW WHALES TOOTH carved in low relief with a three-masted galleon, 4¼"

Lot 1044

£300-600

1047 ENGLISH SCHOOL, 20th century A carved wooden sculpture of a stylised horses head on circular stand, 9½" high

£50-100

153

1048 MARY SPENCER WATSON (1913-2006) A stylised sea horse carved on a rotating base, in wood, 46" high. See illustration

Lot 1048

£300-600

1049 TANYA BRETT (b.1974) "Leaping Sheep", three ceramic sheep in various jumping poses, on a wooden base and metal rods, circa 19" x 26"

£200-400

1050 JO JONES 20th/21st century, "Bend Large", a ceramic sculpture, 11½" x 9½" £100-200 1051 CHRISTOPHER MARVELL (b.1964) "Seated Cat", cast bronze, 18" high x 12" wide. See illustration

Lot 1051

Provenance: Thompson's Stow on the Wold annual exhibition 2003.

£500-1,000

1052 ENGLISH SCHOOL, 20th century An abstract bronze with a stylised figure climbing a wall, cast and patinated bronze, 15" high x 9½" wide. See illustration

£250-450

1053 AN ORMOLU AND BRONZE CANDELABRA in the form of a cherub holding aloft a vase, with six candle branches, on scrolling floral and foliate mounted stems, on a marble base with scrolling gilt metal mounts, 19th century, 27½" high

Lot 1053A

£500-1,000

1053A AN ABSTRACT WOODEN SCULPTURE after Hepworth, 11½" high See illustration

£300-600

1053B A MAORI CARVED MASK with abalone shell eyes and open mouth, signed to the back H. Toka N.Z. , 13" high

154

1054 AFTER BARTHELEMY PRIEUR (c.1536-1611) Lion devouring a Doe, cast and gilt bronze, 4Âž" high, 10" wide. See illustration

This Bronze closely resembles a sculpture 'Lion devouring a Doe' by Barthelemy Prieur, a larger example being in the Frick collection in New York. With a clear debt to Giambologna's work, in particular Lion attacking a horse, the stylised facial expression and 'wig-like' mane are apparent on a small group of bronzes of lions attributed to Prieur that can be found in a number of important collections including the Thyssen-Bornemisza collection in Madrid and the Metropolitan Museum of Art in New York. Prieur was one of the most successful and prolific makers of bronzes of his generation with many fine works attributed to him today. Apparently at his death a large number of small bronzes remained in his workshop.

Provenance: Private collection Somerset.

ÂŁ500-1,000

155

1055 ITALIAN SCHOOL, A BRONZE SCULPTURE OF "SEATED MERCURY", weathered green verdigris patina, reproduction of the antique bronze, cast circa 1900, probably in Naples, 48" high, the base 30" x 44". On a veined white marble naturalistic base. See illustration

The "Seated Mercury" was discovered on 3rd August 1757 at Herculaneum in the Peristyle of the Villa dei Papiri and kept in the Royal Palace of Portici. Although it was possibly among the antiquities removed to Palermo in December 1798 to escape the French, it was recorded at Portici again in 1816. In 1943 it was removed to Monte Cassino to escape the Germans, who, however, captured it and took it to Germany. In transit it was damaged and the head had to be extensively restored after it's return to Naples in 1947.

the original is currently on display at the Museo Nazionale, in Naples

Provenance: Fota Island, Co. Cork, Ireland

The Property of a Gentleman, Private Collection, Somerset

ÂŁ10,000-20,000

Fota Island from a 19th century engraving

A view of the gates at Fota Island, with the bronze just visible

156

157

1056 A FIJIAN 'CANNIBAL FORK' AND SIMILAR LADLE, carved and stained, the fork 11Â˝", the ladle 13". Collected by Captain John Proctor Luce (18271869) Captain of HMS Esk during a visit to Fiji. In a cardboard box inscribed to the lid 'Cannibal fork, has been used, brought home from Fiji, 1857 by Capt J.P.Luce H.M.S. Esk. See illustration

Provenance: The family of Captain John Proctor Luce, the vendors Great-Grandfather.

Captain J.P.Luce took command of H.M.S. Esk following the death of Captain Hamilton (after whom Hamilton in New Zealand is apperently named) at the battle of Gate Pah in the Maori Wars. The Esk left Auckland in July of 1867 and Captain Luce was paid off in October of that year, dying soon after.

158

Prior to taking charge of the Esk Luce was in command of HMS Wanderer a smaller vessel that is unlikely to have visited Fiji. A number of Captin Luce's journals are held at the Royal Anthropological Institute, others appear to have been destroyed during the Second World War. Consequently it is not clear exactly when the items were collected. What is clear is that Captain Luce gathered a fascinating collection of artefacts on his travels, a good number of which were donated to the British Museum by Margaret Luce. A number of these items are regularly displayed including such items as a collection of arrows, carved clubs and other Maori items.

Cannibal cutlery is unsurprisingly very rare, and to have items with a firsthand account of use must be more or less unique. Forks of this type were used to feed Fijian Chieftains the flesh of their enemies. The chief not being permitted to touch the flesh themselves, the length of the fork relating to the status of the chief. It is of course impossible to tell if this fork was used, however the ladle shows clear signs of damage to the rim almost certainly as a result of use

ÂŁ800-1,500

an important private collection of antiquITIES FROM CUMBRIA

1067 A MINIATURE BRONZE DEER LORISTAN first millennium BC, 1¼" and a miniature bronze cockerel, Roman, 2nd century AD, 1½" high (2)

1065 AN ETRUSCAN BRONZE OENOCHOE WINE JUG with a bulbous body and lion mask handle, green patination, 5th century BC, 10" high. See illustration

£500-1,000

1068 A SMALL ROMAN CARVED MARBLE TORSO OF VENUS mounted on a rosewood base, circa 2nd century AD, 7" high. See illustration

1066 A SMALL ROMAN IRIDESCENT GLASS VASE with a cylindrical neck and squat body, 2nd century, 3" high

£100-200

159

£500-1,000

1069 A SMALL WALDGLAS TYPE EWER with a high scroll top handle and elongated neck, on a circular foot, 16th/17th century, 6½" high. See illustration

Lot 1069

£500-1,000

1070 A GANDHARAN SCHIST HAND carved with fingers outstretched, 3rd-4th century, 4½" long

£100-200

1071 FIVE ANCIENT PERSIAN BRONZE HAIR PINS with various details, 4¾" - 6½" high (5) £150-300 1072 TWO GREEK CANOSAN POTTERY DOVES modelled with features, 3rd century BC, 3½" and 3¼" long (2)

Lot 1073

£100-200

1073 A SLENDER CYPRIOT CARVED LIMESTONE VOTARY TORSO with left arm raised holding a cup, standing on a wood base, 5th century BC, the torso 7" high. See illustration

£500-1,000

1074 A CYPRIOT CARVED LIMESTONE VOTARY ROBED TORSO with right hand raised on a wood base, 5th century BC, the torso 6" high. See illustration

Lot 1074

£300-600

1075 A POTTERY FIGURE OF A CHILD seated on the floor cradling its' head in its' arm, probably Egyptian, late period, label on underside "On loan to the University of York (Arts Collection), 344", and painted letters and numbers, probably Egyptian, late period

£200-400

1076 A CARVED STONE MODEL OF A FISH, probably Egyptian, 6¼" long 160

£100-200

1077 AN EGYPTIAN BRONZE FIGURE OF PTAH, robed, holding the Was Sceptre, dark brown and green patination, late period, 8¾" high.

£5,000-10,000

161

Lot 1078

Lot 1081

1081 AN ATTIC POTTERY MASTOID CUP with figures painted in black with red highlights, on a brown ground, within black bordes and interior, 5th/6th century BC, 3½" high. See illustration

1078 A MINOAN POTTERY VESSEL with loop handles and elongated spout, on a waisted body and pedestal foot, circa 1500-2000 BC, 5½" high. See illustration

£800-1,500

1079 A GREEK BLACK GLAZED POTTERY EWER with loop handle, 4th century BC, 4¼" high, and a small Roman pottery oil lamp, 2nd century AD, 2¾" wide (2)

1082 A GREEK BLACK/GREY GLAZED POTTERY OENOCHOE WINE FLASK, 4th century BC, label on underside "On loan to the University of York (Arts Collection), 5½" high

£80-150

1080 TWO MINIATURE CORINTHIAN POTTERY ARYBALLOI with painted animal and stylised flower decoration, on brown ground, 2½" high and 2¾" high (2)

£500-1,000

£200-400

£100-200

1082A A GANDHARAN SCHIST HAND, 8" long.

162

£100-200

Lot 1083

Lot 1084

1087 SIX EGYPTIAN AMULETS in various forms, two pottery fragments and a bronze rabbit (9)

1083 AN ATTIC SLIP DECORATED POTTERY MASTOID CUP with two handles, South Italian, circa 4th century BC, 7" wide. See illustration

Provenance: Denis Alfred Barnham (1920-1981) and thence by descent.

Probably acquired in the 1950's

£500-1000

1088 A POTTERY BUDDHAS HEAD FRAGMENT and three other head fragments, circa 4½" high (4)

1084 AN ATTIC TYPE CUP with single handle, South Italian, circa 4th century BC, 5½" wide, and a Cypriot small red ewer with circle decoration, circa 7th century BC, 3½" high (2). See illustration

£80-150

1089 A PRE-COLUMBIAN TYPE POTTERY FIGURE with a four bird head dress, 8" high, and another carved stone figure, 6½" high (2)

£200-400

£80-150

1090 A COLLECTION OF PRECOLUMBIAN TYPE POTTERY FRAGMENTS including heads, torso and other pieces, and a collection of Benin type and other bronze animals and objects (a collection)

1085 A POTTERY EWER painted in red with black bands, probably Roman, 5½" high, a similar pottery cup, a bronze torso pendant and a loose turquoise coloured bead necklace (a lot) £100-200 1086 A PRE-COLUMBIAN POTTERY FIGURE standing wearing a hat, bead necklace and a robe, 4" high

£100-200

1091-1099 Spare Lots

£200-300 163

CLOCKS and scientific instruments

Lot 1100

A PRIVATE COLLECTION OF CLOCKS FROM NORTHAMPTONSHIRE 1100 A REGENCY MAHOGANY AND BRASS INLAID REPEATING BRACKET CLOCK, the round dial with Roman numerals, inscribed "J L Vicks Stroud", the double fusee movement striking on a bell, in a mahogany case with scroll work brass inlay, the top dome with brass pineapple finial, side brass ring carrying handles and brass ball feet. 24½" high. See illustration Lot 1103

£1,000-2,000

1101 A LOUIS XV STYLE FRENCH MANTLE CLOCK, the pink enamel dial with Roman numerals and central floral decoration, the French movement with outside count wheel striking on a bell, fitted in a spelter case with sevres style enamel panels,15½" high, standing on a wooden plinth and housed under a glass dome.

£200-400

1102 A 19TH CENTURY FRENCH CARTEL CLOCK, the white enamel dial with blue Roman numerals and outer Arabic seconds numerals, inscribed " Comptior General H. Riondet Paris", the movement with outside count wheel striking on a bell, in a brass case of flowing acanthus design 19½" long x 11" wide.

Lot 1104

£200-400

1103 A FRENCH LOUIS XVI STYLE GILT METAL MANTLE CLOCK, the circular dial with Roman numerals, flanked by a gentleman seated on a stool, the movement with outside count wheel, striking on a bell. 10¾" high x 16¾" wide, on a gilded wooden plinth and under a glass dome. See illustration

164

£150-250

1104 A 20TH CENTURY FRENCH BOULLE MANTLE CLOCK, the metal dial with enamel tablet Roman numerals, the case with gilt metal mounts and feet, the "ting tang" movement striking on a bell, 22½" high. See illustration

Lot 1107

£300-600 1105 A LOUIS XVI STYLE GILT METAL MANTLE CLOCK, the blue enamel dial with Roman numerals, flanked by a seated maiden holding a sheath of wheat, above a gilt metal base with Sevres style porcelain panels, the French movement striking on a bell.

£150-250

1106 A FRENCH BRASS CASED ALARM CARRIAGE CLOCK, the white enamel dial with Roman numerals and subsidiary alarm dial, in a plain brass case with fitted bell to the base and top swing handle, 6" high ( including the handle), in a fitted leatherette carrying case

£150-250

1107 A. H RODANET: A French gilt brass quarter repeating alarm carriage clock, the round white enamelled dial with Roman numerals and outer Arabic seconds numerals, inscribed " A H Rodanet 36 Rue Vivienne Paris", above a subsidiary alarm dial, both enclosed in a plain gilt mask, the movement striking on a coiled gong also inscribed, in a gilt brass case with stepped base, corner columns and swing handle 8½" high (including the handle), fitted in a replacement wooden carrying case. See illustration £800-1,500 1108 J W BENSON: A FRENCH BRASS CASED CARRIAGE CLOCK, the white enamelled dial with Roman numerals, inscribed "J.W Benson London", in a plain brass case with fluted corners and swing handle, 6" high ( including the handle)

£100-200

1109 A FRENCH BRASS CASED REPEATING CARRIAGE CLOCK, the white enamelled dial with Roman numerals inscribed "Z. Barraclough & Sons, Leeds" the movement striking on a coiled gong, in a plain brass case with swing handle, 6½" high (including the handle)

£300-500 165

1110 A FRENCH CARRIAGE CLOCK, the white enamelled dial with Roman numerals, inscribed " Hatty & Son Paris", the movement striking on a bell, in a gorge case with swing handle, the base inscribed "Presented to Miss Marin H Harvey by the congregation of S Olave's Ramsey I.O.M Christmas 1884". See illustration

Lot 1111

£400-600

1111 MOVADO: A FOLDING TRAVELING ALARM CLOCK, the square dial with raised baton numerals and inner Arabic alarm numerals, in a gilt case with easel back, enclosed in a crocodile slide action case. See illustration

£80-160

1112 A LIMITED EDITION SPHERICAL WEIGHT CLOCK, the silvered chapter ring with roman numerals, inscribed " Harding & Bazeley Cheltenham England", in a posted frame, surmounted by a curved track which holds the polished spheres that propel a six spoked wheel below, standing on a wooden base numbered "48", under a glass frame and in original card box. See illustration.

Lot 1112

£300-600

1113 A MAHOGANY LONGCASE CLOCK, the arched dial with a moonphase, the chapter ring flanked by spandrels painted with representations of the continents, decorated to the centre with a scene of Wellington and Nelson, with inscription "First and only interview between Nelson and Wellington", with an eight day two train movement with subsidiary seconds dial and date aperture, the case with turned columns, swan-neck pediment and short Gothic arch-top door, 91" high

£400-600

1114 A LOUIS XVI STYLE GILT BRONZE MANTEL CLOCK with a globe finial, the dial signed "Lenepveu, Paris", with a "Japy" type movement striking on a bell, 19th century and later, 12½" high x 7" wide

166

£200-400

1115 A LOUIS XVI STYLE GILT BRONZE MANTEL CLOCK, The movement flanked by a figure playing a lyre, and a harp, with a white enamel dial and small fusee movement, 19th century, 8" high x 6¼" wide. See illustration

Lot 1115

£500-1,000

1116 A WALNUT CASED BRACKET CLOCK, the gilt dial signed "Brounker & Watts, London", the engraved dial with cast mounts and silvered chapter ring beneath a strike/not strike dial, with a two train fusee movement, the back plate extensively engraved and signed "Brounker & Watts, London", the case with carrying handle and four gilt finials, 18th century and later, 18" high x 11" wide

£500-1,000

1117 A GEORGE III MAHOGANY LONGCASE CLOCK, the architectural dial painted with a boy looking to sea, the dial signed "Coupillot Fils, jersey", with a subsidiary date and seconds dial, with an eight day two train movement striking on a bell, the case with swan-neck pediment and Gothic top trunk door, 93" high

£200-400

Lot 1118

1118 A GEORGE III MAHOGANY AND EBONY STRUNG LONGCASE CLOCK, the enamel dial signed "W. Flather, Halifax", the arched top dial painted with a rural landscape, the dial with subsidiary seconds and date dials, with a two train movement striking on a bell, the hood with swan-neck pediment and three ball and pinnacle finials, the trunk with arch top door flanked by reeded uprights, 94" high. See illustration

£500-1,000

167

1119 A GEORGE III OAK LONGCASE CLOCK, the arched brass dial signed "Robert Windsor, Newport", with silvered chapter ring and subsidiary seconds dial and date aperture, with two train eight day movement striking on a bell, the case with arched top trunk door, 80" high See illustration

Lot 1119

ÂŁ500-800

1120 A GEORGE III OAK LONGCASE CLOCK, the brass and silvered dial with an arch, signed "James Blytho Callington" with an anatomical depiction of Old Father Time flanked by two cherubs striking on bells, the silvered chapter ring enclosing subsidiary seconds and date dials, with a two train movement striking on a bell, the hood with scrolling arch pediment and fluted columns, the trunk with conforming mahogany crossbanded arched top trunk door, 86" high. See illustration

ÂŁ500-1,000

1121-1144 Spare Lots

Lot 1120

168

FURNITURE

169

1145 A LATE GEORGE III MAHOGANY SERPENTINE FRONTED DESK, the shaped top with three-quarter raised gallery above a brushing slide and single long drawers, on two pedestals of three short drawers flanking a central cupboard, on shaped plinth bases, 35" high x 40½" wide. See illustration

Lot 1145

£300-600

1146 MANNER OF LIBERTY & CO: A VICTORIAN MOORISH STYLE FOLIO OR MISSLE STAND with pierced and bobbin-turned panels, 28" high

£80-150

1147 A CONTEMPORARY ASH UPRIGHT CHAIR by Michael Holland of Dansel, Abbotsbury, with a tapering modified ladder back above a solid shaped seat, on conforming legs, 49" high

Lot 1149

£100-200

1148 A CHARLES II OAK COFFER with a three panel lid and conforming front, with carved rails, 26½" high x 27½" wide

£200-400

1149 A YEW AND ELM WINDSOR ARMCHAIR with an arched back and shaped arm rail with three carved and pieced uprights, above a solid seat on turned legs with "H"-form stretcher, 39" high. See illustration

£400-600

Lot 1151 1150 AN "ARMADA" CHEST of strapwork construction, with a central hidden keyhole, the front with a dummy keyhole, the interior with an elaborate locking mechanism, the trunk with carrying handles, 31" high

£550-750

1151 A NORTH ITALIAN MARQUETRY COMMODE, the rectangular top with chequered stringing above two short and two long drawers with gilt metal handles, on square tapering legs, 35½" high x 46½" wide. See illustration 170

£1,500-2,500

1152 A VICTORIAN BURR WALNUT THREE TIER WHAT-NOT, the serpentine fronted shelves with spiral divisions, the upper shelf with a pierced gilt border, the lower with a single frieze drawer, on turned legs and castors, 43½" x 24"

Lot 1154

£200-400

1153 A JAPANESE SHIBAYAMA STYLE TWO-FOLD SCREEN, the arched top panels mounted with ivory mother of pearl inlaid scenes of birds flying amongst and seated on foliate branches, within dragon carved surrounds, 76" high x 34" wide

£300-600

1154 AN OAK SIDE TABLE, the rectangular top with a moulded border, above a single frieze drawer, on turned legs and stretchers, late 17th/early 18th century, 28" high x 34" wide. See illustration

Lot 1155

£150-250

1155 A CHARLES II WAINSCOT ARMCHAIR, the rectangular back with central foliate carved diamond pattern within a conforming surround, with shaped arms terminating in turned uprights, the solid seat on turned legs and stretchers, 17th century and later, 42½" high x 24" wide. See illustration

£800-1,500

1156 AN OAK COUNTRY MADE ARMCHAIR, the rectangular back with twin vase-shaped splats above solid seat with scrolling arm supports, the seat on a wavy frieze and square section legs and stretchers, 36½" high x 25" wide

£100-200

1157 AN EDWARDIAN MAHOGANY AND SATINWOOD ROLL-TOP DESK, the upper section with a central long drawer flanked by two short drawers, all above a roll front enclosing a fitted interior with pigeonholes, short drawers and leather-lined writing surface, and an arrangement of five short drawers, the roll top with an elaborate locking mechanism, on square tapering legs with brass cap castors, 44" high x 47" wide £500-1,000 171

Lot 1158

Lot 1159

1159 GILLOWS OF LANCASTER: A REGENCY MAHOGANY AND ROSEWOOD CROSSBANDED BREAKFAST TABLE, the rectangular top with rounded corners with broad crossbanding, on a turned column and four downswept reeded legs with brass cap castors, the underside stamped "Gillows, Lancaster", the locking mechanism stamped "Bullock Patent", the top 47" x 59½" x 28½" high. See illustration

1158 A REGENCY ROSEWOOD BREAKFAST TABLE, the circular crossbanded top on a gilt decorated leaf carved column and triform platform base with scrolling gilt metal feet, 28" high x 50" wide. See illustration

£500-1,000

Lot 1159 detail

£2,500-3,500

1160 ECOLE DE NANCY: A GALLE STYLE ART NOUVEAU WALNUT AND MARQUETRY SINGLE BED, the rectangular shaped headboard with scrolling foliate marquetry against a pale ground, between turned uprights, the footboard similarly decorated, 41½" wide, the headboard 53½" high

172

£400-600

1161 A PAIR OF ANGLO-DUTCH WALNUT AND MARQUETRY CANDLESTANDS, each with octagonal tops inlaid with vases of flowers, on tapering turned and hexagonal columns on downswept scrolling legs, late 17th century and later, 35" high. See illustration

173

Â£5,000-10,000

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. Care is taken to ensure that any statement as to authorship, attribution, origin, date and provenance is reliable and accurate, but all such statements of opinion and are not to be taken as statement or representations of fact. Hy. Dukes & Son reserve the right, in forming their opinion, to consult and rely upon any expert or authority reasonably considered by them to be reliable. 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 A work catalogued with the forename(s) and surname or recognised designation of an artist is, in our opinion, a work by the artist, e.g. NICHOLAS CHEVALIER Attributed to NICHOLAS CHEVALIER ... in our opinion a work of the period of the artist which may be in whole or in part the work of the artist.

Manner of NICHOLAS CHEVALIER ... in our opinion a work executed in the style of the artist but of a later date.

Studio of NICHOLAS CHEVALIER ... in our opinion a work by an unknown hand, which may have been executed in the studio of the artist.

After NICHOLAS CHEVALIER ... in our opinion a copy of any date after a work by the artist.

Circle of NICHOLAS CHEVALIER ... in our opinion a work from the period of the artist and showing his influence. Follower of NICHOLAS CHEVALIER ... in our opinion a work executed in the style of the artist but not necessarily by a pupil.

Signed/inscribed/dated NICHOLAS CHEVALIER ... in our opinion the work has been signed/inscribed/dated by the artist. Bears signature/inscription/date NICHOLAS CHEVALIER ... in our opinion the signature/inscription/date are probably not by the. hand of the artist.

The addition of a question mark after any of the cataloguing terms in the above glossary indicates an element of doubt. The term 'ascribed to' may in certain cases be used to denote a traditional attribution based on style. A work catalogued as 'School' accompanied by the name of a place or country and a date mean that in our opinion the work was executed at that time and in that location, e.g. Dutch School, circa 1700. All reference to signatures, inscriptions and dates refer to the present state of work, i.e. as at the time of inspection for the purpose of cataloguing.

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

JEWELLERY The contents of any gemmological certificates accompanying lots in this sale are not guaranteed by Duke’s Auctioneers and we cannot be held responsible for any disagreement over the contents of the certificates after the sale, or for a retrospective change in opinion by the certificate issuer. All weights and measurements provided are approximate only. Prospective purchasers should assume that all coloured stones sold by Duke’s Auctioneers have been treated unless otherwise stated to the contrary in the catalogue description. Stones are commonly treated to enhance their colour and clarity. Sapphires and rubies are commonly heat treated and emeralds commonly oiled. Jade/jadeite is often bleached, polymer/resin filled or dyed. Please contact Duke’s for more clarification on treatment in individual lots. Items containing rubies or jade/jadeite of Burmese origin are not permitted 174 for import by the USA.

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 22% 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. (3) The Auctioneer may require a deposit of 5% of the hammer price immediately. If the buyer is unable to meet this requirement to the Auctioneer’s satisfaction they reserve the right to cancel the sale immediately. 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).

175 175

NOTES

176

NOTES

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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. 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 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. IMPORTANT NOTICE TO BUYERS OF WILDLIFE MATERIAL Property made of or incorporating (irrespective of percentage) endangered and other protected species of wildlife, including but not limited to, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone and certain species of coral, together with Brazilian rosewood, may require permits or certificates (e.g. a CITES permit) from the relevant regulatory agencies to be exported or imported. Prospective purchasers are also advised that some countries prohibit altogether the importation as well as exportation of such materials. Accordingly, clients should familiarise themselves with the relevant customs laws and regulations prior to bidding on any property with wildlife material if they intend to import the property into another country. Please note that it is the client’s responsibility to determine and satisfy the requirements of any applicable laws or regulations applying to the export or import of property containing endangered or protected wildlife material. The inability of a client to export or import property containing endangered or protected wildlife material is not a basis for cancellation or rescission of the sale.

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

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

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

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Email . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lot No:-

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Lot No:-

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

£’s

Lot No:-

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The Fine Art Salerooms Telephone: (01305) 265080 Facsimile: (01305) 260101 179

Duke’s AUCTIONEERS SINCE 1823

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

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

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

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

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Email . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lot No:-

£’s

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

£’s

Lot No:-

180

Lot No:-

£’s

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

Dukeâ&#x20AC;&#x2122;s Paintings and Furniture. Thursday, 15th and Friday, 16th September.

Paintings and Furniture

Thursday, 15th and Friday, 16th September

2016

PRINTED IN DORCHESTER BY EPIC CREATIVE PRINT

Including the Peter Wood Collection and a Private Collection from London and the Chalke Valley