Dominic Winter Auctioneers by Jamm Design Ltd

FINE ART & ANTIQUES 9/10 MARCH 2022

19TH & 20TH CENTURY PHOTOGRAPHY CAMERAS & ACCESSORIES 18 MAY 2022

Cameron (Julia Margaret, 1815-1879). Julia Jackson (Mrs Herbert Duckworth), 1867, albumen print, cropped to oval, 310 x 256 mm, laid on card, 410 x 310 mm Provenance: Gifted to the owner by the British artist and writer Angelica Vanessa Garnett (née Bell, 1918-2012), daughter of Duncan Grant and Vanessa Bell, and granddaughter of the subject by her second marriage to Leslie Stephen. Cox & Ford, Julia Margaret Cameron: The Complete Photographs, (2003), no. 312. Estimate £10,000-15,000

For further information please contact Chris Albury: chris@dominicwinter.co.uk

OLD MASTER PICTURES & DRAWINGS 19TH & 20TH CENTURY ART 9 March commencing at 10am

ANTIQUES & HISTORIC TEXTILES 10 March commencing at 10am

AUCTIONEERS

Nathan Winter Henry Meadows

VIEWING

Monday & Tuesday 7/8 March 9.30am-5.30pm Morning of sales from 9am (other times strictly by appointment)

Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ T: +44 (0) 1285 860006 E: info@dominicwinter.co.uk www.dominicwinter.co.uk

IMPORTANT SALE INFORMATION AUCTION DETAILS COMMENCING

10.00 am

VIEWING

Monday & Tuesday 7/8 March 9.30am-5.30pm Morning of sales from 9am (other times strictly by appointment) Tel: 01285 860006 info@dominicwinter.co.uk

CONDITION REPORTS Condition reports now including video conferencing can be requested in the following ways: T: +44 (0)1285 860006 | E: info@dominicwinter.co.uk Via the relevant lot page on our website www.dominicwinter.co.uk ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty 4.00% 3.00% 1.00% 0.50%

For the Portion of the Hammer Price (in Euros) up to 50,000 between 50,000.01 and 200,000 between 200,000.01 and 350,000 between 350,000.01 and 500,000

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Please refer to the DACS website www.dacs.org.uk and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details. For payment arrangements please refer to information for buyers at rear of this catalogue. We would kindly request that commission bids are submitted by 9.30am on the morning of sale. BIDDING Customers may submit commission bids or request to bid by telephone in the following ways: T: +44 (0)1285 860006. |. E: info@dominicwinter.co.uk Via the relevant lot page on our website www.dominicwinter.co.uk Live online bidding is available on our website www.dominicwinter.co.uk (surcharge of 3% + vat): a live bidding button will appear 30 minutes before the sale commences. Bidding is also available at the-saleroom.com (surcharge of 4.95% + vat) and invaluable.com (surcharge of 3% + vat).

POST-SALE For payment information see our Information for Buyers page at the rear of this catalogue. For details regarding storage, collection, and delivery please see our Information for Buyers page or contact our ofﬁce for advice. Successful bidders will not incur storage fees while current government restrictions remain in place.

All lots are offered subject to the Conditions of Sale and Business printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction ofﬁce. A buyer’s premium of 20% of the hammer price is payable by the buyers of all lots, except those marked with an asterisk, in which case the buyer’s premium is 24%.

CONTENTS Day One

Day Two

FINE ART

ANTIQUES 1-24

Old Master Paintings & Drawings

Objets d’art

310-362

Old Master Prints

25-76

Jewellery

313-395

Portraits & Miniatures

77-101

Silver

396-458

19th Century Paintings & Watercolours

102-180

Ceramics & Glass

459-467

19th & 20th Century Prints

181-241

Oriental Works of Art

468-486

20th Century Paintings & Watercolours

242-290

Tribal Art

487-498

Kathleen Hale (1898-2000)

291-302

Fossils & Minerals

499-515

Sculpture

303-305

Furniture & Pianos

516-525

Historic Textiles

526-603

SPECIALIST STAFF Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Natasha Broad MA (History of Art) Colin Meays BA Hons (Conservation)

Nathan Winter

Henry Meadows

Antiques & Textiles Henry Meadows BA Hons, MRICS Susanna Winters MA (History of Art) Colin Meays BA Hons (Conservation)

Tel: 01285 860006 info@dominicwinter.co.uk

Colin Meays

Susanna Winters

Cover illustrations: Front cover: lot 245 Back cover: lot 551

Catalogue Produced by Jamm Design – 020 7424 7830 info@jammdesign.co.uk

Photography by Marc Tielemans – 07710 974000 | marc@tielemans.co.uk Darren Ball – 07593 024858 | darrenball1989@gmail.com

Darwin (Charles Robert, 1809-1882). Letter signed, ‘Ch. Darwin’, Down, Bromley, Kent, 15 July [1866], to [Charles] Kingsley, in the hand of Emma Darwin, 4 pages, 8vo Provenance: Inherited by family descent from the estate of Lady Mary Colyer-Fergusson (1871-1964) of Ightham Mote, Kent; and gifted to her by Mary Harrison in 1930. An important and unpublished letter concerning the evolutionary problematic reasons for the migration of the eye in flatfish. It was written in response to the Rev. Kingsley's letter (12 July 1866), referring to the article by Charles Wyville Thomson, ‘Notes on Prof. Steenstrup’s views on the obliquity of flounders’, in the Annals and Magazine of Natural History for May 1865, in which Thomson gave an abstract, with commentary, of a paper by Japetus Steenstrup on the migration of the eye of flounders. Kingsley's letter is published in The Correspondence of Charles Darwin, vol. 14 and at The Darwin Correspondence Project [DCPLETT-5154], noting that it was acquired from Mary Harrison in 1930 (as the letter offered here). 'The DCP do not have knowledge of Darwin’s reply yet. The DCP do not have any letters from Darwin on the migration of eyes in flatfish'. 6 April: £15,000-20,000

FORTHCOMING SALES IN 2022 Wednesday 2 March

Printed Books & Maps Birds, Fish, Insects & Flowers

Wednesday 6 April

Printed Books & Maps Early English and Continental Literature & Science Autographs, Historical Documents & Archives

Wednesday 11 May

Printed Books, Maps & Documents Travel & Exploration, British Topography

Wednesday 18 May

19th and 20th Century Photography, Cameras & Accessories

Thursday 19 May

Historic Aviation, Medals & Militaria including Battle of Britain Memorabilia

Wednesday 15 June

Printed Books, Maps & Documents

Thursday 16 June

Children’s & Illustrated Books, Modern First Editions

Entries are invited for the above sales: please contact one of our specialist staff for further advice

OLD MASTER PAINTINGS & DRAWINGS To commence at 10am

1* Circle of Domenico Beccafumi (1486-1551). Standing female ﬁgure, miniature pen and brown ink on circular laid paper, window-mounted, sheet size 4.3 x 4.1 cm (1 7/8 x 1 5/8 ins), framed (29.5 x 25 cm) (1)

£200 - £300

2* Attributed to Pietro Bernardi (circa 1585/90-1623). St. Francis receiving the Stigmata, black chalk heightened with white on ﬁbrous, greygreen laid paper, together with two other studies to verso of the same sheet: head of a young woman in a helmet (possibly Minerva), black and sanguine chalks heightened with white, and studies of an arm, hands gripping a spear, and a calf and foot, in black, white and sanguine chalks, sheet size 57.2 x 43 cm (22 1/2 x 16 7/8 ins) Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge. (1) £700 - £1,000

3* Attributed to Giovanni Andrea Carlone (Genoa 1639-1697). The Gathering of Manna, pen and brown ink and brown wash over red chalk, on ﬁne laid paper, a couple of repaired tears at the right sheet edge, the extreme upper right corner tip made up, the sheet backed with translucent japan paper, 21 x 29.4 cm (8 1/4 x 11 1/2 ins) The characteristic use of strong, nervy outlines in pen and brown ink, together with ﬂuidly applied wash over chalk and the use of the paper itself to represent light, is strongly reminiscent of The Adoration of the Shepherds by Carlone, in pen and brown ink and brown wash over chalk (offered at Christie’s, New York, Old Master and 19th Century Drawings, 24 January 2006, lot 20). (1) £700 - £1,000

Lot 5

4* Circle of Guido Reni (1575-1642). Head of a Youth, black, sanguine and white chalks on grey-green laid paper with a winged figure watermark, with a study of an upraised hand to verso in black and white chalks, the sheet slightly unevenly trimmed, with a few fine perforations towards the left sheet edge and a few pinholes at the lower left corner, a vertical drying fold towards the right (inherent to the paper), the upper left corner folded, further minor handling creases (generally in very good condition), sheet size 29.4 x 19.7 cm (11 1/2 x 7 3/4 ins), together with Study of a female hand, black, sanguine and white chalks on grey-green, laid paper with a winged figure watermark, the left and lower edge untrimmed, a small brown stain and three pinholes and inherent paper creasing towards the lower margin, sheet size 29.1 x 17.8 cm (11 3/8 x 7 ins) Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge. (2) £2,000 - £3,000

5* Attributed to Stefano della Bella (1610-1664). Fantasia di Animali, fine pen and brown ink on laid paper, depicting griffins guarding a martial cartouche, a hunting dog chasing a hare on the first tier; two eagles supporting a banner with a Roman trophy on the second tier; and two chained dogs, a dog eating grapes and a Roman trophy, lined with laid paper with a pen and ink border in brown and rose ink, with an indistinct watermark, sheet size 12.2 x 20.4 cm (4 3/4 x 8 ins) framed and glazed (39 x 31.3 cm)

6* Florentine School. Satyr abducting a nymph, early 17th century, sanguine crayon on ﬁne laid paper, a few unobtrusive creases, the upper left corner tip lost, a tiny split at the lower left corner, a pen and ink letter presumably verso showing through faintly recto at the lower right corner, slightly unevenly trimmed at left and bottom, hinged to the mount at the corners, sheet size 20.8 x 14.8 cm (8 1/4 x 5 7/8 ins), framed and glazed (35.5 x 28.5 cm)

Provenance: Unidentiﬁed owner (partial printed collector's mark of intertwined initials LL or LZ within a black oval, not in Lugt); Weschler's Auctioneers, Washington DC, where purchased in 1972 for $80. We are grateful to Dr Peter Fuhring of the Fondation Custodia, Frits Lugt Collection for pointing out that all the different elements of the drawing are inspired by three etchings from the series of 16 by Stefano della Bella, Ornamenti et fregi e fogliami, published in Paris shortly after 1647 (see A. de Vesme and P. Massar, Stefano della Bella, Catalogue Raisonné, New York, 1971, numbers 990, 992, and 995). The drawings are in the same direction as the etchings. (1) £400 - £600

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Provenance: Private collection, Warwickshire, England. (1)

£300 - £500

7* German School. Ornamental design for a coat of arms, 1600, pen and black ink, depicting a coat of arms flanked by swirling acanthus leaves and fruit, surmounted by two crowned helmets and breastplates, flanked by columns and allegorical female figures, scrollwork and grotesque border above, an empty cartouche below flanked by putti, dated 1600 in the image, on laid paper with a coat of arms watermark (compare Briquet 861 and 876), central vertical fold and stitchmarks, horizontal crease, and diagonal crease to upper right quadrant, a small loss at the lower sheet edge, a couple of short tears at the right sheet edge, two tiny holes in the left half of sheet, and lesser defects, sheet size 37 x 50 cm (14 1/2 x 19 5/8 ins) (1)

£200 - £300

8* Attributed to Luca Giordano (Naples 1634-1705). Women preparing fish in a kitchen, circa 1680, pen and brown ink with traces of black chalk, on firm laid paper, bearing inscriptions in pen and brown ink, 'Jordan' and 'No 73' lower left, and '360 r' lower right, a further, apparently crossed out inscription in the lower right corner, a few minor losses touched in with brown ink, sheet size 31 x 44.1 cm (12 1/4 x 17 3/8 ins), framed (50 x 65.3 cm) Provenance: Charles Robert Rudolf (1884-1974); Colnaghi, London; A.J. Mackenzie Stuart, Edinburgh; Day & Faber, London (their label, verso); Christie's, London, Old Master and British Drawings and Watercolours, 7 July 2015, lot 16. Literature: O. Ferrari and G. Scavizzi, Luca Giordano: L'opera completa, Naples, 1992, D79. Exhibited: London, Colnaghi, Exhibition of Old Master Drawings, 1967, number 21, illustrated; Edinburgh, Merchants' Hall, Italian 17th century drawings from British private collections, 1972, number 63, illustrated (Scottish Arts Council label to verso) A similar inscription to the one on the present drawing ('Jordan', 'Nº. 73' and '360 r') can be found in The Triumph of Cybele by Giordano dated to his Spanish period, circa 1697, in pen and brown ink lower right 'Jorda/N.º 72. 324Ps, 4 . . . Rs [?].' now in the Metropolitan Museum of Art, New York (inv. 63.76.4; J. Bean, 100 European Drawings in the Metropolitan Museum of Art, 1964, 38). Like the present drawing, the Metropolitan example is executed in brush and brown over black chalk. Another version of the present drawing, of women preparing fish in a kitchen with a cat stealing fish from a table, in pen and brown ink and grey-brown wash over black chalk and grey wash and measuring 32.4 x 44.8 cm. is in the British Museum (inv. 1950,1111.41; O. Ferrari and G. Scavizzi, op. cit., no. D79). (1) £4,000 - £6,000

Lot 10

9* Attributed to Bernardino India (Verona 1528-1590). Striding Angel, pen and red-brown ink, brush and brown wash on laid paper, with an inked-in borderline, laid to the mount at the edges, some foxing, 19.2 x 12.3 cm (7 5/8 x 4 3/4 ins), framed (45 x 36 cm), with Christie’s stencil to verso PV657 Provenance: With Crispian Riley-Smith (exhibition label verso). This drawing is characteristic of the draftsmanship of Bernardino India, who developed a mannerist style after Giulio Romano and Parmigianino. The dramatic chiaroscuro washes, and treatment of the facial features half in shadow and half in light, is comparable to Design for a Wall Decoration over an Arched Doorway with Grimani Arms, held at the Metropolitan Museum of Art (accession no. 1974.389), and Angels making music in the clouds: design for a lunette, at Christie’s New York, 31st January 2013, lot 38. (1) £1,500 - £2,000

10* Italian School. Sketch for an altarpiece with Madonna and Child enthroned, St John the Baptist and other ﬁgures, 17th century, pen and brown ink with traces of graphite on ﬁne laid paper, a sketch of a balustrade to verso, window mounted, the lower edge made up, otherwise in good condition, lined with translucent japan paper, 16.6 x 21.5 cm (6 1/2 x 8 1/2 ins) (1)

11* Italian School. Lion with raised paw, 1742, pen and sepia ink and wash on laid paper, with partial watermark (head of a column?), indistinctly inscribed J or T and dated 1742, together with Coastal landscape with towers, probably 18th century, black chalk and dark brown wash, on laid paper with partial ﬂeur de lys watermark, a couple of stains and perforations, a few small losses at the upper sheet edge, sheet sizes 21 x 12.5 cm (8 1/4 x 5 ins) and 12.5 x 21 cm (5 x 8 1/4 ins) respectively

£300 - £400

(2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

Lot 12

Lot 13

12* Attributed to Giovanni Lanfranco (Parma 1582-1647 Rome). Study for the Transfiguration, black chalk heightened with white on grey-green, fibrous laid paper, in very good condition, very faint striations of pen and brown ink, a few tiny ink spots towards the upper sheet edge, hinged to a sheet of laid paper with decorative frame drawn in with pen and brown ink, inscribed in pencil ‘École Italienne / XVI e scle’, sheet size 28.6 x 19 cm (11 1/4x 7 1/2 ins), framed and glazed (44.5 x 34 cm) Provenance: Private collection, Warwickshire, England. Lanfranco is known for a number of paintings of the Transfiguration of Christ (particularly ceiling frescoes in which figures are most often viewed suspended in the air), such as the version in the Certosa di San Martino in Naples, or the oil painting of this subject in the Galleria Nazionale d’Arte Antica in Rome. (1) £600 - £800

13* Attributed to Pier Francesco Mola (Coldrerio 1612–1666 Rome). Holy Family with Saint Joseph and Saint John the Baptist, pen and brown ink and wash on buff laid paper, with William Bates' collector's mark recto (Lugt 2604), a skilfully repaired tear towards the upper sheet edge, a tiny filled-in loss towards the lower sheet edge, lined with 18th century fine laid paper with crowned initials GR watermark, sheet size 19.3 x 29.6 cm (7 5/8 x 11 5/8 ins), framed and glazed (35 x 44 cm) Provenance: William Bates (1824-1884), English professor at Queen's College Birmingham, whose collection was sold at Sotheby's London, 19 January 1887 (Lugt 2604); Private collection, Warwickshire, England. (1) £700 - £1,000

14* Nixon (John, circa 1750-1818). Two Rustics at Astley's Amphitheatre, Lambeth, 1784, pen, ink and watercolour wash on laid paper, depicting a gentleman in a wig and bicorne hat leaning on a ledge, with a youth standing beside, initialled lower right and annotated by the artist 'Drawn at Astleys 1784', slightly dusty, sheet size 9.3 x 12.1 cm (3 5/8 x 4 3/4 ins), together with 3 other drawings by John Nixon, comprising head and shoulders portraits of: a portly gentleman; a woman in a mob cap inscribed 'Mrs Wilson Hostess of the Inn at Yarmouth: Isle Wight', initialled and dated 1788; and a gentleman in a wig seated beside a lady with curled hair, annotated 'Mr Precious', all mounted, matching frames, glazed (26.6 x 29.1 cm) Provenance: Nixon Collection, The French Hospital of La Providence, Rochester, Kent. John Nixon was an accomplished amateur caricaturist of Georgian life and friend of Thomas Rowlandson, who exhibited 39 works at the Royal Academy between 1781 and 1815. Astley's Ampitheatre is generally considered to be the ﬁrst British circus. Opened by Philip Astley as a riding school in 1768, displays of horsemanship to the paying public were soon augmented by acrobatic displays, clown antics, theatrical and musical acts, and dramatic battle re-enactments. (4) £300 - £400

Lot 15

Lot 16

15* Attributed to Herman Saftleven (Rotterdam 1609-1685 Utrecht). Landscape with ﬁgures and ruins on a promontory, pen, black and grey ink and grey wash on laid paper, a few light surface marks, lower left corner verso inscribed in later pencil: Saftleven, possible ownership initials to lower right corner verso: L V F (?), sheet size 130 x 175 mm (5 x 6.9 ins), hinge-mounted in 20th century cream card window mount Born into a family of artists, Herman Saftleven established his studio in Utrecht in 1632. He became an extraordinarily productive painter, draughtsman and etcher. In the early 1650’s Saftleven travelled along the Rhine and Moselle rivers, drawing a series of views of Rhine towns, from Arnhem and Cleves, to Bingen near Mainz. Once returned to his studio, he transformed these travel sketches into ﬁnished drawings and paintings. An alternative attribution might be Jan Siebrechts: a view of Besley near Chatsworth, Derbyshire (British Museum) has similarities to the present work. (1) £500 - £800

16* Attributed to Louis Rolland Trinquesse (1746-1800). Bust Portrait of a lady in proﬁle, reading, black chalk on laid paper watermarked Finde / Ibiohannoy / Dannonay /1771, some creasing and discolouration, a short tear at the left sheet edge, sheet size 37.8 x 24.5 cm (14 7/8 x 9 5/8 ins), mounted (61 x 45.5 cm) (1)

£150 - £250

17* After Anthony van Dyck (1599-1641). Madonna and Child with female saints, late 17th century, pen and brown ink on laid paper, some surface abrasion and pale dampstaining to left side, upper right area with two tears (one 7.5cm), small loss to upper edge, partially laid on thin board, sheet size 26.4 x 18.0cm (10 3/8 x 7 1/8 ins), board verso with old inscription in red crayon ‘Van Dyck (17 S Flamand)’, together with Italian School. Giardino a S:’to’ Gio’vanni’ Laterano, mid 18th century, black chalk on laid paper, numbered ‘42’ to upper left corner, verso with ink manuscript title relating to a different drawing (no.43), some pale foxing, sheet size 14.9 x 21 cm (5 7/8 x 8 1/4 ins), window mounted, copy of ink manuscript title (for no.42) on separate loose piece of paper, framed and glazed (26.5 x 32.5cm), with other miscellaneous prints and drawings, mostly 19th and 20th century, including a black chalk drawing ‘Rocks on the Isle of Wight coast’ by Thomas Monro (1759-1833), framed and glazed; two English pen & ink ﬁgure studies, one in the manner of George Romney, with grey wash and remnant of red wax seal to lower left corner; a 20th century print of Putti from Pompeii, framed and glazed, etc. (27)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

Lot 17

19* Wille (Johann Georg, 1715-1808). Cottage Farmyard with a wellhead, barrels and ladder, red chalk on ﬁne laid paper with partial watermark of an armorial surmounted by a crown, signed and dated J.G. Wille 1770 lower right, slightly unevenly trimmed at left, generally in good condition, a faint glue stain at the upper sheet edge and a short diagonal crease at the upper right corner, sheet size 18.2 x 21.7 cm (7.2 x 8.6 ins), window-mounted

18* Circle of Giorgio Vasari (1511-1574). Battle scene with pikebearers, pen, brown ink and brown wash, inscribed verso ‘Matteo Rosselli / Vasari for fresco / Pal Vecchio’ in pencil, on laid paper backed with laid paper, a few losses to the paper not affecting the main body of the subject, a central vertical crease inherent to paper production, sheet size 24.5 x 27.3 cm (9 5/8 x 10 3/4 ins), framed and glazed (41.5 x 43.5 cm)

Provenance: Shaunagh Fitzgerald Ltd., Exhibition of Old Master Drawings at Baskett & Day, London, 17th -27th November, 1987, number 22; Private Collection, Herefordshire, UK. Wille was born in Giessen in 1715, and died in Paris in 1808. He was primarily an etcher and engraver, and was commissioned to execute a series of engraved portraits of French kings by the publisher Odieuvre. Most of his drawings are landscapes, examples of which are at the British Museum (Landscape with Peasants quarrelling, accession number 1861,0209.178), and Metropolitan Museum of Art (Washerwomen in front of a Cottage, dated 1769, accession number 2006.491). (1) £200 - £300

Provenance: Private collection, Warwickshire, England. The present work may derive from Vasari’s well-known frescoes of battle scenes in the Salone dei Cinquecento (or Hall of the 500) in the Palazzo Vecchio, Florence, executed in the 1560s. (1) £300 - £500

20* Lombardy School. Still life of ﬂowers and a ruffed grouse, 17th century, oil on canvas, re-lined, old restoration, 68.5 x 89 cm (27 x 35 ins) (1)

£400 - £600

21* Attributed to Jan Griffier (active 1738-1773). Capriccio landscape with statuary, large oil on canvas of an ancient tomb within a cavernous grotto, with two Franciscan friars in discussion before a statue of Diana, centrally a stone statue of a reclining woman leaning upon a skull, with sculpted relief of smoking incense upon an altar, flanked by a tall corinthian column, a river landscape beyond with another column and a castle upon a cliff, 136 x 116.5 cm (53 1/2 x 45 7/8 ins), unframed The classical grotto with statues, sarcophagi, and often an extensive landscape beyond was first established by Dutch Italianate artists from Utrecht, such as Cornelis Poelenburg, Carel Cornelis de Hooch, and Dirck van der Lisse amongst others, and was continued into the early 18th century by Jan Griffier. We are grateful to Johnny van Haeften and Charles Beddington for their assistance in the preparation of this catalogue description. (1) £7,000 - £10,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

22* Manner of Benedetto da Maiano, 1442-1497). Madonna and Child with Saint John and cherubs, later polychrome painted plaster of paris relief in the style of Benedetto da Maiano, with integral ﬁctive frame, restored and with some areas retouched, overall size 68.5 x 46.5 cm (27 x 18.25 ins) (1)

£2,000 - £3,000

23* Circle of Pierfrancesco Mola (Coldrerio, near Lugano 1612-1666 Rome). The Rest on the Flight into Egypt, oil on canvas, framed 50.2 x 67.3 cm (19 3/4 x 26 1/2 ins) Provenance: Christie's, London, 19 March 2020, Chieveley House, Berkshire and Five Private Collections, lot 266; Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge. A recent restoration of this painting removed old, matt and discoloured varnish, and a film of surface dirt, and showed that the figures of Mary and Joseph are a later addition, probably dating from the 18th or early 19th century. When varnish was removed from the figurative group, which remained dark and ill-defined in some areas, a Cupid-like figure started to emerge, followed by a bare female leg. The painting was then xrayed at the request of the current owner (illustrated here) revealing that the composition originally showed a reclining female nude as well as a garlanded Cupid figure, holding up a drape to reveal her beauty. The painting would therefore have originally represented Venus and Cupid in a pastoral landscape. Further restoration will most likely reveal the original composition more clearly, and redress the current imbalance of light and dark. We are grateful to picture conservator Seonaid Wood for her conservation report. (1) £3,000 - £5,000

Lot 23 (detail)

Lot 23

Lot 22

OLD MASTER PRINTS 25* Aldegrever (Heinrich, circa 1502 – 1555/61). The Fight with the Nemean Lion, 1550, engraving on laid paper, a good impression, trimmed to the subject (just within at right), a few small brown stains, together with plates 3 and 10 from The Large Wedding Dancers (1538), engravings on laid paper, plate 10 a ﬁne, clear impression, trimmed on the platemark, plate 3 a good but later impression, with a thread margin at left and top, otherwise trimmed on the platemark, plus The Robbers Attacking, and The Good Samaritan putting the Traveller on his Donkey (plates 1 and 3 from The Good Samaritan series, 1554), engravings on laid paper, each trimmed to the subject, retaining the text beneath, and The Story of Lot, 1555, the set of four, on laid paper, very good to late impressions, plates 1 and 3 with one or two thread margins, the rest trimmed to the subject, plus other similar engravings on laid paper: The Annunciation, 1553, a fairly good impression, trimmed to the subject, The Temptation of Adam and Eve, 1540, a slightly later impression, trimmed on the borderline, Envy (from The Virtues and Vices), 1552, a late impression, with thread margins or trimmed on the platemark, The Rape of a Woman by a Satyr, 1553, on laid paper with a double headed Eagle and Shield watermark, a later impression, with margins, a further late impression of Hollstein 14, stained, a short tear tear upper right, a copy ‘a’ of Hollstein 32, generally in good condition, minor defects, largest sheet 15.5 x 11 cm (6 1/8 x 4 3/8 ins), smallest sheet 8.8 x 6.4 cm (3 1/2 x 1/2 ins) Provenance: The Temptation of Adam and Eve: Georg Hamminger, his stamp verso (Lugt 1159); Lot and his Daughters, plate IV: Graphische Sammlung, Munich, their stamp verso (Lugt 2397). Literature: Hollstein 3 (The Temptation of Adam and Eve), 14-17 (The Story of Lot), 38 (The Annunciation), 67 (The Rape of a Woman by a Satyr), 84 (The Fight with the Nemean Lion), 162 and 169 (The Large Wedding Dancers), 40, 42 (The Good Samaritan), 125 (Envy), and copy ‘a’ of Hollstein 32. (15) £700 - £1,000

24* After John Raphael Smith (1752-1812). Lady Elizabeth Compton, [1780 or later], pastel and chalk, depicting a half-length portrait of a young woman, her head tilted to the left, wearing a dress with large ribbon at breast, full sleeves, thin cape and pearls in her full, powdered hair, laid onto board, 61 x 46cm (24 x 18 1/8ins), hand written note on verso ‘Lady Elizabeth Compton the original pastel by J.R. Smith’, framed and glazed (71 x 56cm) The present work appears to be an early copy in pastel after the mezzotint by John Raphael Smith published in 1780, itself based on the original portrait by William Matthew Peters. Lady Elizabeth Compton (1760-1835) married Lord Augustus Henry Cavendish, the 4th Duke of Devonshire (later the Earl of Burlington), in 1782. Through her marriage she was later known as Lady Elizabeth Cavendish, Countess of Burlington. (1) £200 - £300

Lot 25 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

26* Andreani (Andrea, 1558/59-1629). The Triumphs of Caesar: Plate IX (after Andrea Mantegna), 1599, chiaroscuro woodcut on laid paper, printed in dark brown, grey and three shades of ochre, a good impression, printing with gaufrage recto and verso, with margins on three sides, generally in good condition, backed, one or two short tears at the sheet edges and a small loss at the right sheet edge, a central horizontal fold, sheet size 39 x 38 cm (15 3/8 x 15 ins), framed (65 x 62 cm) Literature: Bartsch XII.101.11[4]; See The Chiaroscuro Woodcut in Renaissance Italy, edited by Naoko Takaharake, 108. Andreani published this suite of prints to reproduce the nine canvases of the Triumphs of Caesar by Andrea Mantegna, made for the Gonzaga ducal palace in Mantua between 1484 and 1492, now residing in Hampton Court. The set, his last large-scale publication, took four years to complete and was the ﬁrst to depict a painted cycle in its entirety. According to the dedication page, Andreani worked after drawings prepared by the Mantuan painter Bernardo Malpizzi. Each of the nine scenes, including the present woodcut, were printed with four blocks; the key block for outlines and separately carved blocks to apply the different shades of colour. (1) £500 - £800

27* Andreani (Andrea, 1558/59-1629). The Triumph of Caesar: Plate IV (after Andrea Mantegna), 1599, chiaroscuro woodcut on laid paper, printed in dark brown, grey, and three shades of ochre, a good, clear impression, printing with gaufrage verso, trimmed to the borderline, generally in good condition, a small plugged hole at the left sheet corner and to the right of the central urn, a small loss at the lower sheet edge, touched in with pen and ink, a short tear at the right sheet edge, a central vertical fold mainly visible verso, a further diagonal fold, sheet size 37 x 37cm (14 1/2x 14 1/2 ins), framed (65 x 62 cm) Literature: Bartsch XII.101.11[4]; See The Chiaroscuro Woodcut in Renaissance Italy, edited by Naoko Takaharake, 108. (1) £500 - £800

Lot 28

28* Audenaerde (Robert van, 1663-1743). The Triumphs of Caesar (after Andrea Mantegna), 1692 [but later], copper engraving after Andrea Mantegna, on 9 conjoined sheets of heavy wove paper, printed in dark brown, probably late 19th or early 20th century printing, after the original series published by Domenico de Rossi in Rome in 1692, plate size 39.5 x 378 cm overall (15.5 x 148 ins), with good blank margins

29* Bagford (John, 1650-1716). Seven letters (N, O, P and Q on one sheet, X and V on another, and Z on a third sheet), after the 1464 Alphabet, probably early 18th century, woodcuts printed from seven blocks on cream laid paper, good impressions though somewhat uneven, a few minor foxmarks, generally in very good condition, largest image 218 x 172 mm, sheet size 232 x 187 mm and smaller John Bagford, a shoemaker by trade, but a collector by instinct, issued proposals in 1707 for the publication of a history of printing. These woodcuts were probably executed at around this time, by or for Bagford, and are copies of the very rare 1464 woodcut alphabet (see British Museum accession number B,10.1-23). It seems that the copies offered here were cut on seven blocks, the ﬁrst ﬁve with 4 letters each, arranged as two rows of two letters, block six with just two letters in one row (X and Y) and the seventh block with just one letter (Z). One of the woodblocks, for the letters K and I, survives in the British Museum (B, 11.1), probably from Bagford’s collection. (3) £200 - £300

A late reissue of the series of engravings by Van Audenaerde after Mantegna’s Triumphs of Caesar, at Hampton Court, ﬁrst published in 1692, here without the unnumbered frontispiece or title page bearing the title C. Iulii Caesaris Dictatoris Triumphi, the other 9 sheets numbered 1-9. (1) £200 - £300

Lot 30

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

30* Barbault (Jean, 1718-1762). Vue des restes du Château de l’Eau Marcia, & Fragments Antiques (from Les Plus Beaux Monuments de Rome Ancienne), 1761, two etchings printed on one sheet of laid paper with a double encircled fleur de lys watermark, by Domenico Montagu after Barbault, very good, atmospheric impressions, published by Bouchard and Gravier, with margins, in very good condition, a tiny brown spot at the upper right sheet corner, plate size respectively 26.2 x 26.3 cm (10 1/4 x 10 3/8 ins) and 8.8 x 16.5 cm (3 1/2 x 6 1/2 ins), sheet size 49.6 x 35.2 cm (19 1/2 x 13 7/8 ins), framed (59 x 47 cm), together with Cock (Hieronymous, circa 1510-1570). Colossaei Roi Prospectus 3 (Third View of the Roman Coliseum), circa 1550, etching on fine laid paper with a high crown watermark, published Antwerp/Rome, with narrow margins, a central vertical crease, split at the top and skilfully repaired, three corner tips lost and a further small loss in the lower margin, a few small areas of paper thinning in the margins, a short tear at the upper sheet edge and a perforation towards the right edge of subject, framed (43 x 52.5 cm), plus Bellicard (Jerome Charles, 1745-1780). Sepolcro di un Soldato, detto volgarmente di Nerone (from Vues de Rome), 1750, etching on laid paper, in very good condition, plate size 12.8 x 17.5 cm (5 1/8 x 6 7/8 ins), sheet size 18 x 22.5 cm (7 1/8 x 8 7/8 ins), framed (29 x 33 cm); and Van Laer (Pieter, 1599-circa 1642). Dedicatory Plate from Various Animals, 1636, etching on laid paper with fool’s cap watermark, the first state before the number, thread margin at top and bottom, otherwise trimmed on the platemark, in good condition, sheet 12.8 x 17.8 cm (5 x 7 ins), framed (27 x 32 cm) (4)

31* Bega (Cornelis Pietersz., circa 1631-1664), The Inn, 16311654, etching on fine laid paper, a fine, black impression of the first state (of three), printing with rich contrasts, trimmed to the subject, in good condition, sheet size 22.5 x 17.2 cm (8 7/8 x 6 3/4 ins), together with The Assembly at the Inn, mid 17th century etching on laid paper, a very good impression, with a thread margin on the right, otherwise trimmed on the platemark, in good condition, sheet size 7.7 x 6.2 cm (3 x 2 3/8 ins), plus Kobell (Ferdinand, 1740– 1799). Two men hunched over a bench, 1771, etching on laid paper, with small margins, in good condition, plate size 10.4 x 8.7 cm (4 1/8 x 3 3/8 ins), sheet size 11.5 x 9.8 cm (4 1/2 x 3 7/8 ins) Provenance: Cornelis Bega, The Assembly at the Inn inscribed and dated verso in pen and brown ink, ‘J(?)an Wusin 1844’ (not in Lugt). Literature: Hollstein 35 (Bega, The Inn) and 23 (The Assembly at the Inn). (3) £400 - £600

32* Bibiena (Giuseppe Galli, 1696-1757). Four etched plates from Architetture e Prospettive, Augsburg [1740-44], 4 etchings with engraving on laid paper by Johann Andreas Pfeffel (3) and Lorenzo Zucchi (1) from Bibiena’s Architetture e Prospettive, a few marks and minor stains to lower right corners, plate size 32 x 47 cm (12.5 x 18.5 ins) and similar, with margins, modern matching black frames, glazed (unexamined out of frames) Fowler, Architectural Collection (1961), 136. The complete work contains 50 engraved plates of theatrical scenes and related architectural inventions. (4) £300 - £400

£300 - £500

Lot 31

Lot 32

33* Bloteling (Abraham, 1640-1690). Self Portrait of Anne Killigrew, circa 1680’s, mezzotint by Bloteling after Anne Killigrew (1660-1685), a very good, rich impression of the second (final) state, printing with effective contrasts, on fine laid paper with a partially visible letters watermark, with margins, a short repaired tear and a short tear at the lower sheet edge, a nick and and the extreme corner tip lower right lost, otherwise generallly in good condition, plate size 26.1 x 18.5 cm (10 1/4 x 7 1/4 ins), sheet size 32 x 22 cm (12 1/2 x 8 5/8 ins), together with Head of a bearded beggar in profile, facing right, etching after Sir Anthony van Dyck (1599-1641), a very good, clear impression, presumably on laid paper, with a narrow margin at bottom, otherwise retaining a blank fillet of paper around the borderline, laid down on card, a small hole at the upper sheet edge, sheet size 27.2 x 20.8 cm (10 3/4 x 8 1/8 ins) Provenance: Christopher Mendez, London. Hollstein 176 (Self Portrait of Anne Killigrew). Anne Killigrew (1660– 1685) was an English poet and painter, extolled by contemporaries as ‘A Grace for beauty, and a Muse for wit.’ Killigrew’s poems were circulated in manuscript and published posthumously in 1686 after she died from smallpox at the age of just 25. (2) £200 - £300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

34* Buffagnotti (Carlo Antonio, 1660-circa 1715). Four etched plates of stage designs (including three for the spectacle entitled Endimione) after Ferdinando Galli Bibiena, circa 1699-1710, four etchings, fine, vibrant impressions with an indistinct, circular watermark, with margins (the first two plates trimmed on the platemark at left), all generally in very good condition, a few minor printer’s creases inherent to production, the first plate with a small stain in the lower margin and small wormhole with associated staining at right, the second plate with the lower right corner tip lost, plate size 24.8 x 25.2 cm (9 3/4 x 10 ins), sheet size 33 x 26.5 cm (13 x 10 3/8 ins); plate size 25.2 x 25.6 cm (10 x 10 1/8 ins), sheet size 33 x 31.3 cm (13 x 12 1/4 ins); plate size 26.2 x 26.3 cm (10 1/4 x 10 3/8 ins), sheet size 33 x 28.2 cm (13 x 11 1/8 ins); and plate size 25 x 18.3 cm (9 7/8 x 7 1/4 ins), sheet size 33 x 20.9 cm (13 x 8 1/4 ins) respectively From the series Varie opere di Prospettiua inventate da Ferdinando Galli d:o il Bibiena Bolognese Pittore..., a collection of plates documenting Ferdinando Galli Bibiena’s early activity as a designer of theatrical scenery and ephemeral architecture, assembled by Pietro Giovanni Abbati (active 1683-1745), a pupil of Ferdinando Bibiena, in collaboration with Carlo Antonio Buffagnotti, a printmaker from Bologna. First issued by Giacomo Camillo Mercati, the prints were reissued by Giacomo Pelegrino Longhi around 17171719, when the number of plates was augmented from 60 to 71 with the addition of eleven plates depicting set designs for two spectacles performed in Turin in 1699, Esione and Endimione (as here), designed by Bibiena and executed by Abbati. The plates depict Diana’s Palace with fountains and plane trees (Act I Scene I); Silvano’s shack with Love in a cage (Act III, Scene I); Diana’s Temple (Act III, Scene III) and Design for a Stage Set. (4) £400 - £600

35* Busïnck (Ludolph, circa 1590-1669). Saint Simon (from the series Christ and the Apostles), 1623-29, chiaroscuro woodcut after Georges Lallemand (circa 1575–1636), printed from four blocks, black, olive-green, and yellow ochre, a very good, rich impression on laid paper, together with Da Trento (Antonio, circa 1508-circa 1560). The Holy Family with two saints (after Parmigianino), chiaroscuro woodcut printed in black and olive-green, a very good, rich impression on laid paper, plus Zanetti (Antonio Maria, 1680-1757). The Shepherd (after Parmigianino), 1722, chiaroscuro woodcut printed from three blocks, in pink, dark blue and light blue, a very good impression on laid paper, on a paper support with painted decorative border, and ﬁve etchings with woodblock printing from the Recueil Crozat, 1729-1764: four by the Comte de Caylus and Nicolas Le Sueur, after Polidoro da Caravaggio (La Messe), Baldassare Peruzzi (A Shepherd leading a Lion), Pietro de Pietri (La Sainte Vierge accompagnée de plusieurs saints), Federico Zuccari (L’Empereur Henry IV aux pieds du Pape Gregoire VII), all very good, rich impressions on laid paper, and one by Charles Nicolas Cochin after Raphael (Hercule Gaulois, ou L’Eloquence), all etchings with tone block on laid paper, largest sheet size 45 x 22.8 cm (17 3/4 x 8 7/8 ins), smallest sheet size 17.2 x 11.5 cm (6 3/4 x 4 1/2 ins) Provenance: Busïnck: Friedrich August II, King of Saxony (1797-1854), Dresden, his stamp recto (Lugt 971); probably his posthumous sale, C.G. Boerner, Leipzig, 7-9 May 1928, presumably lot 1551 (with other prints); Caylus and Le Sueur after Polidoro da Caravaggio: Royal Arms of England stamp, verso. Literature: Hollstein 16 (Busïnck after Lallemand); Le Blanc 144, Bartsch 22 (Zanetti after Parmigianino); Le Blanc 305, Bartsch 24 (Anonymous after Parmigianino). (8) £300 - £500

36 Callot (Jacques, 1592-1635). Les Petites Misères de la Guerre, 1636, the full set of seven etchings (frontispiece by Abraham Bosse, Le Campement, L’Attaque sur la Route, La Devastation d’un Monastère, Pillage et Incendie d’un Village, La Revanche des Paysans, and L’Hôpital), frontispiece only state, the rest second (ﬁnal) states, with the plate numbers and Israel’s address, very good impressions on laid paper, printing with clarity and nuance, the title and plates 2,3 and 4 with a partial, circular watermark, with wide margins, generally in good condition, plate 2 with a couple of small losses at the left sheet edge,some foxing, occasional short creases at the sheet corners, stitch marks at the left sheet edges (inherent to production) Literature: Lieure 1333-1338 for the six plates by Callot. See also lot 40. (7)

£400 - £600

37* Callot (Jacques, 1592-1635). Combat d’Avigliano (or the Combat de Veillane), circa 1630-31, etching on ﬁne laid paper with watermark of a necklace with the Cross of Malta (Lieure 61) and countermark initials BC (similar to Lieure 59), a brilliant impression of this rare, monumental etching, printing with great contrasts and clarity, with small margins, in well preserved condition, plate size 35.2 x 52.8 cm (13 7/8 x 20 3/4 ins), sheet size 36.8 x 54 cm (14 1/2 x 21 1/4 ins) Literature: Lieure 663. (1)

£400 - £600

38* Callot (Jacques, 1592-1635). La Carrière de Nancy (also known as Rue Neuve de Nancy), circa 1630, etching on laid paper, a fine, atmospheric impression of the first state (of two), before Israël Silvestre’s address, with thread margin or trimmed on the platemark at bottom, otherwise trimmed to the borderline, laid down at the sheet edges to a paper support, a small defect at upper left corner, a small repaired area at upper centre (generally in good condition), sheet size 16.6 x 51 cm (6 1/2 x 20 ins), together with Le Parterre de Nancy (Jardin de Nancy), circa 1630, etching, a delicate impression of the second (final) state, with Israël Silvestre’s address, with wide margns, laid down at the sheet edges to a paper support, in good condition, plate size 26 x 39 cm (10 1/4 x 15 3/8 ins), sheet size 31 x 44.2 cm (12 1/8 x 17 3/8 ins) Literature: Lieure 589 and 566 respectively. (2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£400 - £600

41* Callot (Jacques, 1592-1635). Le Martyre de St. Sébastien, circa 1631-33, etching on laid paper, a ﬁne, rich impression of the ﬁrst state (of two), printing with dramatic contrasts, before Israël Silvestre’s address, trimmed to the subject, in good condition, two vertical printer’s creases (inherent to production), a very faint area of discolouration upper right, laid to the support sheet at the upper and lower sheet edges, sheet size 16.2 x 32.5 cm (6 3/8 x 12 3/4 ins)

39* Callot (Jacques, 1592-1635). Le Défilé à Pied, & Le Combat (from Le Combat à la Barrière), 1627, etchings on laid paper with watermark of a lion with a star (Lieure 39), both fine, rich impressions, Le Défilé à Pied the first state of two, with the faulty biting in the curtain at right, Le Combat only state, Le Défilé à Pied with a small margin at top, otherwise trimmed on the platemark, in good condition, a small area of minor thinning and a couple of nicks at the upper sheet edge, Le Combat with a thread margin at top, otherwise trimmed on the platemark, thinning at the upper sheet corners, the extreme right corner tip lost, sheet sizes 15.5 x 24.5 cm (6 1/8 x 9 5/8 ins) and 15.1 x 24.2 (6 x 9 1/2 ins) respectively Literature: Lieure 583 and 584. (2)

Literature: Lieure 670.

£200 - £300

42* Callot (Jacques, 1592-1635). Les Supplices, circa 1629, etching on laid paper, the sixth state (of eight), showing traces of Israël Silvestre’s effaced address, trimmed to the borderline and retaining the legend in the lower margin, in good condition, the upper left corner tip thinned and a nick at the upper right corner tip, sheet size 11.6 x 22 cm (4 1/2 x 8 5/8 ins), together with Le Feu d’Artifice sur l’Arno, & Le Marché de la Place de l’Annonciade (from Les Caprices), circa 1617-20, etchings, both very good, impressions of the first state (of two), both from the Nancy set (Lieure Series B), the former with small margins, the latter with thread margins, in good condition, laid to a support sheet at left and right, the former plate size 5.7 x 8.2 cm (2 1/4 x 3 1/4 ins), sheet size 5.5 x 8 cm (2 1/8 x 3 1/4 ins), the latter plate size 5.4 x 7.8 cm (2 1/8 x 3 ins), sheet size 5.5 x 8 cm (2 1/8 x 3 1/4 ins), and a later copy of Le Crucifiement from La Grande Passion Literature: Lieure 1402 (Les Supplices); 471 and 472 (Le Marché de la Place de l’Annonciade à Florence & Le Feu d’Artifice sur l’Arno). (4) £300 - £400

40* Callot (Jacques, 1592-1635). Les Petites Misères de la Guerre, faict par Jacques Callot. Et mise en lumière par Israel Henriet, Paris: Israel Henriet, 1636, set of seven etchings on laid paper, consisting of title by Abraham Bosse, and six etchings by Callot, the second (ﬁnal) state, with the address of Israel added, each trimmed close to plate margin, sheet size 60 x 122 mm (2.4 x 4.75 ins), mounted together on one sheet Lieure 1333-1338, ii/ii. The series of 6 plates etched by Jacques Callot around 1632, which were published shortly after his death by Israel Henriet, with added title etched by Abraham Bosse. (1) £300 - £500

43* Callot (Jacques, 1592-1635). Frontispiece, & Le Mendiant à la Jambe de Bois (from Les Gueux), circa 1623, etchings, strong, black impressions of the first states (of two), together with La Noblesse de Lorraine, 1620-23, six etchings, fine, strong impressions (Lieure 551, the first state of two, the rest only states), plus Le Bossu à la Canne, & Le Joueur de Cornemuse (from Varie Figure Gobbi), 1616-1622, very good impressions, Le Bossu second (final) state, Le Joueur de Cornemuse first state (of two), both trimmed to the subject, largest sheet 14.3 x 9.2 cm (5 5/8 x 3 5/8 ins), smallest sheet 6.6 x 7.7 cm (2 5/8 x 3 ins), together with 18th century copies of Les Gobbis (16 plates on 3 sheets, cf. Lieure 279, 407, 409, 411-414, 416, 417, 419), three further copies of Lieure 479, and two in reverse after Lieure 387 and 401 (in total 6 etched copies) Literature: Lieure 479 and 493 (Les Gueux); 549, 550, 551, 553, 554, 556 (La Noblesse de Lorraine); 409, 424 (Varie Figure Gobbi). (16) £200 - £300

44* Callot (Jacques, 1592-1635). Vue du Louvre (from Les Deux Grandes Vues de Paris), circa 1630, etching on laid paper, a good impression of the ﬁfth (ﬁnal) state, with re-touching and the grainy printing behind the highest tower of the Palais Bourbon at right, as published in L’Artiste, with wide margins, in good condition, laid down at the sheet edges to a paper support, a few pale foxmarks, plate size 16.2 x 34.2 cm (6 3/8 x 13 3/8 ins), sheet size 31 x 45.2 cm (12 1/4 x 17 3/4 ins), together with copies of Vue du Louvre and Vue du Pont Neuf by Bonnart, each entitled ‘Veuë Ancienne de Paris’, on laid paper, trimmed to the subject, laid down on paper supports, sheet size 16 x 32 cm (6 1/4 x 12 1/2 ins) or similar Literature: Lieure 667 (Vue du Louvre). (3)

£200 - £300

45* De Bry (Theodore, 1561-1623). The Triumph of Death, circa 1580-1600, engraving after Hans Sebald Beham (1500-1550), a very good impression on laid paper with an eagle watermark, with narrow to thread margins, in good condition apart from a small perforation to the right of the camel, together with three tazza designs by De Bry: Pride and Folly; A Bust Portrait of William I of Orange, and A Bust Portrait of the Duke of Alba, engravings, circa 1588, from the set of four, good impressions on laid paper, in very good condition, Pride and Folly with a tiny faint stain towards the upper edge, The Duke of Alba with a couple of printer’s creases at the upper right corner (inherent to production), plate diameter 12 cm (4 3/4 ins.), sheet sizes averaging 13.4 x 13.2 cm (5 1/8 x 5 1/8 ins) Literature: Hollstein 28 (The Triumph of Death); Hollstein 180 (Pride and Folly). Bry’s miniscule engraved frieze, The Triumph of Death, shows the large baggage trains that would have followed Landsknecht companies on their campaigns. The artist records every detail, including the soldiers’ ﬂamboyant garb, their wives and other camp followers, as well as Turkish prisoners and their camel. Three ﬁgures of Death bring up the rear, one upon a pale, haggard horse, the other two bearing scythes. (4) £300 - £500

Lot 45 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

48* Della Bella (Stefano, 1610-1664). The Procession of the Holy Sacrament, 1648, etching on laid paper, a ﬁne impression, with a thread margin at bottom, otherwise trimmed to the borderline, in good condition, sheet size 33 x 47.5 cm (13 x 18 5/8ins), sheet edges laid to the support sheet (34.5 x 49.5 cm), together with Campo Vaccino (Plate II from Paysages et Ruines de Rome), 1656, etching on laid paper, a very good impression, some thinning to edges, sheet size 14.1 x 14 cm (5 5/8 x 5 1/2 ins) plus Collignon (Francois, circa 1610-1687). Landscape with a monastery on a rocky island, & A Hunt, 2 etchings, both approximately 8.1 x 15.8 cm (3 1/4 x 6 1/4 ins) Literature: De Vesme/Massar 62.73 and 127.820 respectively. (4) £200 - £300

46* Delaune (Étienne, 1518-1595). Two Grotesques: Venus and Cupid, and Minerva, two engravings from the set of six, circa 1565, very good to good impressions of these rare prints, on laid paper, Minerva retaining a ﬁllet of blank paper outside the outer borderline, Venus retaining a ﬁllet of blank paper outside the outer borderline at bottom, otherwise trimmed slightly unevenly to the inner borderline, in good condition, Venus with a couple of areas of paper thinning, sheet size 7.3 x 5.6 cm (2 7/8 x 2 1/4 ins), and 7.1 x 5.2 cm. (2 3/4 x 2 ins) respectively Literature: Robert-Dusmesnil 417 and cf. 422-427. (2)

£200 - £300

49* Dente (Marco, active 1515-1527). Venus pulling a Thorn from her Foot, circa 1515-1527, engraving on laid paper with an Encircled Anchor watermark, a very good, black impression, retaining a ﬁllet of blank paper outside the borderline, in good condition, pin holes at the sheet corners, a pen and ink number lower left, sheet size 26.4 x 17.5 cm (10 3/8 x 6 7/8 ins), together with Raimondi (Marcantonio, circa 1480-1527). The Singers, early 16th century, engraving on laid paper, a very good impression, retaining a ﬁllet of paper outside the borderline, a small brown stain in the blank area at right, sheet size 18.8 x 11.5 cm (7 3/8 x 4 1/2 ins)

47* Della Bella (Stefano, 1610-1664). Castel Sant’Angelo, Rome, 1634, etching on laid paper, bears watermark (indistinct), a good impression, narrow margins, early ownership name in brown ink to verso ‘Gallents’ ? (possibly later 17th or early 18th century), plate size 211 x 343 mm (8.25 x 13.5 ins), sheet size 217 x 345 mm (8.5 x 13.6 ins), mounted Literature: De Vesme/Massar 818. (1)

Literature: Bartsch 321; Le Blanc II.111.18 (Marco Dente); Bartsch 468 (Marcantonio Raimondi). (2) £200 - £300

£300 - £500

50* Duck (Jacob, 1600-1667). River Landscape with Horseman, circa 1650, etching on ﬁne laid paper with a Pro Patria watermark, a very good impression, printing with contrasts and clarity, trimmed on the platemark on three sides, just within at top, in good condition, sheet size 17.7 x 23.2 cm (7 x 9 1/8 ins), together with Van Dyck (Anthony, 1599-1641). Jan de Wael (from the Iconography), circa 1626-1641, etching with engraving on laid paper, a good impression of the ﬁfth state (of six), with small margins, in good condition, plus Boel (Quirin, 1620-1668). Peasant with a fur cap drinking wine (after David Teniers), circa 1670, etching on laid paper, with narrow margins, in good condition, remnants of an old mount at the reverse sheet corners, and two others: Peasant in a high fur cap, smoking, after David Teniers (slight discolouration), and a later copy of Group of Three Trees, by Isaacks van Ruisdael (1599-1677), etching on wove paper, largest sheet size 27.3 x 19.8 cm (10 3/4 x 7 3/4 ins), smallest sheet size 12 x 10 cm. (4 3/4 x 4 ins)

Lot 51

Literature: Hollstein 8 (Jacob Duck); New Hollstein 15 (Van Dyck). (5) £200 - £300

51* Jackson (John Baptist, 1701-circa 1780). Melchisedek meeting and blessing Abraham, after the victory over the Kings, after Giovanni dal Ponte, circa 1741, chiaroscuro woodcut, printed in dark brown, light brown, pale yellow and black on laid paper, from the published volume of 24 large chiaroscuro woodcuts entitled Titiani Vecelli, Pauli Caliarii, Jacobi Robusti, et Jacobi de Ponte, Opera Selectiora... ligno coelata, et coloribus adumbrata, Venice, 1745, a good, strong impression, a few short closed tears to margins, with old paper restoration to verso, light soiling to sheet edges, inscribed in ink in an early French hand ‘Abraham rencontre Melchisedech, gravure en bois par J.B. Jackson et impm. en clairobscur, d’après P. Veronese’ to the edge of the lower blank margin, sheet image size 575 x 380 mm (22.7 x 15 ins), sheet size 635 x 445 mm (25 x 17.5 ins), framed and glazed (1)

£100 - £150

52* Kauffman (Angelika, 1741-1807). Young Man Musing, 1762, etching on laid paper with narrow margins, a ﬁne, bright impression, plate size 12.7 x 9.5 cm (5 x 3 3/4 ins), sheet size 13.5 x 10.3 cm ( 5 1/4 x 4 1/8 ins), in very good condition, a few pale scattered foxmarks in the left of subject and left margin, framed (32 x 26.5 cm) Literature: Andresen 21. (1)

£200 - £300

Lot 52

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

54* Leyden (Lucas van, 1494-1533), Ecce Homo, engraving, 1510, on laid paper, a late impression, with thread margins or trimmed on the platemark, generally in good condition, partially laid to the support sheet, a nick at the lower sheet edge, pale staining upper right, minor surface dirt, sheet 28.8 x 45.2 cm. (11 1/4 x 17 3/4 ins), together with Jan Georg van Vliet (circa 1610-1668) after Rembrandt (1606-1669), one plate from the set of ten Beggars by Rembrandt, etching, on laid paper, a very good, clear and black impression, with a partial thread margin at bottom, otherwise trimmed on the platemark; together with Françoise Vivares (1709– 1780) after Rembrandt, two etchings after Rembrandt’s Beggars, on laid paper, with narrow margins and laid to support sheets at top and bottom, sheet 9.2 x 6.8 cm (3 5/8 x 2 5/8 ins) and smaller Literature: New Hollstein 71 (Van Leyden); See Hollstein 73-82 for Van Vliet. (4) £150 - £250

53* Leoni, Ottavio Maria (Il Padovano) (1578-1630), Self Portrait as the Knight of Malta, bust-length in a Twelve Sided Frame, engraving and etching, 1625, a ﬁne, rich impression printing with clarity, though printing faintly in places on the feigned frame, on ﬁrm laid paper, trimmed to the borderline, in very good condition, minor traces of paper mounting at the right sheet edge verso, 14.2 x 11.2 cm (5 5/8 x 4 3/8 ins) together with four other portraits of artists from the same series, 1625, very good to good impressions on laid paper: Guercino (Giovanni Francesco Barbieri), 1623, with narrow margins; Cesare d’Arpino, 1621 (trimmed to the borderline) ; Christoforo Roncalli, called Pomerancio, 1623 (two impressions, one with narrow margins and one trimmed to the borderline), all in very good condition, largest sheet 14.8 x 11.7 cm (5 7/8 x 4 5/8 ins), unframed Offered at Bonham’s, London, 29 November 2011, lot 17 Literature: Bartsch, XVII. 9, 18, 23, 35 (2). (5)

55* Leyden (Lucas van, 1494-1533). Two plates from The Passion: Christ before Annas and The Flagellation, engravings, 1521, on laid paper, good, clear impressions of the ﬁrst states (of three), the former trimmed to the subject at left and right, fractionally within at top and bottom, the latter with a large, Armorial (?) watermark, trimmed to the borderline, in good condition, the left corner tip reattached, some minor paper crinkling (mainly verso) due to removal of adhesive, both with a short printer’s (?) crease at the upper sheet edge; together with Esther before Ahasuerus, engraving, 1518, a later, delicate impression of the third (ﬁnal) state, with a Shield with Basel Crozier watermark, trimmed on the borderline, in very good condition, together with The Virgin and Child in a Niche, engraving, circa 1518, New Hollstein’s later (B) impression, with thread margins or trimmed on the platemark, in good condition; and St. Luke, engraving, circa 1518, on laid paper, a clear, delicate but slightly later impression, with thread margins, in good condition; largest sheet 27.3 x 22.3 cm (10 3/4 x 8 3/4 ins), smallest sheet 11.2 x 7.6 cm (4 3/8 x 3 ins)

£200 - £300

Literature: New Hollstein 31 (Esther before Ahasuerus); 46 and 48 (Christ before Annas, & The Flagellation); 81 (The Virgin and Child in a Niche) and 102 (St. Luke). (5) £400 - £600

Lot 54

56* Master of the Die (circa 1512-1570 1532-1550). The Story of Cupid and Psyche, after Raphael, [Rome, circa 1530-60], complete set of 32 engravings on heavy laid paper, numbered 1 to 32 to lower left, each with the publisher’s name Antonio Salamanca of Rome: ‘Ant. Sal. exc.’, 8 lines of verse in Italian to lower margin of each plate, most with thread margins or trimmed to platemark, each approximately 203 x 237 mm, or slightly smaller, inlaid to 19th century large wove paper album sheets, bound into an album of half vellum over marbled boards, with later gilt lettered cloth title label to upper cover, a little rubbed, oblong folio (295 x 425 mm)

Lot 57

Bartsch 39-71. Third state, after the addition of the publisher's name, Antonio Salamanca (1478–1562). The original designs are traditionally attributed to Raphael, and were engraved by the "maestro del dado," or Master of the Die. Bartsch notes that "his quality of engraving comes very close to that of Marc Antonio Raimondi whose disciple he would appear to have been. In the suite illustrating the fable of Cupid and Psyche there are many engravings which equal in quality the works of that excellent engraver" (vol. XV, p. 182). Both Veneziano and the Master of the Die worked with Raphael designs frequently and despite the attributions sometimes to Michiel Coxie, an Italian origin seems more likely. These engravings served as models for illustrators of Apuleius throughout the sixteenth century. The Italian paraphrase accompanying the plates is taken from the translation of Apuleius' works published by Boiardo in 1516. (1) £300 - £500

57* Ostade (Adriaen Jansz. van, 1610-1685). The Cobbler, 1671, etching on laid paper with an indistinct watermark, a very good impression of the eighth state of ten (or later), after the trees to the right were altered to vines, with narrow margins, a small area of tape staining towards the upper sheet edge, together with The Singers, 1667, etching on laid paper, a very good, black impression of the fourth state (of seven), retaining a fillet of blank paper around the subject and the artist's etched signature, in good condition, plus The Barn, 1647, etching on fibrous wove paper, a good impression of the the tenth (final) state, trimmed on the platemark, in good condition, and Bust of a Laughing Peasant, etching, a late impression, trimmed on the platemark; plus two etchings in reverse after van Ostade (cf. Hollstein, Godefroy 31 and 47), largest sheet size 24.3 x 19.2 cm (9 5/8 x 7 1/2 ins), smallest sheet size 7.3 x 6 cm (6)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 58

£400 - £600

58* Ostade (Adriaen Jansz. van, 1610-1685). The Quacksalver, 1648, etching on laid paper, a fine, delicate impression of the ninth (final) state, with narrow margins, in good condition, plate 14.7 x 12.5 cm (5 3/4 x 5 ins), sheet 15.3 x 12.7 cm. (6 x 5 ins), together with The Concert, circa 1653, etching on laid paper, a good impression, presumably after the sixth state and before the tenth state with the horizontal lines below the elbow of the seated man, with a thread margin at top and bottom, retaining a blank fillet of paper outside the border line at left and right, together with The Pigkillers, circa 1652, etching on laid paper, a good impression of the eighth (final) state, trimmed on or within the platemark; together with The Smoker and the Drinker, 1650, etching on laid paper, a later impression, with margins, together with The Hunchbacked Fiddler, 1654, etching on laid paper, a later impression; and a copy in reverse of The Family by van Ostade (cf. Hollstein, Godefroy 46), largest sheet 17.5 x 15.2 cm (6 7/8 x 6 ins), smallest 10.2 x 8.2 cm (4 x 3 1/4 ins) Literature: Hollstein, Godefroy 43 (The Quacksalver); 30 (The Concert); 41 (The Pigkillers); 13 (The Smoker and the Drinker) and 44 (The Hunchbacked Fiddler). (6) £400 - £600

60* Pencz (Georg, 1500-1550). Medea and Jason (from The Greek Heroines), 1539, engraving on laid paper, a fine impression of the first state (of two), trimmed to the subject, sheet size 11.6 x 7.6 cm (4 1/2 x 3 ins), together with Solomon in Idolatry, engraving on laid paper, a later impression, trimmed to the subject, just within at bottom, together with four engravings by Hans Sebald Beham (1500-1550): St Mark, circa 1541, engraving on laid paper, a fine, rich impression, trimmed to the borderline, a tiny nick at the left sheet edge, minor spots of paper thinning, in very good condition, A Triton and a Nereid, 1523, engraving on laid paper, a very good, clear impression, trimmed to the borderline at top and right, to the subject at left, to or just within the subject at bottom, a small repaired tear upper right, Greeks and Trojans, a later impression, trimmed to the subject, a small repair to the right, and The Virgin and Child with a Parrot, a late impression, trimmed to the borderline, in very good condition, some surface dirt, a printer’s crease inherent to production, largest sheet size 11.6 x 7.6 cm (4 1/2 x 3 ins), smallest sheet size 4.4 x 3 cm (1 3/4 x 1 1/8 ins) Provenance: Georg Pencz, Medea and Jason: William Bell Scott (1811-1890), his stamp verso (Lugt 2607); Solomon in Idolatry: Friedrich Quiring (born 1886), his stamp verso (Lugt 1041b). Literature: Hollstein 15 (Medea and Jason) and 121 (Solomon in Idolatry); 89 (A Triton and a Nereid), 74 (Greeks and Romans), and 21 (The Virgin and Child with a Parrot). Hans Sebald Beham, along with his brother, Barthel, Georg Pencz, Heinrich Aldegrever, Albrecht Altdorfer, Hans Baldung, Hans Burgkmair and Jakob Binck, formed a group of engravers called the Kleinmeister, or Little Masters, working mostly in Nuremberg (they are also known as the Nürnberg Kleinmeister) in the second quarter of the 16th century. They specialised in very small, exquisitely intricate engravings, many as small as a postage stamp (hence the appellation ‘Little Masters’), whose forms and subjects were influenced by Albrecht Dürer. They drew from classical forms used by Dürer and contemporary, Mannerist Italian artists, transforming German engraving into a classical art form. (6) £500 - £700

59* Ostade (Adriaen Jansz. van, 1610-1685). The Painter at his Easel, circa 1667, etching, a fine, rich and atmospheric impression of the 9th state or later (of twelve), on fine laid paper with a Grapes watermark (Godefroy watermark 24), in very good condition apart from some discolouration, plate 23.8 x 17.3 cm. (9 3/8 x 6 3/4 ins), sheet 24.3 x 17.8 cm (9 5/8 x 7 ins); and Cornelis Visscher (16291658) after Adriaen van Ostade, The Hurdy Gurdy Player, etching and engraving, circa 1649–1658, a very good, black and evenly printed impression, presumably the fourth (final) state from Basan’s Recueil, with extra hatchings to the right of the righthand boy’s neck, with narrow margins at left and right, otherwise with a thread margin or trimmed on the platemark, in very good condition, sheet 37.8 x 32 cm (14 7/8 x 12 1/2 ins) Literature: Hollstein, Godefroy 32 and Hollstein 51 respectively. (2) £300 - £500

61* Piranesi (Giovanni Battista, 1720-1778). The Sawhorse (plate XII from Carceri d’Invenzione), 1749, etching, engraving, sulphur tint and scratching, a fine, rich impression of the fifth state (of six), on laid paper with an Auvergne watermark (Robison watermark 78, dated 18001809), the usual central, vertical drying fold, in very good condition, small, inconspicuous brown stain lower centre, with good margins, plate size 41.4 x 55.5 cm. (16 1/4 x 21 3/4 ins), sheet 52.5 x 78.5 cm (20 3/4 x 30 7/8 ins), in a fine gilded frame by Guido of Boston (77 x 91 cm) Literature: Robison 38. This work, first etched lightly in 1749, is one of sixteen plates published by Piranesi himself for the second edition, 1761-1778, which he re-worked in darker, more detailed states, more fitting to the atmosphere of dark and cavernous prisons. The first edition, 1749-1760, had been published by Giovanni Bourchard, as fourteen prints in lighter, more sketchy and airy states. This print is in the fifth state (of six), after the artist’s final round of re-work and with the addition of the letter ‘C’ in front of Piranesi’s signature, and is from the first Paris edition (1800-1809). Robison informs us that the Auvergne watermark points to an early issue of the Paris edition. (1) £2,000 - £3,000

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63* Piranesi (Giovanni Battista, 1720-1788). Ara antica sopra la quale si facevano anticamente i sagrifizi, con altre ruine all’intorno (Ancient Altar on which sacrifices were performed in Antiquity, surrounded by other ru ins), 1743 , from Prima Parte di Architetture e Prospettive inventate ed incise da Gio. Batt.a Piranesi, etching, a fine, rich impression of the second (final) state, with number and legend, published by Bouchard, Rome, 1750, on laid paper, with margins, generally in good condition, the paper folded at left and right, plate 24.5 x 34.5 cm. (9 5/8 x 13 1/2 ins), sheet 38.4 x 53.8 cm. (15 1/8 x 21 1/8 ins), framed (48 x 58 cm.), together with two impressions of Tempio antico inventato e disegnato alla maniera di quelli che si fabbricavano in onore della Dea Vesta (Imaginary ancient temple designed in the style of those built in honour of the Goddess Vesta), the first a fine impression of the first state (of two), before numbers and legend, published by the Brothers Pagliarini, Rome, 1743,with margins, some discolouration, small losses and holes at the corners and margins due to old stitching, plate 40 x 25.8 cm (15 3/4 x 10.1/8 ins), sheet 43.2 x 29.5 cm (17 1/8 x 11 5/8 ins), framed (64.5 x 49.5 cm), the second a fine impression of an intermediate state with the legend but without the number, published by Bouchard, Rome, 1750, on laid paper, with margins, in good condition, some pale discolouration, a pale stain in the left and lower margins, some surface dirt, some nicks at the right sheet edge, plate 40.4 x 26.2 cm (15 7/8 x 10 1/4 ins) sheet 53.8 x 42.5 cm. (21 1/4 x 42.5 ins), framed (64.5 x 49.5 cm)

62* Piranesi (Giovanni Battista, 1720-1778). The Grand Piazza (plate IV from Carceri d’Invenzione), 1749, from the second edition published by the artist, fourth issue, through early printings of the fifth edition, mid 1770s, etching, engraving, sulphur tint and burnishing, a fine, rich impression of the fifth state (of six), on laid paper, the usual central, vertical drying fold, with margins, the usual horizontal drying fold, in good condition, a horizontal crease in the lower margin, a few pale stains in the lower and right margins, plate 54.5 x 41.2 cm. (29 1/2 x 16 1/4 ins), sheet 75 x 52.4 cm (29 1/4 x 20 5/8 ins), in a Guido of Boston gilded frame (88 x 72 cm) Literature: Robison 31. This work, first etched in 1749, is one of sixteen plates published by Piranesi himself for the second edition, 1761-1778, which he re-worked in darker, more detailed states, more fitting to the atmosphere of dark and cavernous prisons. The first edition, 1749-1760, had been published by Giovanni Bourchard as fourteen prints in lighter, more sketchy and airy states. This print is in the fifth state (of six), after the artist's final round of re-work, but before the addition of the number in Arabic numerals in the upper right corner of later printings. (1) £1,500 - £2,500

Literature: Focillon 16, 17; Wilton-Ely 19, 36. These etchings are from Prima Parte di Architetture e Prospettive (1743). Originally published as a set of twelve, with titlepage, by Pagliarini in Rome, in 1743, and subsequently as a set of sixteen in Opere Varie by Bouchard, Rome, in 1750. (3) £500 - £700

64* Piranesi (Giovanni Battista, 1720-1778). Al Signor Odoardo Knight Cavaliere Inglese (plate 34 from Vasi, candelabri, cippi, sarcofagi, tripodi, lucerne, ed ornamenti antichi, Rome, 1778), etching, depicting a cinerary vase of large marble, a lion oppressing an ox on the top (signifying the weakness of human life grounded by the force of death), some minor spotting, 65 x 41 cm (25 5/8 x 16 1/8 ins), framed and glazed (81.5 x 57.4 cm) (1)

£200 - £300

65* Piranesi (Giovanni Battista, 1720-1778). Rovine dell’Anﬁteatro detto di Domiziano nell’Orto de’ Monaci de S. Paolo d’Albano (from Antichità di Albano e di Castel Gandolfo), 1764, etching on laid paper, a very good impression, with margins, untrimmed at the bottom, the usual central vertical fold, plate size 39.5 x 63.8 cm (15 1/2 x 25 1/8 ins), sheet size 56.5 x 79.5 cm (22 1/4 x 31 1/4 ins), together with Descrizione e Disegno dell'Emissario del Lago Albano di Gio Battista Piranesi, 1762, titlepage etching from the same work, on laid paper, a good impression, with margins, uncut at the right, a short tear in the lower margin (the left margin folded, a vertical crease and stitchmarks in the left margin inherent to production), minor discolouration, generally in good condition, plate size 42.5 x 27 cm (16 3/4 x 10 5/8 ins), sheet size 51.8 x 37 cm (20 3/8 x 14 1/2 ins), framed (67 x 49.5 cm) Literature: Wilton-Ely 571. (2)

No lot

Lot 64

Lot 65

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

67* Piranesi (Giovanni Battista, 1720-1788). Cinerary Urn ornamented with an Owl (from Vasi, Candelabri, Cippi, Sarcophagi, Tripodi, Lucerne, ed Ornamenti Antichi), 1778, etching on laid paper, with margins, deckle edge at left, in very good condition, plate size 38.7 x 25.8 cm (15 1/4 x 10 1/8 ins) sheet size 53 x 36.8 cm (20 7/8 x 14 3/8 ins), framed (59 x 49.5 cm), together with Pars Cellarum Subterranearum Capitolii, quae antiquitus dicebantur Favisse (from Il Campo Marzio dell’ Antica Roma), 1762, etching, a very good impression, with margins, slightly unevenly trimmed at left, plate size 46.6 x 28.8 cm (18 3/8 x 11 3/8 ins), sheet size 55 x 40.7 cm (21 5/8 x 16 ins), framed (70 x 52 cm) Literature: Wilton-Ely 978 and 588. (2)

£200 - £300

68* Piranesi (Giovanni Battista, 1720-1788). The Monumental Tablet (from the set of four Grotteschi), 1745, etching on ﬁbrous laid paper, a very good impression of the third state (of four), with the number 27 added in the lower right corner (published circa 1790-1835), with margins, very good condition, a central vertical crease inherent to production, supported verso, plate size 39 x 53.7 cm (15 3/8 x 21 1/8 ins), sheet size 55 x 69 cm (21 5/8 x 27 1/8 ins), ﬁne gilt frame by Guido of Boston (62 x 73 cm) Literature: Robison 24. (1)

£200 - £300

Lot 67

Lot 68

69* Piranesi (Giovanni Battista, 1720-1788). The Ponte Lucano, with the Tomb of the Plautii (from Vedute di Roma), 1763, etching, a ﬁne, richly inked impression of the ﬁrst state (of four), with the artist’s Roman address and price of ‘paoli due e mezzo’, with margins, the usual central vertical fold, a small repaired spot along the fold inconspicuously touched in with pen and black ink, plate size 44.5 x 65.7 cm (17 1/2 x 25 3/4 ins), sheet size 53.2 x 76.2 cm (20 7/8 x 30 ins), framed (71 x 89 cm) Literature: Hind 68. (1)

£400 - £600

71* Rembrandt (Harmensz. van Rijn, 1606 – 1669). Woman bathing her feet at a brook, 1658, etching and drypoint, a ﬁne impression of New Hollstein’s ﬁrst state (of two), before the scratches at upper centre, with inky plate edges, with small to narrow margins, in good condition apart from the lower left corner made up (slightly affecting the subject), a further small made-up area to the upper left corner with associated minor staining to the sheet, a few nicks to the extreme sheet edges, a couple of tiny thinned spots, remnants of previous hinging to upper corners verso, plate size 16.1 by 8.1 cm (6 1/4 by 3 1/8 ins), sheet size 16.6 by 8.7 cm (6 1/2 by 3 3/8 ins), framed (33.5 x 23.5 cm)

70* Piranesi (Giovanni Battista, 1720-1788). Veduta interna della Camera Sepocrale nella Vigna Casali a Porto S. Sebastiano (from Le Antichita Romane), 1756, etching, probably published between 1756 and 1784, a very good impression, on laid paper, with margins, minor, pale spotting and discolouration in the margins, plate size 37.8 x 50.4 cm (14 7/8 x 19 7/8 ins), sheet size 51 x 67.8 cm (20 1/8 x 26 3/4 ins), ﬁne gilt frame by Guido of Boston (61.5 x 75 cm) Literature: Wilton-Ely 413. (1)

£200 - £300

Provenance: Bibliothek der Akademie der Bildenden Künste, Vienna, with their stamp to verso (Lugt 2575); Sotheby’s London, 30 June 2021, lot 79. Literature: Bartsch, Hollstein 200; New Hollstein 309; Hind 298. (1) £3,000 - £5,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

73* Rembrandt (Harmensz. van Rijn, 1606-1669). The Strolling Musicians, 1635, etching on laid paper, a good impression of New Hollstein’s third (ﬁnal) state, printing with the plate tone characteristic of a Basan impression, with margins, plate size 14.1 x 11.8 cm (6 1/8 x 4 5/8 ins), sheet size 15.5 x 13 cm (6 1/8 x 5 1/8 ins), framed and glazed (33.2 x 28 cm) Literature: Bartsch, Hollstein 119; New Hollstein 141, iii/iii. (1)

72* Rembrandt (Harmensz. van Rijn, 1606 – 1669). Male Nude, Seated and Standing (‘Het Rolwagentje’), circa 1646, etching and drypoint on paper with a Strasbourg Lily watermark (Hinterding G. c.), a very good impression of New Hollstein’s ﬁrst state (of eight), with some slipped printing most evident in the lower left corner, with small margins, a few repaired areas towards the corners and at centre of the right sheet edge (mostly visible verso), a few further tiny repairs to sheet edges, pale mottled fox marks, a soft crease at the lower right corner, plate size 19.5 x 13 cm (7 5/8 x 5 1/8 ins), sheet size 25 x 13.8 cm (8 x 5 3/8 ins)

£300 - £500

Provenance: Private Collection, Austria; Sotheby’s London, Old Master Prints, 30 June 2021, lot 81. Literature: Bartsch, Hollstein 194; New Hollstein 233, i/viii; Hind 222. (1) £1,500 - £2,500

74* Rosa (Salvator, 1615-1673). The Tritons (Plate 6 from The Triton Group), circa 1660, etching on laid paper, a very good, vibrant impression printing with light plate tone, with margins, a few short repaired tears in the lower margin, a small thin area at the right sheet edge, generally in good condition, plate size 9.6 x 21.4 cm (3 3/4 x 8 3/8 ins), sheet size 12.8 x 24.2 cm (5 x 9 1/2 ins), framed and glazed (34.5 x 52.5 cm) Literature: Bartsch 16. (1)

£200 - £300

75* Sadeler (Aegidius, 1570-1629). The Descent from the Cross (after Tintoretto), circa 1600, engraving on two conjoined sheets of laid paper, the second state (of three), lettered ‘tintoret, pin: and G: Sadler scalp:’ to lower right corner, with publisher’s name below of Giacomo Franco, trimmed just inside the plate margin, sheet size 52.5 x 39 cm (20.75 x 50.5 ins), framed and glazed Literature: Hollstein 54, ii/iii. (1)

£200 - £300

76* Villamena (Francisco, 1566-1624). The Roman Antiquary; Johannes Altus (Johann Hoch?) standing before a view of Rome, 1623, engraving on fine laid paper, a very fine, rich and black impression, printing with great clarity and contrasts, on fine laid paper, with thread margins or trimmed on the platemark, in good condition apart from a backed tear (unobtrusive recto) extending from the lower edge to above the mountain top at right, sheet size 37.6 x 51.8 cm (14 3/4 x 20 3/8 ins) together with Allegory of Cardinal Pompeio Arrigoni (15521616), circa 1600, after Francesco Albani, engraving, a very fine impression of this rare engraving, printing with great clarity and contrasts, on fine laid paper, with narrow margins, in excellent, well preserved condiition, sheet size 31 x 46 cm (12.25 x 18.1 ins), hinge-mounted in a card window-mount Literature:Nagler 64: Kühn-Hattenhauer, p. 222. A preliminary study for the ‘Roman Antiquary’ is held at the British Museum (accession number 1860,0414.1), with a dedication, dated 1623, to Cassiano dal Pozzo, in which the subject is named as “Joannem Altum, Militem Praetorianum, romanarum antiquitatum indagatorem, monstratoremque”. He is shown standing with his back to the Piazza del Quirinale so that the palace is on his left, and the groups of the ‘Dioscuri’ to his right. Both this drawing and the engraving, which are in the same direction, are on the same scale and correspond closely except for the absence in the former of the crowd of figures and carriages in the piazza and the different arrangement of the foreground. In the engraving the colossal foot is moved to the left hand side, immediately beyond the man’s right foot, and further to the left is an antique altar lying on its side, inscribed with Villamena’s signature and the words “PHOEBO ET MUSIS.S.”. The inscription on the engraving describes Johannes Altus as one of the Swiss Guard who also acted as cicerone to the antiquities of Rome. Since the Swiss Guard is recruited solely from the German-speaking cantons of Switzerland, ‘Joannes Altus’ must be a Latinisation of a German name. It seems highly probable that he is to be identified with the Johann Hoch of Lucerne who acted as guide to Dr Kaspar Stein when he visited Rome between 1619 and 1621. The Allegory of Cardinal Pompeio Arrigoni (1552-1616) is rare; no impression has been traced at auction. (2) £200 - £300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

PORTRAITS & MINIATURES

77* Chapman (William Jones, circa 1808-after 1871). Portrait of a Gentleman, 1858, oil on canvas, showing a half-length portrait of a fair haired gentleman wearing a bowtie, waistcoat and jacket, arms together resting on the arm of a chair, few small surface marks to canvas with some loss of paint, inscribed on verso ‘Painted by W. J. Chapman 1858’, (75.5 x 63.6cm)

79* English School. Portrait miniature of a gentleman, circa 1660, oil on card, head & shoulders portrait, half-profile to right, of a gentleman, his brown hair worn long, wearing a lace jabot over a yellow waistcoat and dark coat, some small black ink flecks and minor surface flaking, indistinctly initialled lower right ‘T or J[?] W’, 65 x 55 mm (2.5 x 2.25 ins), near contemporary white metal oval pendant frame, with hound’s tooth border (some teeth missing) and spiral-crested hanging loop, housed in an 18th century red morocco oval case, lined with green silk, rubbed and bowed

William Jones Chapman (circa 1808-after 1871), a travelling portrait and sporting painter who worked mostly in Wales and the border counties. (1) £200 - £300

(1)

78* Attributed to J.H. Gillespie (1793-circa 1838). Portrait miniatures of a lady and gentleman, circa 1820, 2 head and shoulder portraits in monochrome watercolour and gouache on card, the first profile to right depicting a lady with short dark curls, wearing a high-waisted black gown with muslin neckline and frilled collar, a brooch and drop earrings, and an elaborate hat with gathers and sequins, hat highlighted with touches of silver, 71 x 63 mm (3 x 2.5 ins), the other profile to left depicting a grey-haired gentleman wearing a black gown over a black coat, and white bands, 75 x 60 mm (3 x 2.5 ins), matching cream satin-lined red morocco oval cases (90 x 75 mm), first item loose in case with loss of interior velvet rim and glass

£200 - £400

80* English School. Portrait miniature of a lady, circa 1790-1800, watercolour and bodycolour on ivory, laid down on card, halflength portrait of a lady with powdered hair, wearing a white dress and muslin ﬁchu, a blue ribbon choker, and a tied turban, 82 x 68 mm (3.25 x 2.75 ins), housed in a cream silk-lined oval red morocco case (93 x 77 mm)

Thought to be by the portrait miniature and silhouette painter J.H. Gillespie. He produced work in a number of different styles, in a range of prices, from plain silhouettes to proﬁles in watercolour, including monochrome portraits such as these which he advertised as: ‘Likenesses, with the features neatly shaded on Black grounds, in imitation of CopperPlate busts’. (2) £200 - £400

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£200 - £300

81* English School. Portrait miniature of a young lady, circa 1800, oval watercolour heightened with bodycolour on ivory, half-length portrait of a young woman with dark curls, wearing a white spotted muslin gown, a white ﬁchu held with a brooch, drop earrings, tortoiseshell combs in her hair, and gold chains about her person, 62 x 50 mm (2.5 x 2 ins), oval brass frame with hanging loop (77 x 56 mm), verso with oval engraved label bearing the words ‘Jas. Shaw, Milkman, No. 16, Beauchamp’s Street, Brook’s Market, Holborn’ within a bead and foliate wreath, housed in an olive green velvetlined brown morocco case (116 x 98 mm), with 2 hinged doors to front and stand to back, gilt tooled with border of stars, stand gilt lettered ‘A&N.C.S.L.’, rubbed and extremities a little worn (1)

83* English School. Portrait miniature of a man (M. E. Hoblyn), 1821, oil on ivory, head & shoulders length portrait miniature of a ruddy-cheeked man in black, and a white cloth hat, inscribed on verso in an early hand 'M E Hoblyn Decr. 1821', previous auction label on verso 'Henry Morton Stanley sale Furzehill Place', support bowed, 7.5 x 5.5cm (3 x 2 1/8ins), gilt moulded frame (21.5 x 20cm) Provenance: Henry Morton Stanley (1841-1904), explorer, journalist and author; Christie's, London, The African Sale including Henry Morton Stanley Collection, 24th September 2002. (1) £150 - £200

£150 - £200

84* English School. Portrait of a lady, circa 1830s, watercolour and gouache on ivory, half-length portrait of a lady with dark curls framing her face, wearing a purple gown and lace-trimmed muslin ﬁchu secured with a brooch, and a beribboned and lace-trimmed wide-brimmed bonnet, 62 x 49 mm (2.5 x 2 ins), engraved yellow metal oval frame with hanging loop (84 x 59 mm), the reverse with glazed aperture containing a lock of brown hair held by 3 faux pearls and embellished with ﬁne gold wire on opalescent glass, housed in a cream silk-lined red morocco oval case (85 x 70 mm)

82* English School. Portrait miniature of a young lady, circa 1810, watercolour and gouache on ivory, backed with thick paper, head and shoulders portrait of a young lady with fair hair tightly curled around her face, wearing a high-waisted white gown with frilled collar and trimmed with blue ribbon, and a white bonnet embellished with ostrich feather plumes, 73 x 64 mm (2.75 x 2.5 ins), glazed ebonised frame (138 x 123 mm) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£150 - £200

£300 - £500

85* Follower of Hans Holbein (1497/98–1543). Portrait of Erasmus, circa 1550, oil on linden wood panel, with an early 19th century paper label to verso, inscribed ‘Erasmus Holbein’ in brown ink, also to verso an early to mid 20th century typewritten label: ‘Erasmus by Hans Holbein (1497-1543). Portrait on panel 14 1/2 x 11. Sold by order of the Trustees of Lord North May 24th. 1933, at Wroxton Abbey, Oxon, for several centuries the home of the North family. Mr. Tipping F.A.I Oxford, when selling this picture, imparted the knowledge that the late Lord North was of the opinion that this portrait was one of Wroxton’s most valuable possessions.’, 360 x 270 mm (14.2 x 10.6 inches), old stained black wood frame, with remains of circular label to upper left corner verso, inscribed in pencil: 39 Wroxton’ Provenance: William North, 11th Baron North (1836-1932); sold by order of Lord North’s Trustees, Wroxton Abbey sale, on the premises, 24 May 1933, lot 39? Erasmus of Rotterdam (1466 – 1536) was the most famous Dutch humanist of his day. A noted theologian and classical scholar, he published new editions in Latin and Greek of the New Testament, and his sermons and satirical writings were widely disseminated. Although he was critical of the Catholic Church, he never officially joined Luther and the other reformers, preferring instead to work for change as a priest within the Church. Called the “Prince of Humanists,” Erasmus was widely admired, and portraits of him were in great demand throughout Europe. Erasmus and Holbein were close friends who become acquainted when both were living in Basel. It was there in 1523 that Holbein painted two important portraits of his friend, one of which is in the Musée du Louvre, Paris, and the other in the collection of the Earl of Radnor, Longford Castle, Salisbury. The latter portrait served as the model for subsequent images, which were produced in three different versions: a half-length view of Erasmus holding a book, either open or closed; a half-length figure with overlapping hands, exemplified by the painting from the Robert Lehman Collection; and a bust-length roundel of which the primary example is in the Kunstmuseum Basel. The Lehman Collection type, the most popular, inspired further copies, namely those from the workshop of Lucas Cranach the Elder after 1535 and others by Georg Pencz dated 1536 – 37. While in the Arundel Collection during the sixteenth century, the Lehman portrait was engraved by Lucas Vorsterman, then exiled in England, and this engraving was copied later by Andries Stock in a print dated 1628 made in The Hague. This particular image of Erasmus also served as the model for a woodcut in Sebastian Münster’s Cosmographia Universalis, the earliest German description of the world, published in Basel in 1550. (1) £7,000 - £10,000

86* Ford (William Bishop, 1832-1922). Pigeon 1880, enamel painted miniature on porcelain, inscribed to verso ‘W.B. Ford 1880’, 24 mm diameter, together with three others by the same artist, comprising another pigeon 1880 (hairline crack) and two bulls, one dated 1877 the other 1878 William Bishop Ford (1832-1922) was a specialist painter of miniature enamels, who worked in London and exhibited at the Royal Academy between 1854 and 1895. (4) £200 - £300

88* Hone (Horace, 1754/6-1825). Portrait of a lady, 1788, watercolour, heightened with bodycolour, on ivory, oval head & shoulders portrait, half-profile to left, of a lady wearing a whiteruffled blue dress, a black muslin veil over her grey ringlets, and a black choker around her neck, monogrammed and dated lower left, artist’s name in ink on backing paper in Arthur Jaffé’s hand, 59 x 46 mm (2.25 x 1.75 ins), oval gilt moulded frame with bow detail Provenance: Collection of Arthur Jaffé OBE (1880–1954), and thence by descent. International lawyer Arthur Jaffé was an eminent scholar and collector of miniature paintings. He was an authority on John Smart, and spent many years researching the miniaturist, with the intention of writing a catalogue raisonné of the artist’s works. Although he died before the task could be completed, the body of work he had produced formed the basis of Daphne Foskett’s book, John Smart. The Man and his Miniatures, published in 1964. Painter of royalty and the aristocracy, Horace was the son of the Irish artist and miniaturist Nathaniel Hone. He was taught by his father before entering the Royal Academy Schools in 1770, exhibiting his work there between 1772 and 1822. In 1782 Hone moved to Dublin where he had a successful studio, and in 1795 was appoionted miniature painter to the Prince of Wales. However, his career was badly affected by the 1800 Act of Union which resulted in many of his fashionable patrons moving to London. He himself returned to London in 1804, but thereafter struggled financially and suffered from mental instability. (1) £500 - £800

87* Ford (William Bishop, 1832-1922). Racehorse and Jockey 1888, enamel painted miniature on porcelain, inscribed to verso ‘W.B. Ford 1888’, 24 mm diameter (1)

£200 - £300

89* Humphrey (Ozias, 1742-1810). Portrait of Edward Leveson Gower, 1782, pencil, red and black chalks and charcoal on paper, inscribed and dated by the artist in pen and brown ink ‘Master Edward Leveson Gower AO:1782’ to verso (visible in window mount on the backboard), laid onto the mount, the paper incised to make an oval at top and incised to just beneath the inscription verso, discoloured under the mount, pen and ink inscription faintly visible recto, 17.8 x 15.3 cm (7 x 6 ins) where incised, full sheet size 21.2 x 15.5 cm (8 3/4 x 6 1/8 ins), framed and glazed Provenance: The artist; bequeathed by him to a member of the Longman family; collection of A.G. Fisher Esq., 25 George Street, Hanover Square, London; with Thomas Agnew & Sons Ltd. (their label stock number 10336 on reverse); collection of Arthur Jaffé OBE (1880–1954), and thence by descent. Exhibited: Agnew’s, 66th Annual Exhibition, February to March 1939, number 116. Literature: George C. Williamson, Life and Works of Ozias Humphrey, R.A., 1918, p. 240 (illustrated). According to G.C. Williamson, this work was one of a collection of drawings, mostly signed, inscribed and dated, which were given by the artist to the Longman family, and subsequently passed on to Mr A.G. Fisher of George Street, Hanover Square. Williamson also states that the work is a preparatory drawing for a painting. (1) £300 - £500

Lot 88

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

90* Indian miniatures. A collection of 9 Indian miniatures, 19th century, depicting hunting scenes and ﬁgures with drinking vessels, gouache on paper, most with calligraphy within decorative borders, a few with small damp stains, the largest 250 x 130 mm (9.75 x 5.25 ins), all mounted in one frame, frame size 665 x 990 mm (25.5 x 39 ins) (1)

£300 - £500

91* Indian School. Oval portrait miniature of Nur Jahah, late 19th/early 20th century, opaque watercolour, heightened with white bodycolour and gold, halflength portrait, half-proﬁle to right, of a Mughal Empress, 63 x 50 mm (2 1/2 x 2 ins), ﬂoral embossed ebonised frame, titled in ink on reverse, together with 2 pairs of Indian oval portrait miniatures, each pair consisting of head and shoulders portraits of a man and a woman, each portrait approximately 40 x 30mm, and slightly smaller, the pairs mounted together, matching frames, glazed (91 x 14.2 cm) (3)

£100 - £150

92* Manner of Angelica Kauffman (1741-1807). Portrait miniature of a young lady in classical dress, oval watercolour on ivory, head and shoulders portrait, half proﬁle to left, of a young woman wearing a loose white robe and matching cloth headdress worn low over her forehead, her hands crossed over by her chin, and her pensive gaze downwards, 78 x 62 mm (3 x 2.5 ins), oval yellow metal frame with hanging loop and glazed compartment for hair on verso (100 x 68 mm), contained in a red morocco oval case (rubbed) (1)

94* Miers (John, 1756-1821). Silhouette portrait of a gentleman, painted head and shoulders of a gentleman, profile portrait to the left, showing a larger gentleman in formal wear wearing a wig with ribbon wrapped around the pony tail, image size 6.5 x 4.5 cm (2 1/2 x 1 3/4 ins), sheet size 8.9 x 7 cm (3 1/2 x 2 3/4 ins), ‘J. Miers, Miniature Profile Painter, Leeds’ label to verso, framed and glazed (12 x 10 cm), together with Silhouette portrait of a gentleman, painted head and shoulders of a gentleman, profile portrait to the left, showing a gentleman with a generous nose and wispy hair, image size 5 x 3.5 cm (2 x 1 3/8 ins), sheet size 8.9 x 7 cm (3 1/2 x 2 3/4 ins), heavily rubbed J Miers label to verso, framed and glazed (12 x 10 cm), plus Silhouette portrait of a Lady, painted head and shoulders of a lady, profile portrait to the right, showing a lady with a voluminous wig styled with a bow to the nape of her neck, rubbed Miers London label to verso, image size 6 x 3.5 cm (2 3/8 x 1 3/8 ins), original ebonised frame, with acorn hanger (15.5 x 12.5 cm) and Silhouette portrait of a Lady, painted head and shoulders of a lady, profile portrait to the right, showing a Georgian lady with ornate hair decorations, image size 7 x 4.5 cm (2 3/4 x 1 3/4 ins), original ebonised frame, with acorn hanger (15.5 x 12.5 cm), ‘Hill & Co, Birm.’ stamp to verso, plus Silhouette portrait of a Lady, painted head and shoulders of a lady, profile portrait to the right, showing a lady with ornate hair and lace running down her top, broken into four pieces, image size 5 x 3 cm (2 x 1 1/4 ins), original embonised frame, back of frame has become detached, with acorn hanger (15.5 x 12.5 cm)

£200 - £400

Miers was the best known and most proliﬁc maker of this fashionable type of portrait, producing thousands of silhouettes which were considered to be excellent likenesses. It took two minutes to sit for a silhouette, the price for which ranged from 7 shillings and sixpence to one guinea. (5) £200 - £300

93* Attributed to Jacques Antoine Marie Lemoine (1751-1824). Portrait miniature of a monk, oval watercolour and gouache on ivory, half-length portrait of a bearded gentleman wearing monastic clothing, with a hood over his head, and holding a staff, the subject painted in grisaille against a blue background (latter with small loss of paint), ‘Le Moine’ written in early manuscript on verso, 5.8 x 4.6 cm (2 1/4 x 1 7/8 ins), framed (17 x 15.6 cm) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£150 - £200

95* After Jean-Baptiste François Pater (1695-1736). Venus & Cupid, 1820s/30s, watercolour heightened with bodycolour, depicting an oval pastoral landscape, with Cupid leaning over a partially-clad Venus sleeping beside a tree, and another female wearing only a pink cloak pointing to the sky with her index ﬁnger, signed ‘Pater’ lower right, 12.8 x 8.4 cm (5 x 3 1/4 ins), framed and glazed (15 x 11 cm), together with French School. Portrait of a Lady, oval gouache on ivory, depicting a regal looking lady with a frill collar around her neck, a garland of ﬂowers across her body and in her hair, notes to verso, some loss of colour to edges, 5.8 x 4.3 cm (2 1/4 x 1 3/4 ins), framed and glazed (17.6 x 15.5 cm), plus French School. Portrait of a Gypsy Lady, circular gouache on ivory, depicting the head and shoulders of a gypsy lady with a hoop earring, showing her bare shoulders, a blue sash drapped across her body, and her hair worn loosely, diameter 5.3 cm (2 1/4 ins), framed and glazed (17.6 x 15.5 cm), and two others including the head of a bearded elder and an over-painted engraved scene of the surrender of Vera Cruz (5)

96* Attributed to Andrew Plimer (1763-1837). Portrait of a young lady, miniature watercolour and bodycolour on ivory, a head and shoulders portrait, half proﬁle to left, of a young lady wearing a white muslin dress with high frilled neck, with pearls in her greypowdered curls and at her neck, 65 x 53 mm (2.5 x 2 ins), oval yellow metal frame with hanging loop set with faux seed pearls (92 x 64mm), the reverse with glazed aperture containing a lock of hair on opalescent glass, with beaded blue glass oval panel set with the initials ‘WCG’, some displacement of decoration Andrew Plimer had the good fortune to be apprenticed to miniature portraitist Richard Cosway (1742-1821) after running away from home with his brother and spending two years travelling with a group of gypsies. (1) £400 - £600

£200 - £300

97* Riviere (Mme, 19th century). Portrait miniature of Marguerite de Günzburg, 1833, watercolour and gouache on ivory, head & shoulders portrait of a woman wearing a white muslin bonnet, and a ﬂoral shawl with white frilled collar underneath, signed longitudinally to right margin ‘Mme Riviere 1833’, 9.5 x 8 cm (3 3/4 x 3 1/8 ins), ink inscriptions to verso ‘Mme Marguerite de Günzberg’ and ‘par Mad. Riviere Paris’, 9 x 7.7 cm (3 1/2 x 3 ins), framed (16.6 x 15 cm) (1)

£150 - £200

99* Attributed to John Smart (1742-1811). Lady Wigram, circa 1800, gouache and watercolour on ivory, head and shoulders portrait of a young woman wearing a high necked regency dress with a ruffled neck, and a jewelled slide in her hair, image size 7.5 x 6 cm (3 x 2 3/8 ins), identified as Lady Eleanor Wigram on verso, hand written note to verso ‘This miniature was sold at Christie’s by Canon Sir Clifford Wigram on 18 June 1974’, original ebonised frame, (15.8 x 12.6 cm), together with Silhouette Portrait of a lady, unknown artist, painted and highlighted in gilt, head & shoulders of a woman, profile to the right, showing a woman in Romantic style dress with puff sleeves and low shoulders, hair worn up with an ornate high hair comb, tight curls running down the side of her face, cut out and laid onto paper, sheet size 12.1 x 9.8 cm (4 3/4 x 3 3/4 ins), hand written note on verso ‘For my dearest little Fanny given her on the 25th June by her most affectionate friend Louisa Clarke’, (17 x 14.4 cm), framed and glazed, plus Turner (Charles, 1773-1857). ‘The Family of Sir Robert Wigram Bart.’, published London, 1826, uncoloured engraving, showing Sir Robert Wigram with his second wife Lady Wigram and his twentythree children all standing or sitting in a row, a portrait of Sir Robert Wigram deceased first wife hanging above the fireplace in the background, on the right a large urn raised on a platform sitting behind the family members, 50.5 x 92 cm (19 7/8 x 36 1/4 ins), key on verso, framed and glazed (65.4 x 102.5 cm), with a key for the portrait made for ‘Thomas Venable Scudamore, Uncle to Barbara Scudamore Mitchell, wife of Anthony James Watson’, listing the names of all the family members, and Silhouette Portraits, two painted portraits one of a gentleman and the other of a lady, toned, along with a reverse silhouette of a gentleman looking to the left

98* Attributed to N. Salway (active circa 1860). Portrait of a young gentleman, 1773, watercolour, heightened with bodycolour, on ivory, oval head & shoulders portrait of a young bewigged gentleman wearing a blue coat and a white cravat, initialled and dated lower right, 43 x 34 mm (1.75 x 1.25 ins), pendant frame with hanging loop, set with a border of semi-precious stones, paper label on verso with manuscript notes by Arthur Jaffé pertaining to Salway Provenance: Collection of Arthur Jaffé OBE (1880–1954), and thence by descent. International lawyer Arthur Jaffé was an eminent scholar and collector of miniature paintings. He was an authority on John Smart, and spent many years researching the miniaturist, with the intention of writing a catalogue raisonné of the artist’s works. Although he died before the task could be completed, the body of work he had produced formed the basis of Daphne Foskett’s book, John Smart. The Man and his Miniatures, published in 1964. (1) £300 - £400

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

His number of children is listed as twenty-one in his obituary in the Gentleman’s Magazine (1830) but as twenty-three in the recent ODNB entry by Anne Pimlott Baker. (7) £300 - £400

100* Smith (Mrs, early 19th century). Portrait miniature of Jane Elizabeth Booth née Wylde, 1837, watercolour and gouache on ivory, three-quarter length portrait of a young lady with brown hair worn in a plaited bun with curls, wearing a belted black gown with wide puffed sleeves, large drop earrings and a jewelled bangle, her right arm resting on a wooden table, a large vase of flowers to her left, and a view of the sky through an opening behind, some slight surface rubbing in a couple of places, 10.4 x 7.7 cm (4 1/8 x 3 ins), gilt moulded frame (with some loss), glazed (25 x 22 cm), verso with remains of artist’s engraved label and contemporary inscription in brown ink The artist’s label is engraved ‘Mrs Smith, Miniature Painter & Profilist.16 Strand, two doors from Buckingham Street’. The inscription below reads ‘A present from Captain Booth R.N. with dutiful Regards to his Father in Law Sir John Wylde Kt., presented on the 11th of May 1937 being the Anniversary of Sir John’s Birth - Miniature of Jane Elizabeth Daughter of Sir John Wylde, Wife of Captain Richard Boothe R.N.’ Portraits by female artists are uncommon, and we have been unable to discover any information about Mrs Smith. The sitter, Jane Elizabeth Wylde, however, appears in the annals of history for being at the centre of a scandal which grew to have implications for British colonialism. Her father, Sir John Wylde, accepted the post of judge advocate in New South Wales, Australia, in 1815, and spent the next decade there with his wife and family. By all accounts he was a vain and acquisitive man, with a superficial manner and a quick temper, who lived beyond his means and was widely disliked. In 1825 Wylde returned to England accompanied by Jane and one of his sons, and was subsequently appointed Chief Justice in the Cape Colony of South Africa. He was joined there by the rest of the family, except for his wife who insisted on remaining in NSW (and who herself became mired in scandalous gossip pertaining to incest and adultery). In 1831 rumours started to abound about the unmarried Jane being pregnant. Sir John insisted that Jane had fallen prey to a disease which manifested itself in symptoms akin to pregnancy. However, a subsequent falling out with the physician who was attending his daughter, the fact that the Chief Justice was observed looking at gynaecological books in the public library, and the fact that he and his daughter spent April to August that year residing in seclusion at a country inn, did nothing to quell the rumours, which indeed, grew to include allegations of incest between father and daughter. On their return to society, the gossip continued unabated, and by 1833, a battle concerning the story was playing out between the Governor, Sir Lowry Cole, and the Chief Justice - the two highest officials - provoking a sensation in the press as well as extreme political tension leading to the threat of rebellion against the already unpopular colonial government. Ultimately Sir John appears to have been the victor, remaining Chief Justice until 1855. Jane, whose voice was never heard in the affair, married James Richard Booth in 1834 at St George’s Cathedral, Cape Town, shortly afterwards leaving the Colony for England, and moving to Tasmania in 1843, where she disappeared from historical records altogether. (Kirsten McKenzie, Scandal in the Colonies: Syndey and Cape Town 1820-1850, 2004) (1) £300 - £500

Lot 100

101* Attributed to Francis John Wyburd (1826-1893). Girl Reading, circular oil on card, depicting a young rosy cheeked girl in a seated position looking up from the large book she holds, unsigned, diameter 10.1 cm (4 ins), circular mounted, framed and glazed (19.5 x 18.5 cm), partial inscription to verso reads ‘yburd ased at W. Lee’s Sale’ (1)

£200 - £300

Lot 101

19TH CENTURY PAINTINGS & WATERCOLOURS

102* Attributed to William Allan (1782-1850). Sketch of Augusta M. Melville, oil on wood panel, depicting a lady riding side-saddle alongside a large breed dog in the countryside, the head and shoulders of another horse and rider to the left, minor craquelure in 1 or 2 places, a few minor surface scratches, verso with early manuscript label ‘Sketch of Augusta M. Melville (by Sir William Allan P.R.S.A.) for a larger picture which, however, was never painted – Decr 20th(?) 1849’, and Rowney and Forster label, 17.3 x 22.7 cm (6 7/8 x 9 ins), framed (24.7 x 30 cm) (1)

£150 - £250

104* Burn (Thomas F., active 1861-1872). Study of a Girl on a Beach with a Basket of Fish, 1871, oil on canvas, depicting a girl standing on a beach, balancing a basket of fish on her head, one arm supporting it, the other holding a shawl, artist signature and date to lower right, two parallel indentations to right of figure without loss, small indentation below figure, 29.2 x 21.5 cm (11 1/2 x 8 1/2 ins), previous auction labels to verso, framed (44.2 x 36.5 cm) (1)

£400 - £600

103* Smith (Anker, 1759-1819). Mother and Child, pastel, depicting a woman holding a baby in her left arm, the other arm lifting a blanket, her head bowed looking towards the child, previous restoration including full length tear repair, one closed tear to upper left approximately 8 x 4cm, sheet size 74.5 x 58.5 cm (29 3/8 x 23 ins) framed and glazed (83 x 71 cm)

105* Manner of James Edward Buttersworth (1817-1894). Naval Battle by Moonlight, oil on canvas, unsigned, 47 x 62.5 cm (18 1/2 x 24 1/2 ins), framed

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £150

£300 - £500

107* Compte-Calix (Francois Claudius, 1813-1880). Leçon de géographie, oil on wood panel, champfered edges to verso, early handwritten artist’s name and title in white ink to verso, 130 x 95 mm (5.1 x 3.75 ins), period moulded gilt frame, together with another similar work after Compte-Calix, painted over a photographic base, similar size, gilt frame (2)

106* Callow (George D., circa 1858-1873). St Michael’s Mount From Penzance, oil on canvas, depicting a Cornish seascape with yachts and ﬁgures before St Michael’s Mount, signed lower left, a little dusty and a few superﬁcial marks, some minor craquelure, titled in black ink on stretcher, 40.8 x 30.5 cm (16 x 12 ins), framed (46.9 x 36.8 cm), together with: Althaus (Fritz, B., 1863-1962). English village scene, 1892, watercolour, depicting a sunlit rural landscape with rows of thatched cottages beside a lane, two women in aprons chatting at a doorway, signed and dated lower right, 11.2 x 19.1 cm (4 1/2 x 7 1/2 ins), gilt mount, framed and glazed (28.9 x 36.5 cm) (2)

£200 - £300

108* Cox (David, 1783-1859). A Stormy Riverscape, oil on wood, depiciting a boat emerging from a stormy riverscape, 35.2 x 43 cm (13 7/8 x 17 ins), gilt framed, with artists name and dates on caption to frame, previous auction stencils to verso (58.8 x 67 cm) (1)

£500 - £700

£150 - £200

109* Attributed to David Cox (1783-1859). Sunset on the Welsh Coast, oil on canvas, bearing the signature ‘David Cox’ lower right, with a handwritten label on the stretcher inscribed: ‘on the Welsh / coast / David Cox / No 140.-’, 13.5 x 23.5 cm (5 3/8 x 9 1/4 ins), gilded frame (27 x 34 cm) (1)

Lot 107

£500 - £800

111* English Naïve School. A Royal Mail coach and four in a landscape, with a gentleman throwing money to performing street children, a stately home beyond, 19th Century, oil on canvas, 31.5 x 37 cm (12 x 14 1/2 ins), ornate gilded frame (46 x 51 cm) (1)

£200 - £300

112* English Naive School. Portrait of a Longhorn cow, early 19th century, oil on canvas, indistinctly initialled lower right (possibly J.W.P.?), one spot of minor surface loss centrally, 32.5 x 44.8 cm (12 7/8 x 17 5/8 ins), framed (39.1 x 51.2 cm) (1)

£200 - £300

110* Dupré (Georges, 1807-1853). The Love Song; a gentleman playing a serenade on a mandoline to a dusky beauty in a basement kitchen; and Good Health, a chevalier drinking from a tankard in an inn, with the inn keeper and another ﬁgure smoking clay pipes and looking on, oil on panel, each signed ‘Georges Dupré’ lower right, in matching, glazed ornate gilded frames 46.2 x 35.6 cm (18 1/4 x 14 ins), 46.2 x 36.1 cm (18 1/4 x 14 1/4 ins) respectively (a pair) (2)

£600 - £800

113* Fraser (George Gordon, 1859-1895). Banks of the Ouse, circa.1880, watercolour and gouache, depicting a Summer riverscape, a ﬁgure rowing a boat along the river, sheep grazing on the bank to the left, signed lower left, mount aperture 36.8 x 53 cm (14 1/2 x 20 7/8 ins), framed (61 x 78.5 cm) (1)

Lot 111

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£600 - £800

115* Howitt (William Samuel, 1765-1822). The Boar Hunt, pen and brown ink and wash on paper (unexamined out of the frame), signed 'Howitt' lower right, mount opening 30.5 x 46 cm (12 x 18 1/8 ins), framed (41.5 x 56 cm) (1)

114* After William Powell Frith (1819-1909). Bedtime: a young mother bathing her child. oil on panel, bearing Frith’s signature lower right and the date1867, 21.6 x 28.3 cm (8.5 x 11 ins), in an ornate gilded frame

£300 - £500

Provenance: The Fine Art Society, London, August 1961 (as by W.P. Frith); Christie’s, King Street, Victorian Pictures, 2 June 1989, as by W.P. Frith (with sale number and Christie’s stencilled stock number verso). (1) £200 - £300

116* Attributed to Henri-Joseph Harpignies (18191916). Misty sunrise over the Sea, oil on canvas, bearing the signature ‘J’ (?) Harpignies’ lower left, further inscribed lower right ‘t. mr Feney (?)/ PAF(?)A’, 40 x 60 cm (15 3/4 x 23 5/8 ins), ornate gilded frame (56.5 x 74 cm) Provenance: With Alfred J. Mucklow, picture frame maker and dealer in works of art, Leicester Square, London. (1) £500 - £800

117* Icon. A Greek icon of Saint John the Apostle holding a quill and volume, probably early/mid 19th century, tempera on wood panel, chipped and rubbed to paint surface at edges, 16.7 x 11.2cm, set within a modern giltwood frame (1)

£200 - £300

118* Jankowski (Johann Wilhelm, circa 1800-1870). Panoramic View of Salzburg, 1866, oil on canvas, relined, some light discolouration, 68 x 105.5 cm (26.75 x 41.5 ins), later antique-style gilt frame Provenance: Private Collection, Gloucestershire. Typed correspondence between the current owner’s uncle and the journal Country Life relating to this work are included with the lot, dating from 5th December 1955 to 3rd February 1956. The work is erroneously attributed to ‘Nicolas Bankowsky, a modern artist of the French schools’, and the journal promises to ‘reproduce the photograph among our Collectors’ Questions’. A receipt is also present from A. Whitcome & Co Ltd. for relining and restoring the painting in August 1967. According to Heinrich Fuchs, Die Osterreichischen Maler des 19 Jahrhumderts (1972-79), Jankowski (or Jankowsky) was active in Austria and Bohemia around 1825-1861. He is known as a painter of vedute, or largescale views, including Venice, the Rhine, Danube, Prague, Austria and elsewhere. (1) £700 - £1,000

Lot 117

Lot 118

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

119* Attributed to William Adolphus Knell (1801-1875). Shipping at Dawn, oil on canvas, unsigned, relined, 28 x 42 cm (11 x 16.25 ins), ﬁne quality elaborate rococo-style gilt gesso frame Provenance: Private collection, Monmouthshire, England, thence by descent. (1) £700 - £1,000

122* Attributed to William Charles Ross (1794-1860). The Three Graces, pencil on grey paper, depicting 3 bare-footed young ladies in ﬂowing diaphanous gowns, with pencil attribution on verso, sheet size 26.8 x 18 cm (10 1/2 x 7 ins), together with 2 others attributed to the same artist: a pencil drawing on grey paper of a small child standing on her seated mother’s lap, captioned ‘Poor Mamma Poor Mamma’, top blank margin with a crease, image size 15.5 x 14.3 cm (6 1/8 x 5 5/8 ins), sheet size 23.7 x 18 cm (9 3/8 x 7 ins); and a watercolour on paper of a young lady seated drawing at an easel, slightly creased and dusty to edges, sheet size 13.3 x 12 cm (5 1/4 x 4 3/4 ins), plus 20 other watercolours and drawings, mostly British, 18th or 19th century, including a watercolour on paper of a seated young lady wearing a large hat attributed to William Henry Bunbury, with black circular ink stamp of Thomas Esmond Lowensky lower left (Lugt 2420a), 2 small pencil drawings on paper attributed to William Hoare, each of a slumbering child, a pencil and sepia watercolour on cardof a historical beheading scene, attributed to Alfred Elmore, 2 sepia watercolours on laid paper depicting scenes from ‘Tom Jones’ attributed to John Wright, and a pencil sketch on paper of a gentleman seated at a table, attributed to William Mulready

120 No lot

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£300 - £500

121* Moore (John, 1824-1908). Rural landscape (probably Suffolk) with farm buildings and windmill, oil on panel, signed lower left, 19 x 25 cm (7.5 x 10 ins), gilt gesso frame, frame size 27.5 x 33 cm (10.75 x 13 ins), Mandell’s Gallery, Norwich label to verso (1)

£200 - £300

123* Icon. Russian icon of Saint Tryphon on a horse with angelic ﬁgure to upper right corner, 19th-century, silvered and gilded riza, later wooden frame, extremities rubbed, approximately 31 x 26.2 cm (1)

Lot 122

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

125* Tucker (John Wallace, 1808-1869). Bartholomew Yard, 1833, oil on wood panel, depicting a thatched rustic dwelling with lattice windows, beside a river with a bridge, a gentleman walking across the bridge, contemporary ink inscription on verso ‘J Wallace Turner Bartholomew Yard Exeter, 1833’, 32 x 24.5 cm (12 3/4 x 9 3/4 ins) (1)

126* Attributed to John Wallace Tucker (1808-1869). Dunsford Weir on the River Teign, Devon, oil on board, depicting a hilly riverscape with a ﬁsherman on the shore in the foreground, superﬁcial craquelure, edges slightly rubbed, some minor loss at lower right corner, verso with early manuscript title and artist’s name in a later hand, 29 x 36.4 cm (11 3/8 x 14 3/8 ins)

124* Russian Icon. A travelling icon of Christ Pantocrator, mid 19th century, tempera on wood panel with silver oklad (84 - ﬁne) punchmarked and dated BC 1867, 133 x 110 mm (5 1/4 x 4 1/4 ins), contained within overlayed gilt frame and black painted wooden case with glazed hinged lid (205 x 185mm) (1)

£150 - £200

£200 - £300

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£200 - £300

127* Walters (George Stanﬁeld, 1838-1924). Seascape with yachts, 1886, oil on canvas, depicting a large yacht on a choppy sea, and other vessels on the horizon, including a steamer and a schooner, signed and dated lower left, 23 x 35.5 cm (9 x 14 ins), framed (27.5 x 40 cm) (1)

Lot 125

£100 - £150

130* Bennett (William, 1811-1871). River Till, Devon, 1855, watercolour, showing a picturesque woodland stream in Summer, signed and dated 1855 to lower right, 36.3 x 51.5 cm (14 1/4 x 20 1/4 ins), mounted, framed and glazed, (56.8 x 71 cm)

128* Wellinger (A., Austrian, late 19th century). Shipwreck after a storm, oil on canvas, signed lower left, 70.5 x 92 cm (17 3/4 x 36 1/4 ins), in a ﬁne period ornate gilded frame (100.5 x 92 cm) (1)

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£200 - £300

131* Boug d’Orschwillier (Hippolyte de, 1810-1868). The Ponte della Maddalena (also known as Devil’s Bridge), near Bagni di Lucca, circa 1830, pen, brown ink and brown wash on paper, with pencil, depicting a carter watering his horses in a river, beside the higharched stone bridge, with other ﬁgures and buildings, against a mountainous background, unsigned, verso with ink manuscript incription ‘Le pont de Madelaine [sic]/ prés des bains de Lucques’, mount aperture 19.5 x 29.6 cm (7 11/16 x 11 5/8 ins), together with another similar sepia watercolour, by the same artist, depicting a wooded country path with ﬁgures, leading to a distant church, signed lower right and dated 1830, mount aperture 18.4 x 26.3 cm (7 1/4 x 10 3/8 ins), both uniformly framed and glazed (36.2 x 44.3 cm and 37.8 x 47.7 cm respectively)

129* Attributed to Henry Bryan Ziegler (1798-1874). Cider Making, oil on canvas, depicting a heap of apples on a stone cider press, a man and a horse standing next to the arm of the cider press on the right, a boy feeding hay to the horse, and two men working in the background, craquelure to surface, a minor scuff to lower right, relined, modern pencil attribution on label to stretcher, 26.4 x 34.8 cm (10 3/8 x 13 5/8 ins), framed (36 x 44 cm) (1)

£300 - £500

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Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £400

£200 - £300

132* Brett (John, 1831-1902). Portrait of Georgina Weldon, 1866, pencil on ivory white wove paper, signed and inscribed lower right “J Brett Aug 28 / 66”, inscribed on the reverse: ‘Portrait of Mrs Weldon’ (according to gallery label verso), 24 x 19 cm (9.5 x 7.5 ins) mount aperture, framed and glazed (44 x 37 cm), with gallery label of J S Maas & Son to verso and stock number W11711

133* Brett (John, 1831-1902). Portrait of Nannie Mulock, 1863, pencil on ivory white wove paper, inscribed by the artist towards lower right “Palazzo Frescobaldi Feb 1863”, and “Nannie Mulock” to lower right corner of the sheet (possibly in another hand), sheet size 24.5 x 17 cm (9.75 x 6.75 ins), framed and glazed (43 x 34 cm), with gallery label of J S Maas & Son to verso and stock number W11292

Provenance: Private Collection, Monmouthshire. Exhibited J S Maas & Son, 15a Clifford Street, New Bond Street, London, catalogue number 61. (1) £300 - £500

Provenance: Private Collection, Monmouthshire. Brett spent the winters of 1861–62 and 1862–63 in Florence, and sent Florence from Bellosguardo (1863), and another painting to the Royal Academy exhibition in 1863, but both were rejected. It is likely that he stayed in rooms let out at the Palazzo Frescobaldi: a letter from Robert Browning to Isa Blagden dated 27 June 1861, states ‘ Miss Haworth writes to Ba [Elizabeth Barrett Browning] “will you ﬁnd out whether the Rooms in the Palazzo Frescobaldi which used to be let out to Mr and Mrs Agnew are likely to be let this winter” ‘, indicating that the Brownings may have enquired about availablity on behalf of Brett and his family. While in Florence, Brett was supported by the poet and playwright Robert Browning, who lived in the city in Casa Guidi. Two years earlier, Browning’s wife, the poet Elizabeth Barrett Browning, had died there after a long illness. The painting was also intended as homage to Robert Browning for his help and assistance during this period. Brett wrote to Browning on the 7th April 1863, thanking him for his approbation of the work, and referring to Browning’s poem Old Pictures in Florence as a source of inspiration. (1) £300 - £500

134* Brett (John, 1831-1902). Waves, watercolour heightened with bodycolour, showing a section of waves, 11.5 x 16.7 cm (4 1/2 x 6 5/8 ins), mounted, framed and glazed (22.4 x 27.5 cm), J S Maas & Son Ltd label to verso (1)

£300 - £500

136* Continental School. A pair of decorative plaques, mid 19th century, intaglio process on ivory, the engraved lines filled in with black ink, each depicting figures in a bucolic setting, the first showing 17th century musicians, including a flautist and a lute player, a lady seated between them with a musical score on her lap, a dog looking on, and a table with food to the right, inscribed in ink in an early hand on verso ‘“Le Concert Noblesse”’, the second showing an 18th century pastoral scene, with central figure holding a carafe in one hand, and raising a drinking vessel aloft in the other, whilst serenaded by 2 seated violinists to the left, 2 seated ladies conversing on the right, each approximately 9.5 x 12 cm (3 1/2 x 4 3/4 ins) A pair of finely executed plaques, perhaps originally set into a piece of furniture. (2) £200 - £400

135* Attributed to Thomas William Camm, (1839-1912). Parable of the Ten Virgins, circa 1880, design for a stained glass window, pen, brown ink and watercolour on cream paper, scale 1 1/2 inch, mount aperture 38 x 20 cm (15 x 8 ins), guilt frame glazed (51.5 x 34 cm)

137* Circle of David Cox (1783-1859). Landscape with sheep and trees, and sea in distance, watercolour on wove laid on mount board, occasional light spotting, 150 x 305 mm (6 x 12 ins), old manuscript note to mount board ‘no. 60, Seascape, David Cox. From the collection of the late J. Palethorpe Esq., Halifax, Yorks, decd. 1905. Purchased from M. J. Holroyd (son-in-law), Halifax’, framed & glazed (295 x 445 mm)

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Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £500

£150 - £200

138* Cox (David, 1783-1859). River Scene with Fisherman, watercolour, depicting an angler standing in a river in a blustery landscape, a fortiﬁed stone wall to the right (possibly Haddon Hall?), sheet size 24.9 x 35.4 cm (9 3/4 x 13 7/8 ins), verso with Christies’ stencil WY732 and label of The Fine Art Society dated April 1948, mounted, framed and glazed (49 x 58.4 cm) Provenance: Collection of Denis Gamberoni; Christie’s, London, British Art on Paper, 21st November 2007, lot 176. (1) £600 - £800

139* Cox (David, 1783-1859). Windmill, pencil and watercolour, depicting a windmill set within a rural landscape, a horse and rider ambling past, 20.8 x 35.5 cm (8 1/4 x 14 ins), verso with labels relaid from early frame: James Bourlet Frame Makers to the Queen; Ryman & Co., Ltd. (with attribution to David Cox in early manuscript); and The Graves Gallery, mounted, framed and glazed (48 x 63.5 cm) (1)

£500 - £800

140* Danby (Francis, 1793-1861). Mountain Landscape, sepia watercolour and pencil, heightened with bodycolour, depicting a cloudy mountainous landscape, a lake in the foreground, closed tear lower left 1.4 x 1.4cm, sheet size 14.8 x 21.4 cm (5 7/8 x 8 3/8 ins), together with Bristol School. Mountain Landscape, monochrome watercolour and pencil, showing an invented mountainous landscape, a lake stretching across the base of the mountains, palm trees grow in the foreground, small stain to upper left from adhesive, sheet size 13.8 x 26.5 cm (5 1/2 x 10 1/2 ins) Provenance: These two watercolours were gifted in 1977 by an unidentiﬁed gentleman to his landlord. He stated that they were from Danby’s Studio and had remained in his care since then. (2) £200 - £300

141* De Wint (Peter 1784-1849). Village Landscape, pencil and watercolour on wove paper, depicting a group of picturesque thatched cottages in a rural setting, 19.7 x 39.8 cm (7 7/8 x 15 3/4 ins), verso with Christies’ stencil WY732 and printed label of The Manning Galleries Ltd, mounted, framed and glazed (44.4 x 63 cm) Provenance: Collection of Denis Gamberoni. De Wint was born at Hanley, Stoke-on-Trent. He moved to London in 1802, and was apprenticed to John Raphael Smith, the mezzotint engraver and portrait painter. He bought his freedom from Smith in 1806, on condition that he supply eighteen oil paintings over the following two years. In 1806 he visited Lincoln for the ﬁrst time, with the painter of historical subjects William Hilton, whose sister Harriet he married in 1810. He frequently visited his wife’s home city of Lincoln, and many of his panoramic landscapes and haymaking scenes are set in Lincolnshire. (1) £700 - £1,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

142* De Wint (Peter, 1784-1849). A Derbyshire Watermill, watercolour on wove paper, with traces of scratching out, and some pencil underdrawing, depicting a thatched building on wooden stilts in a riverscape, two washerwomen crouching at the edge of the river bank, sheet size 40.6 x 57.5 cm (16 x 22 5/8 ins), verso with Christies’ stencil WY732 and manuscript label ‘identiﬁed by Hammond Smith as probably the picture exhibited at the RA in 1819 - No:418’, mounted, framed and glazed (67 x 83.5 cm) Provenance: Collection of Denis Gamberoni; Christie’s, London, British Art on Paper, 21st November 2007, lot 175. Exhibited: Possibly London, Royal Academy, 1819, number 418. A pre-industrial woollen mill, powered by water with the looms accommodated in the body of the building. During the Industrial Revolution mills of this type were superceded by those belonging to Richard Arkwright at Cromford, near Matlock, built in 1777 and painted by Joseph Wright of Derby. (1) £1,500 - £2,000

144* Donadoni (Stefano, 1844-1911). Arco di Costantino, watercolour, depicting the Arch of Constantine in Rome, signed and titled in red lower right, lightly toned, 16.3 x 26.9 cm (6 3/8 x 10 5/8 ins), mounted, framed and glazed (29.1 x 38.7 cm), together with: Ouvrié (Justin, 1806-1879). A ruined fortiﬁcation, 1835, watercolour, depicting a large building with classical features and a round tower, with ﬁgures, signed and dated lower right, 4.3 x 8.2 cm (1 5/8 x 3 1/4 ins), mounted, framed, and glazed (33.8 x 37.2 cm), and 4 other Continental views, comprising a watercolour of Florence, and 3 monochrome watercolours (Agrigento, Sicily; a view possibly of Malta attributed to François Louis Thomas Francia; and a view of ruins titled ‘Baths of Caracalla’, dated 1852), plus 3 pen & ink drawings of Siracusa, Sicily, by Salvadore Politi, one dated 1845, a panoramic pencil sketch of Naples from St. Lucia, dated 1831, a pencil drawing entitled ‘Chaine du Mont Blanc’, and a pen, ink, and watercolour panorama entitled ‘Vue de la Cascade et du Cirque de Gavarnie’ (12)

145* Downman (John 1750-1824). Portrait of a Wrexham Farmer, 1820, watercolour, depicting a ruddy-faced gentleman sitting in a chair wearing a tied orange cravat and a brown coat, signed and dated to lower right, minor foxing, sheet size 19.5 x 12.5 cm (7 5/8 x 4 7/8 ins),mount foxed, mounted, framed and glazed (35.5 x 26.5 cm), together with: Attributed to Andrew Geddes (1783-1844). Seated Man, charcoal on paper, depicting a man perched on a window sill, holding his hat in one hand, head to one side, laid onto card, Earl of Warwick ownership stamp to lower right (Lugt 2600), inscription in pencil to verso ‘D610/ Andrew Geddes ARA 1783-1844 Ex Coll the Earl of Warwick’, 13.2 x 12.4 cm (5 1/4 x 4 7/8 ins), mounted (30.4 x 25.5 cm), plus: English School, Grazing Cows, 19th century, pen and ink on wove paper, depicting a countryscape with a church and a large castle in the background, cows grazing in the ﬁelds in the foreground, toned with some soiling to margins, 1.3 cm closed tear to lower left corner, 25.1 x 43 cm (9 7/8 x 17 ins), English School, Riverscape, 19th century, pen and ink on wove, depicting a hilly riverscape, sailing boats moored and sailing in the water, stone buildings including a Martello tower in the background, some small stains, toned, 14.7 x 24.2 cm (5 3/4 ins x 9 2/4 ins), mounted (26 x 31.7 cm), English School, Country Inn, watercolour, pen and ink, depicting a country inn surrounded by rolling ﬁelds, a horse and rider resting by a trough at the front of the inn, a man outside pointing to a lady carrying a bucket, some minor marks, 16.6 x 24.4 cm (6 2/4 x 9 2/4 ins), laid onto card (27.4 x 35.4 cm)

143* Detaille (Edouard, 1848-1912). Caricatural self-portrait, pen & ink on wove paper, full-length portrait of a gentleman in mililtary costume, initialled in pencil lower right, sheet size 22 x 13 cm (8 5/8 x 5 1/8 ins), mounted, together with a pencil drawing on wove paper by Detaille, depicting a mounted officer, with the artist’s initial ink stamp lower left, and partial watermark of Laroche Joubert, a few small nicks to edges, sheet size 28.1 x 15.2 cm (11 1/8 x 6 ins), together with: Colin (Alexandre Marie, 1798-1875). Portrait of a Swiss peasant girl, pen, ink and monochrome wash on card, depicting a young lady wearing national costume, including a fan-shaped headdress, signed lower left, sheet size 13.6 x 7 cm (5 3/8 x 2 3/4 ins), mounted, Léandre (Charles, 1862-1934). Girl with a Lily, pen, ink, and monochrome wash on paper, half-length portrait, profile to right, of a young lady holding a lily flower to her nose, signed to lower margin, red ink stamp of Gustav Engelbrecht lower right (Lugt 1148), partially toned, sheet size 28 x 20 cm (11 x 7 7/8 ins), mounted, and 4 other drawings, comprising 2 by Théodore Gérard, 1 by Pierre Luc Charles Cicero, and 1 by Charles Jouas, each mounted (8)

£300 - £400

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Lot 144

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

£150 - £200

146* Elmore (Alfred W., 1815-1881). An album of original studies and drawings, 58 drawings and sketches, each mounted singly on rectos of album leaves, comprising ink and pencil drawings, watercolours, and red and black chalk drawings, including male and female nudes, landscapes, head and ﬁgure studies, genre scenes, architectural studies, sketches for large-scale works, etc., many annotated in pencil to lower margin with the artist’s name, sheet size smallest 16.7 x 7.5 cm (6 5/8 x 3 ins), largest 35.5 x 25.5 cm (14 x 10 ins), front blank with mounted printed title label annotated in pencil ‘Exhibited Royal Academy 1834-61’, latter note repeated at head of page, endpapers foxed, late 19th or early 20th century black half morocco, scuffed and some marks, upper joint with 11 cm split at foot (beginning to tear across spine), printed title label mounted on upper cover, folio Irish born Alfred Elmore was primarily a painter of historical genre scenes. He moved with his parents to London when he was 12, and entered the Royal Academy Schools in 1832. Elmore exhibited at the R.A. from 1834 until 1861, becoming an associate member of the R.A. in 1844 and a full member in 1857. He travelled in Europe between 1840 and 1844, visiting Munich, Venice, Bologna, Rome and Florence. It is thought that Elmore was brieﬂy associated with ‘The Clique’, a group of young artists following in the footsteps of William Hogarth and David Wilkie. Amongst other subjects, Elmore painted scenes from Shakespeare, works relating to the French Revolution, paintings on the theme of technological innovation as opposed to pre-industrialism, and moralistic genre paintings. Later on, by the late 1860s Elmore moved more towards the classicism of artists such as Lawrence Alma-Tadema and Edward Poynter, and dabbled also in the vogue for Orientalism. (1) £500 - £800

147* English School. Mountain lake, 19th century, watercolour with graphite, on wove paper, 18.2 x 24.1 cm (7 1/8 x 9 1/2 ins), framed and glazed Provenance: with Agnew’s (stock number 12624); Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge. (1) £70 - £100

Lot 146

148* English School. A series of eleven llustrations to Robinson Crusoe by Daniel Defoe, circa 1850’s-1860’s, eleven drawings in pen and umber ink and brown or blue-grey wash, heightened with white, on ﬁbrous blue wove paper, inscribed in pencil with extracts from the novel and page numbers to recto or verso, sheet size average 17.2 x 25 cm (6 3/4 x 9 7/8 ins), generally in very good condition, unframed Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge. (11)

£1,000 - £2,000

149* Evans (S., 19th Century). Manorbier Castle, 1861, watercolour, depicting a riverscape with Manorbier Castle in the background, cows standing in the foreground in the treelined river and on the riverbank to the left, signed and dated by the artist lower left, sheet size 44.2 x 69.5 cm (17 3/8 x 27 3/8 ins), mounted and framed (57.8 x 83 cm) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £500

150* French School. Two watercolour designs for dresses, circa 1810, ﬁne pen, ink and watercolour designs on wove paper, captioned in pencil to lower margin ‘robe de satin garnie de fourrure’ and ‘chapeau de paille blanche, robe de Marceline’, image size 15.5 x 9 cm, sheet size 21 x 14 cm, matching gilt frames, glazed (35.5 x 26.5 cm) Provenance: Private Collection; purchased from Baskett & Day, London, circa 1980s. (2) £300 - £500

151* Girardet (Jules, 1856-1946). Portrait of a woman, 1879, pencil on wove paper, head & shoulders portrait, half-proﬁle to left, of a woman with her hair in a bun, wearing a high-necked dress with shawl collar, signed and dated in pencil lower right and with place-name ‘Pont-Aven’, some faint marginal spotting and ﬁnger marks, sheet size 25.4 x 17.5 cm (10 x 7 ins) The Musée des Beaux Arts de Pont-Aven records that Jules Girardet was associated with the colony of artists established in the town of Pont-Aven during the second half of the 19th century. The museum houses the artist’s work Sous-bois à Pont-Aven, painted in 1879. (1) £200 - £300

Lot 150

153* Hassall (John, 1868-1948). Harbour Nocturne, coloured chalks, depicting the back of a stout male ﬁgure sitting on a harbour wall in the gloaming beside a lit street lamp, facing towards a beacon across the water, a small wooden boat on the water nearby, signed lower right, 35 x 35.3 cm (13 3/4 x 13 7/8 ins), gilt mount, framed and glazed (56 x 55 cm) (1)

£150 - £250

152* Goodwin (Albert, 1845-1932). The Roman Bridge, Verona & St Anastatius, 1891, watercolour and bodycolour, and traces of pencil, depicting the Ponte Pietra over the Adige River, the Verona skyline in the background, and figures fishing from one of the bridge’s piers, title lower left, monogrammed and dated 1891 lower right, 13 x 16.9 cm (5 1/8 x 6 5/8 ins), mounted, framed and glazed (35.7 x 38.6 cm), Chris Beetles’ label to verso Provenance: Collection of Denis Gamberoni. Goodwin was influneced by both Turner and the Pre-Raphaelites, becoming the pupil of Arthur Hughes, and later Ford Madox Brown. One of the last great Victorian travelling artists, in 1872 he made an intensive tour of Italy and Switzerland with John Ruskin, and subsequently travelled beyond Europe to India, the South Seas, Australia, New Zealand and the US. Like Ruskin, Goodwin responded to landscape with a religious fervour and understanding; but he went further in his interpretation, experimenting with the style of James McNeill Whistler, Ruskin’s adversary in the field of aesthetics. (1) £300 - £500

154* Heaton, Butler & Bayne (1862-1953). The Annunciation, late 19th century, pen, black ink, and watercolour, on paper laid on thick blue card, design for a tracery two-light stained glass window, depicting the angel Gabriel in the left light and the Virgin Mary in the right light, with angelic figures in the 4 trefoil lobed lights above, topped by a floral and foliate quatrefoil flanked by decorative lozenges, lettered in brown ink lower left with stock number and scale, Heaton, Butler & Bayne embossed stamp to lower margin below image, slightly dusty, especially to blank margins, and mount-stained, image size 25.7 x 11 cm (10 1/8 x 4 1/4 ins), sheet size 30.3 x 14.3 cm (12 x 5 5/8 ins), mounted, overall size of mount 39.2 x 25cm, mount titled in calligraphic black ink Although we have traced a number of stained glass windows by the renowned firm of Heaton, Butler and Bayne depicting the Annunciation, we have been unable to establish whether this particular design was ever executed. (1) £300 - £500

Lot 153

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

156* Jackson (Samuel, 1794-1869). St. Donats Castle, Glamorgan, pencil on paper, mount aperture 26.6 x 18.5 cm (10 1/2 x 7 1/4 ins), framed and glazed (45.2 x 35.7 cm), verso with label of Print Room, Belgrave Lodge [Bath], and with ink manuscript provenance label ‘Ex. Paul Oppé Collection, purchased 4/88 by T.R.K.D. from John F.C. Philips ...London’, also an envelope on verso containing typewritten letter regarding a possible date for the work of 1825, together with 3 other drawings by the same artist: Ullswater (sheet size 18.7 x 26.5 cm), Kennilworth Castle (mount aperture 15.8 x 18.8 cm), and Ross Castle, Killarney (some toning, sheet size 19.1 x 29.7 cm), all pen & ink on paper, two titled to lower right, each framed and glazed (44.2 x 53.6 cm and smaller), two with The Gallery Downstairs (London) exhibition label on verso dated 1991, one with Castle Gallery (Kenilworth) label, the latter stating provenance ‘Ex Oppé Collection - John F.C. Phillips’, plus: Ewbank (John Wilson, 1799-1847), Stranded Vessels, Morning, 1831, pencil on paper, signed and dated lower right, titled lower centre, mount aperture 13.4 x 18.2cm, framed and glazed (30 x 33 cm), labels on verso of Print Room, Belgrave Lodge [Bath], and Michael Bullivant, Winchester, with a Barbizon School style woodland landscape, c.1880s, watercolour & gouache on artist’s board, indistinctly signed P.W..., and three other pencil drawings, all framed and glazed, one with Peter Cardiff Fine Art label on verso ‘Loch Katrine, 1812, by Francis Nicholson (1753-1844)’, (foxed), another with Michael Bullivant label on verso ‘Figures on a River bank, [by] De La Voye, c.1840’, and a black chalk sketch on paper, framed, (all unexamined out of frame)

155* Herald (James Watterson, 1859-1914). Landscape with trees, pastel, depicting tall trees against a blue sky, 52.9 x 36.6 cm (20 3/4 x 14 3/8 ins), mounted, framed and glazed (76 x 58 cm) Typical of Scottish artist James Watterson Herald’s highly individual style of painting, in which he used a wet technique in the case of watercolour, and a smudged technique in the case of pastel, to evoke an atmospheric scene. Despite the best efforts of the artist’s patron, John Taylor Ewen, he struggled to achieve commercial success in his own lifetime. Ewen invited the leading ﬁgure from the Glasgow School, Edward Arthur Walton, to visit Herald’s Arbroath studio in 1904, and a report in the Dundee Evening Telegraph stated that the artist was “very highly complimented” by his fellow Scot. (1) £300 - £400

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£200 - £300

157* Le Cave (Peter, 1769-1816). Landscape with Travellers, oil on board, depicting a country landscape, two pedestrians and a horse rider travelling over a bridge, two other walkers approaching it from the left, superﬁcial crack in paint surface upper left, 17 x 23.4 cm (6 3/4 x 9 1/4 ins), framed (24.8 x 31.2 cm) (1)

£150 - £200

158* Lear (Edward, 1812-1888). Saint Moritz, Switzerland, watercolour on grey paper, depicting a panoramic landscape, with a village nestling at the foot of a range of snow-topped mountains, trees in the foreground to the left, and clouds gathering overhead, annotated in brown ink by the artist lower right ‘101.H.’, with pencilled title ‘St. Maurice’ to verso also in the artist’s hand, and additional sketches by the artist to verso of a standing man and seated woman in Swiss costume, as well as a small sketch of a panoramic landscape, 15.5 x 23.9 cm (6 1/8 x 9 3/8 ins), mounted, framed and glazed (33.4 x 41.7 cm), backboard with typed label detailing Sotheby’s provenance and printed label of The Rowley Gallery, London Provenance: Sotheby’s, July 29th, 1971. This drawing is almost certainly one of a number dating from Edward Lear’s tour of Europe in the summer of 1837. On July 10th that year the artist boarded the Antwerp packet, accompanied by his sister, Ann, who travelled with him as far as Brussels. On leaving Belgium Lear travelled through Luxembourg, Germany and Switzerland, reaching the Italian lakes by the autumn, arriving in Florence in November and Rome in December. In 2012 Christie’s sold a drawing of Sion in Switzerland by Lear, dated 17th September 1837, which, like the present work, was annotated with an ‘H’ to the lower right corner (Christie’s, London, Old Master & Early British Drawings and Watercolours, 3rd July 2012, lot 156). We are grateful to Charles Nugent, former curator of British Drawings at the Whitworth Art Gallery, Manchester, and author of Edward Lear the Landscape Artist: Tours of Ireland and the English Lakes, 1835 & 1836, for assistance with this catalogue description. (1) £1,500 - £2,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

160* Linnell (John, 1792-1882). Study of a sleeping baby, circa 1820, graphite on wove paper, signed in pen and ink ‘J Linnell’ lower right, generally in good condition, minor handling creases, old tape in places to verso, sheet size 19.5 x 24.5 cm (7 3/4 x 9 5/8 ins), framed (31.5 x 26 cm) Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge. Likely to be a study of one of Linnell’s nine children, which included Hannah, born 1818, later to become the wife of Samuel Palmer. (1) £150 - £200

159* Linnell (James Thomas, 1820-1905). Studies of a smocked farmer with a stick, black chalk and pencil, heightened with white on pale brown wove paper, vertical crease where previously folded, 29 x 45 cm (11.5 x 17.75 ins, framed and glazed, together with A collection of eight unframed drawing studies including: A portrait of a young woman, black chalk heightened with white on brown wove paper; Studies of a reaper, black chalk heightened with white on grey wove paper; Study of a male labourer and a young girl in a smock, black charcoal on olive green wove paper; A drapery study of a woman in a dress, black chalk heightened with white, entitled in pencil ‘Mrs Fuller’ lower right; A study of a smocked labourer, black chalk on olive-green wove paper; A Bonneted Peasant women harvesting, pencil on buff wove paper; A study of a young bonneted girl kneeling, pencil heightened with white on brown wove paper; and A study of a stooping, smocked boy at labour, black chalk heightened with white on brown paper, sheet size 29 x 45.5 cm (11.5 x 18 ins) and slightly smaller, all mounted Provenance: Private Collection, Herefordshire, UK; Studies of a smocked farmer with a stick: with Crispian Riley-Smith Fine Art Ltd, his label verso. (9) £200 - £300

161* Macbeth-Raeburn (Henry, 1860-1947). Oortrait of Mrs Lewis Smith, 1907, charcoal half-length oval portrait of a young lady wearing a frilled gown, chain necklaces, and a large brimmed hat embellished with bows, an enigmatic smile on her face, initialled and dated lower left, 26.4 x 20.8 cm (10 1/4 x 8 1/4 ins), mounted, framed and glazed (52.2 x 43.9 cm), old manuscript label on verso with sitter’s name and the artist’s name and address (1)

Lot 160

£150 - £200

162* Mayer (Auguste Etienne Francois, 1805-1890). Fountain at Pierre Loti Hill, 1866, gouache and watercolour, depicting a Middle-Eastern gentleman sitting on Pierre Loti Hill with a hookah pipe by a fountain under a gazebo of vines, a stunning backdrop behind him showing Eyup Sultan Mosque in the distance, signed and dated ‘66’ to lower left, sheet size 37.4 x 60.2 cm (14 3/4 x 23 3/4 ins), mounted, framed and glazed (59.5 x 82.4 cm), together with The Golden Horn, gouache and watercolour, depicting a scenic valley view possibly from Pierre Loti Hill, the Golden Horn in the distance, under a setting/rising sun, in the foreground a shepherd lying on the grass by a stream, surrounded by some of his ﬂock, signed and dated 1866 lower left, a sheet size 37.4 x 60.2 cm (14 3/4 x 23 3/4 ins), mounted, framed and glazed (59.5 x 82.4 cm) Auguste Étienne François Mayer was born in 1805 in Brest. He specialised in naval scenes, particularly battle scenes and harbours and started exhibiting his works in private and public exhibitions in 1824. He travelled extensively to Turkey, Egypt, the Netherlands and Sweden but was particularly celebrated for his painting depicting a fountain on the shores of the Bosphorus, exhibited in 1844. His celebrated works The Trafalgar Battle and The Navarine Battle is housed in the Musée de la Marine, Paris. (2) £3,000 - £5,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

163* Mecham (Captain R., 19th century). Government House, Barrackpore & Kotagherry House in the Nilgiri Hills, circa 1850, a pair of watercolours, with traces of pencil and heightened with bodycolour, the first depicting a classical building with 2 riders on the left, one a lady riding side-saddle, and on the right a gentleman standing reading, an Indian servant holding a fringed parasol over him, signed lower left ‘Mecham’ (with R. trimmed off), sheet size 22.9 x 30.3 cm (9 x 11 7/8 ins), the other depicting another classical building amongst trees, with two ladies standing in the foreground, signed lower left ‘R. Mecham’, sheet size 22.9 x 30.1 cm (9 x 11 3/4 ins), both toned, and the first with some foxing (the second with 1 fox spot), each mounted onto card, matching glazed frames (36 x 44 1/2 cm), both with contemporary manuscript labels on verso, the first with ‘Government House. Barrackpoor’, the other with ‘Kotagherry in the Neilgherry Hills - residence of the Marquess of Dalhousie & Lady Susan Ramsay in 1855. Susan G. Broun Bourke, Coalstoun 1865’, and further pencilled label above mentioning Lady Susan Ramsay and a Mademoiselle Roulet

164* Attributed to Tommaso Minardi (1787-1871). Pallas Athene; and Diana, pencil line drawings, circa 1823, both numbered with a decorative ﬂourish in pen and brown ink upper right, Diana ‘126’ and Pallas Athene ‘82(?)’, Pallas Athene further dated and inscribed in pen and brown ink at the upper reverse sheet edge ‘-18(?)20’ / Annata à Lugini’, each on ﬁne laid paper with an Encircled Fleur de Lys watermark, some minor foxing and staining towards the sheet edges, each 33 x 22.5 cm (13 x 8.75 ins), in matching mounts and glazed frames (61 x 45.5 cm)

Lady Susan Georgiana Broun Bourke (1837-1898) was the daughter of James Broun Ramsay and his wife Lady Susan Broun Ramsay, the ﬁrst Marquess and Marchioness of Dalhousie. She lived at Coulston House, Haddington, where the Brouns still live; it is arguably the oldest house in Scotland, and certainly the oldest to have been inhabited by the same family since the day it was built. Lord Dalhousie was the youngest Governor-General of India, holding the post between 1848 and 1856. During his tenure, the foundations of the modern educational system in India were established, large territories were conquered and annexed, and there was a vast expansion of the Indian road, railway, canal irrigation and telegraph services. Dalhousie was strongly opposed to the slave trade and suttee (the practice of a Hindu’s widow cremating herself on her husband’s funeral pyre). Despite, or perhaps because of, the progressive nature of many of his policies Dalhousie was blamed by many for fuelling the rebellion which led to the Indian Mutiny of 1857. A Robert Mecham with the rank of Private is recorded as being stationed in Malta with the the 44th (The East Sussex) Regiment of Foot (1851 Worldwide Army Index). We have also traced a shipping log which mentions passengers on the paddle steamer ‘Feroze’ which left for Rangoon on 15th November 1856, among them ‘The Most Noble the Governor General, Lady Susan Ramsay, Mademoiselle Roulet ... A.D.C. Capt. Mecham’ (Indian Mail ... January-December 1856, published by William H. Allen, 1856). (2) £200 - £300

Provenance: With Crispian Riley-Smith Fine Art Ltd, his labels verso; Private Collection, Herefordshire, England. It is likely that the artist produced these neoclassical line drawings to be reproduced as etchings with aquatint by Lodovico Prosseda (flourished 1823), whose neoclassical, frieze like etching with aquatint, Hector, was executed after a drawing by Minardi and dated 1823, now in the British Museum (accession number 1872,1012.4721). The stylised, linear treatment of the etching is strongly akin to the present stylised drawing. Minardi was an influential figure in the academic world of 19th century Italian art, who was appointed to the chair of drawing at the Accademia di San Luca, in 1822, a position he held until 1868. (2) £300 - £400

166* Attributed to Frederick Nash (1882-1856). Glastonbury Priory, sepia watercolour on card, depicting part of an ancient ruined building, annotated in pencil on the verso with the title in early manuscript, repeated in a later hand, with additional attribution and provenance (‘Ex-collection Matthew Prior’), tip of lower right corner chipped away, sheet size 36 x 25.8 cm (14 1/4 x 10 1/4 ins), mounted (56.2 x 45 cm), together with 12 other British topographical watercolours and drawings, including a watercolour attributed to Dr Thomas Monro (1759-1833), entitled ‘Farmyard barns and cart amongst trees’, mounted, framed and glazed, a watercolour on paper of a village scene, circa 1820, depicting dwellings either side of a wide lane, with ﬁgures, including 3 young ladies each wearing a white muslin dress tied with a blue sash, conversing with a couple in a horse-drawn vehicle, 2 pencil landscape drawings on blue paper, one attributed to Sir George Beaumont and with printed label ‘Beau 219’ to mount, the other titled ‘ At Tunbridge Wells 1816’ and attributed to Agostino Aglio, a sepia watercolour on card of the gatehouse at St Mary’s Abbey, York, attributed to Thomas Miles Richardson (1784-1848), mounted, and 3 others attributed to the same artist: a pencil drawing on paper of a ﬁgure in a rocky valley by a small bridge against mountains; a pencil sketch with watercolour wash on grey paper of a rustic dwelling; and a pencil sketch on pink paper of several dwellings, each mounted

165* Naive School. Weobley Church and Church Lane, by John Jones, circa 1900, watercolour on paper, some light discolouration to sky area, a few faint scratches, inner frame aperture 38.2 x 54.4 cm (15 x 21 3/8 ins), framed and glazed (49.5 x 65.7 cm), verso with ink manuscript title label, giving date and stating ‘Painted by John Jones from his landing window opp. Red Lion Stables’, (unexamined out of frame) (1)

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£200 - £300

167* Attributed to John Opie (1761-1807). Henry Bowles as Hamlet, watercolour and pencil, showing a half-portrait of a gentleman, his arms crossed in front of his chest, looking to the left, wearing a rufﬂe collar shirt and black doublet, a thin cream sash edged with brown around his neck, 23 x 18.2 cm (9 x 7 1/8 ins), written in pencil on verso ‘Mr Bowles in the Character of Hamlet’, John Opie travelled to Norfolk after being commissioned by Thomas Coke at Holkham Hall. In May 1798 he married Amelia Alderson who he had met at a party in Norwich. Henry Bowles was born in Devon in 1773. His father was a manager of a company of comedians and gave his son a classical education. In 1800 Bowles joined the Norwich Theatre Company and for ten years he played tragedy and comedy to much acclaim. He became an actor/manager around 1808. In Feb 1806 the Monthly Mirror writes of Mr Bowles playing Richard, Macbeth, Hamlet and Shylock. (1) £200 - £300

Lot 166

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

168* Paoletti (Bartolome, 1757-1834, & Pietro, 1801-1847). A collection of 52 plaster cameos (or intaglios), presented in a leather-bound double-sided faux book box, Rome, circa 1820, 52 white plaster intaglios, or impronte (miniature impressions in relief of ancient gems, cameos, coins and medals, as well as modern sculptures and portraits), each bordered with pale yellow paper (with manuscript numbers added in ink), and edged in gilt, generally between 2 and 5 cm in diameter, (but some between 6 and 9 cm), carefully arranged and mounted in recessed doublesided book-boxes, lined with dark blue paper, manuscript list of contents in brown ink to front and rear pastedowns of each volume, giving the subject, artist or location, with the address of the manufacturer added at foot of front pastedown 'Si fanno in Roma da Bartomomeo Paoletti, e Pietro Figlio, dimoranti di Studio in Piazza di Spagna numo. 49', marbled paper outer edges, original brown half calf over marbled paper boards, spines gilt, and lettered PAOLETTI, 3, and 'Uomini Illustri, Villa Albani, Museo di Firenze', rubbed and scuffed with a little wear to extremities, 8vo (24.5 x 15.5cm)

Lot 169

A collection of early 19th century plaster intaglios, known in Italian as 'impronte', manufactured by the Paoletti family, which became highly popular amongst aristocratic and fashionable travellers on the Grand Tour during the early part of the 19th century, especially from England. The Paolettis numbered amongst their clients Catherine the Great of Russia, Ferdinand III, Grand Duke of Tuscany, and Lord Elgin, and are listed in Heinrich Keller's contemporary directory of artists and craftsmen working in Rome in 1824 (Elenco di tutti i pittori, scultori, architetti miniatori...di Roma) at the same address as given in the present examples (page 70). Designed to form a kind of miniature museum of the history of art and classical mythology, this collection covers the collections of three museums in Rome: Uomini Illustri nel Museo Capitolino, Villa Albani, and the Museo de Firenze. Individual subjects include: Dante, Ariosto, Tasso, Petrarch, Correggio, Michelangelo, Galileo, Leonardo, Palladio, Titian, Poussin, Angelica Kauffmann, Winkelman; from the Villa Albani: Bacchante, Antinous, Agrippina, Aesop and Cupid; and from the Museo di Firenze: Venus, Minerva, Three Graces, Medici Venus, Raphael's Madonna della Sedia, Titian's Venus, Hercules defeating the Centaur, Mercury by Giambologna, Machiavelli, Niobe, and her four daughters. (1) £500 - £800

170* Pils (Isidore, 1813-1875). Rifleman with a Bugle, watercolour and pencil, showing a military man standing resting his left arm on his rifle and holding a bugle to his right hip, signed lower left, 25.1 x 19 cm (9 7/8 x 7 1/2 ins), mounted (35.6 x 28.7 cm), together with: Beaurepaire (Alfred Quesnay de, 1830-1897). ‘Fraternite AngloFrancaise’, watercolour and pencil with bodycolour, depicting an English soldier supporting a French soldier walking along a rough path, military figures on horses and a signpost labelled ‘Route De Kamiech’ give indicators of their position, verso with hand written label relaid from early frame, 17 x 26.7 cm (6 5/8 x 10 1/2 ins), mounted, framed and glazed (29.8 x 39.9 cm)

169* Piloty (Karl Theodor von, 1826-1886). Wallenstein's Entry into Eger, 1870, drawing in graphite, signed and dated lower right 'Piloty. 1870', on thick (wove ?) paper, laid to the paper support at the sheet corners, 18.7 x 15.2 cm (7 3/8 x 6 ins), pale spotting at the sheet corners (1)

(2)

£200 - £300

171* Pissarro (Camille, 1830-1903). Drawing of a putto corbel, pencil on wove paper, laid down on thin card and corners rounded, depicting a carved wood corbel in the shape of a putto holding an urn on its head, artist’s initial ink stamp lower right, upper blank margin with small piece missing and 1.5 cm closed tear, some light marginal staining (mostly to right-hand edge), sheet size 12.4 x 10 cm (4 7/8 x 4 ins) Lugt 613e (noting that Camille Pissarro used this ink stamp only on works executed by himself, never on works by other artists in his collection). (1) £500 - £800

172* Pyne (William Henry, 1769-1843). The Lawyer, watercolour and pen, depicting a gentleman in a tailcoat looking down, his hands in his pockets and his shoulders slumped, some small foxing marks, sheet size 9.2 x 5.7 cm (3 5/8 x 2 1/4 ins), tipped onto blue paper, mounted, framed and glazed (36.2 x 28.5 cm) title and artist written on verso in pen, together with: Stanfield (William Clarkson, 1793-1867). Scenes in the Nile Valley, pencil and watercolour heightened with bodycolour, depicting a river scene with a boat sailing on the Nile with buildings in the background, 4.5 x 20.8 cm (1 3/4 x 8 1/8 ins), mounted, framed and glazed, 19.5 x 35cm: Leitch (William Leighton, 1804-1883). On the Clyde near Glasgow, brown ink, depicting a river scene with fishermen attending to their boats, a wooden pontoon juts into the water and a small group of people are sitting on the bank of the river, ink monogrammed to lower right (Lugt 1743), browned, 10.2 x 15.3 cm (4 x 6 ins), mounted, framed and glazed (25.6 x 31.6 cm), Fry Gallery label to verso, Ackermann (Gerald, 1872-1960). Wells, Sept 28th 1935, pencil, depicting a landscape including Wells Cathedral, some minor foxing along with two minor water marks and an ink spot in the upper margin, title and date written in pencil lower left, 16.5 x 30 cm (6 1/2 x 11 7/8 ins), mounted (25.4 x 38 cm), plus three other unattributed small pen and ink studies of figures and a tree, each tipped onto pastepaper (7)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£150 - £200

173* Rousseau (Théodore, 1812-1867). Coastal Landscape, pen & brown ink, depicting a tree-lined lake with ﬁgures on the shore and a small boat on the water, toned and foxed, 5 x 3 mm hole in sky area and a couple of chips to edges, initial black ink stamp lower left, sheet size 13.3 x 20.9 cm (5 1/4 x 8 1/4 ins), laid down and with mount lettered with artist’s name in black ink (23.6 x 30.8 cm)

174* Attributed to William Frederick Settle (1821-1897). Ships in low water, chalk on paper, unsigned, 22 x 32 cm (8.75 x 12.5 ins), mount aperture, framed and glazed William Settle (1821-1897) was born in Hull, a nephew and pupil of John Ward. He painted for the Royal Yorkshire Yacht Club and executed many views on the Humber and Solent. Settle moved to London in 1863 and was commissioned by Queen Victoria to draw nautical ephemera. (1) £100 - £150

Lugt 2436 (noting that the mark is seen on Rousseau’s own works sold at the sale of the artist’s workshop in 1868). (1) £150 - £200

175* Stanfield (William Clarkson, 1793-1867). Vessels Anchored Inshore/A Lake Landscape, 2 watercolours on recto and verso of album leaf, one depicting sailing vessels moored beside rocks, with figures, image size 13 x 17.4 cm (5 1/8 x 6 7/8 ins), the other showing a mountainous lake scene with boats and figures at the water’s edge, with ink and brush trials to left, upper, and lower margins, image size 11.6 x 15.5 cm (4.5 x 6 ins), mounted, double-sided frame, glazed (33 x 36 cm) Provenance: Collection of Denis Gamberoni; Christies, Interior Sale, 3rd June 2008, lot 175. (1)

£200 - £400

176* Stephanoff (James, 1787-1874). Country Customs, six pencil drawings, pen and grey ink, with grey wash, depicting various country customs, comprising: Villagers gathering for the Beating the Bounds ceremony; The Dunmow Flitch; Riding the Stang; Laying a Ghost; Smock Racing; Heaving and Blessing the Wine, versos with Christies’ stencil WY732, sheet size 9.4 x 13.4 cm (3 3/4 x 5 1/4 ins), mounted, matching frames, glazed (26.2 x 29 cm) Provenance: Collection of Denis Gamberoni; Christie’s, London, British Art on Paper, 21st November 2007, lot 189. “Stephanoff was among the first to paint historical scenes as pictures rather than as engravers material. His paintings show a good eye for costume and ceremonial detail and are elegant and highly finished.” (Mallalieu, Dictionary of British Watercolour Artists up to 1920, p.322) These drawings are illustrative of rural customs and country life. The Dunmow Flitch is a custom which is continued today and requires couples to demonstrate their marital harmony through a series of trials, the successful couple winning a flitch of bacon (half a pig). Riding the Stang was a New Years Day custom of making a man ride a pole called a cowlstaff or a woman ride in a basket, payment being demanded for release. Laying a Ghost is a celebration of All Hallows Eve (Halloween) on the 31st October, a festival rooted in pagan times. Smock Racing was a custom which allowed girls and women to race against each other for the chance to win a smock of fine linen. Heaving was a custom which took place at Easter: on Easter Monday the men would be lifted in a chair in turn and kissed by the womenfolk, whereupon the following day the roles would be reversed, payment being demanded for the treat. Blessing the Wine has origins from the pagan tradition of ‘wassailing’ a twelfth night tradition of visiting orchards to sing to the trees and spirits in the hope of ensuring a good harvest the following season. (6) £400 - £600

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

177* Strahan (George, 1839-1911). Gagribal - Dal Lake, Kashmir, 1906, watercolour with traces of pencil, on thick wove paper, signed and dated lower right, pencilled title on verso, with pencilled numbers (some in another hand), narrow mount stain to edges, sheet size 35.5 x 25.3cm (14 x 10ins), together with: Kunas - Wular Lake, watercolour with traces of pencil, on thick wove paper, pencilled title on verso, with pencilled numbers (some in another hand), verso also with ink manuscript inscription 'I certify that this picture was painted by my husband, the late Col George Strahan R.E., Beatrice Strahan, Hampstead Feb 13, 1913', narrow mount stain to edges, upper edge with short (7mm) closed tear, sheet size 24.6 x 34.8cm (9 3/4 x 13 3/4ins), both uniformly framed and glazed (37 x 27cm & 26.2 x 36.5cm respectively) Apparently George Strahan's paintings were often criticised, and yet according to the Memoir of Strahan written by S.G. Burrard (The Royal Engineers Journal, vol.14 no.3, pp.163– 186) his pictures "sold readily and they fetched high prices". Burrard quotes a lady visiting an exhibition and viewing Strahan's work as saying, "Strahan is no draftsman, and no colourist, yet he is a poet: all his paintings are poetry". Indeed, Burrard himself goes on to say that "no other painter has touched the Anglo-Indian public so profoundly as George Strahan. By means of his paintings he has taught that public to appreciate the poetic beauties of Indian scenery." (2) £400 - £600

179* Varley (John, 1778-1842). Castle Ruins, watercolour, showing a rural landscape with two ﬁgures looking towards a ruined castle, possibly indistinctly signed lower right, 9.5 x 15 cm (3 3/4 x 5 7/8 ins), mounted, framed and glazed (32 x 36.5 cm) (1)

£200 - £400

178* Turpin (Pierre Jean Francois, 1775-1840). Cyperus Dives, grisaille watercolour on Whatman 1804 paper, depicting a robust perennial with numerous stems coming from a short woody rhizome, signature to lower left, title written in ink on lower middle, old staple marks on left hand margin, small closed tear to lower left, 42.1 x 28 cm (16 5/8 X 11 ins), mounted (52.5 x 38 cm), ‘Bon à etre gravé vu en commission le 2 mai 1808. Berthollet’ in ink on verso French botanical artist and botanist Turpin was born in Vire, the son of a poor artisan. He received little formal education but was trained in the elements of drawing by a local artist. He joined the battalion of Calvados and was posted to Cap-Haitien where he was befriended by the self-taught botanist and botanical artist Pierre Antoine Poiteau, who had been sent to the colony as a plant collector by the Jardin des Plantes. Poiteau taught him botany and the two friends collected and painted the tropical ﬂora of the island together. Their collaboration resulted in hundreds of illustrated plates and a herbarium of several thousand specimens representing about 1200 different species. (1) £300 - £500

180* Wainwright (William John, 1855-1931). Lute Player, watercolour on paper, depicting a gentleman playing a lute, stood side on singing, painted from the hip upwards, artists signature lower right, laid onto card, image size 39 x 28.5 cm (15 3/8 x 11 1/4 ins), sheet size 40.2 x 28.8 cm (15 7/8 x 11 3/8 ins), mounted, framed and glazed, (62 x 50.5 cm) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £400

19TH & 20TH CENTURY PRINTS

181* Blake (William, 1757-1827). The Pastorals of Virgil, with a course of English reading, adapted for schools: in which all the proper facilities are given, enabling youth to acquire the Latin language..., by Robert John Thornton, volume one only, 3rd edition, London: F. C. & J. Rivingtons..., 1821, 17 wood-engraved illustrations designed and executed by William Blake, consisting of one larger illustration printed separately, and four leaves each printed with four wood engravings, illustrating Eclogue I, three wood-engraved portraits of Theocritus, Virgil, and Augustus, designed and engraved by Blake, one other plate entitled From Antique Coins, designed and engraved by Blake, numerous other woodengraved illustrations by various artists, contemporary ownership inscription of Louisa Fox, dated 1821 to front endpaper, additional presentation inscription to head of title ‘ Edward Cathack with Louisa Fox’s best regards’ to head of title, contemporary polished calf, gilt decorated spine, a little rubbed and some minor marks, upper joint near-detached, 8vo Binyon 137-53; Bindman 602-18; Bentley 504; Keynes 77. The series of 17 wood engravings by William Blake illustrating Virgil’s Pastorals, as issued in the first volume (of 2) of The Pastorals of Virgil, with a course of English reading, adapted for schools: in which all the proper facilities are given, enabling youth to acquire the Latin language..., by Robert John Thornton, 3rd edition, London: F. C. & J. Rivingtons..., 1821. This third edition was the first to contain original illustrations by William Blake. which had a significant influence upon the young Samuel Palmer. (1) £3,000 - £5,000

182 No lot

185* Attwood (Harry Carleton, 1907-1985). Designs for a Mural at Eltham Hall, 1936, pencil, pen and watercolour, six individual designs framed together, each depicting a different scene taking place in the countryside by a tree, artist’s initials on verso along with a small mural with ‘Designs for Eltham Hall 17/9/36’ written in ink, sheet sizes approximately 21.5 x 12.5 cm (8 2/4 x 5 ins), framed and glazed (58 x 77.5 cm)

183* Hunt (William Holman, 1827-1910). The Abundance of Egypt, 1857, etching on chine appliqué, published in Etchings for the ArtUnion of London by the Etching Club, numbered 20 to centre of lower margin, and with the artist’s name scratch-lettered lower left, plate size 155 x 122 mm (6.1 x 4.8 ins), sheet size 36.7 x 27 cm (14.45 x 10.6 ins), framed and glazed Hartnoll 14; Bronkhurst 2006, Appendix, B2. (1)

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£150 - £200

184* Whistler (James Abbott McNeill, 1834-1903). Portrait of Whistler’s Mother - Arrangement in Grey and Black No.1, c.1900, photogravure, depicting a woman sitting in profile, wearing black dress with white cuffs and collar and white cloth hat, feet resting on a wooden block, signed with printers blind stamp ‘HZX’ to lower left margin, inscribed outside the plate ‘L’Edition d’Art, H Piazza et Cie, Paris’, printed on india laid paper, pasted onto card, after the painting by James McNeill Whistler, printed by H Piazza et Cie, 47 x 55.5 cm (18 1/2 x 21 7/8 ins), mounted, framed and glazed (49.5 x 57.5 cm) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£70 - £100

186* Belleroche (Albert de, 1864-1944). Daydream, lithograph, depicting a woman in proﬁle with her head tilted to the right, wearing an extravagant hat and looking wistful, signed lower right, 57 x 46.5 cm (22 2/4 x 18 1/4 ins), typewritten catalogue note from 1967 to verso including name of artist and name of painting ‘Reverie’, mounted, framed and glazed (83.5 x 69.5 cm) (1)

£100 - £150

£150 - £200

187* Belleroche (Albert de, 1864-1944). ‘Mantilla’, lithograph, showing the head & shoulders of a young woman looking to the right, wearing a mantilla, signed lower right, sheet size 56.5 x 43.5 cm (22 1/4 x 17 1/8 ins), typewritten catalogue note from 1967 to verso stating name of artist and name of painting ‘La Mantille’, mounted, framed and glazed (83.5 x 68 cm) (1)

189* Benton (Thomas Hart, 1889-1975). Shallow Creek, 1939, lithograph on wove paper, from the edition of 250 impressions, published by Associated American Artists, New York, signed in pencil lower right, image size 36 x 24 cm (14.25 x 9.5 ins), sheet size 40 x 28 cm (15.75 x 11 ins), framed and glazed

£150 - £200

Fath, Lithographs of Thomas Hart Benton (1969), 32. (1)

£700 - £1,000

188* Belleroche (Albert de, 1864-1944). Seated Nude, lithograph, depicting a naked woman sitting, with loose shoulder length hair, her elbows on her knees resting her chin on her hand, signed lower left, some spotting to margins, sheet size 49 x 39 cm (19 1/4 x 15 1/4 ins), typewritten catalogue note from 1967 to verso including name of artist and name of painting ‘nue’, some water damage to mount lower left, mounted, framed and glazed (69.5 x 57 cm)

190* Brangwyn (Frank, 1865-1956). Old Houses on the Tiber, 1908, etching and drypoint on cream paper, printed with plate tone, signed in pencil to lower margin, plate size 15 x 21.7 cm (6 x 8.5 ins), sheet size 280 x 355 mm (11 x 14 ins), together with: Castel Sant’Angelo, Rome, circa 1908, etching and drypoint on cream paper, signed in pencil to lower margin, plate size 180 x 138 mm (7.1 x 5.4 ins), sheet size 355 x 280 mm (14 x 11 ins), matching frames, glazed

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£150 - £200

£120 - £150

192* Cameron (David Young, 1865-1945). Ben Lomond, 1923, etching with drypoint, printed with plate tone, on ﬁne japan tissue, signed in pencil, plate size 263 x 414 mm (10 3/8 x 16 1/4 ins), sheet size 300 x 445 mm (11 5/8 x 17 1/2 ins), framed and glazed Rinder 468. One of the Cameron’s largest and ﬁnest Scottish landscapes, described by Rinder as “Cameron’s supreme landscape achievement as etcher” (D.Y. Cameron, An Illustrated Catalogue of his Etchings and Dry-Points, 1887-1932, Glasgow, 1932, p.xx). (1) £300 - £500

193* Chahine (Edgar, 1874-1947). L’Exode, etching, depicting two men pulling laden carts through the countryside, with a young girl sitting in the back of one, signed lower left,15.8 x 21 cm (6 1/4 x 8 1/4 ins), mounted, framed and glazed (34.6 x 38 cm)

191* Palmer (Samuel, 1805-1881). The Sleeping Shepherd, 1857, etching on chine appliqué, with artist's name printed lower left, and numbered 5 centre of lower blank margin, as published in Etchings for the Art Union of London by the Etching Club, 1857, image size 9.5 x 7.8 cm (3 3/4 x 3 ins), plate size 123 x 102 mm (4.9 x 4.1 ins), sheet size 146 x 120 mm (5 3/4 x 4 3/4 ins), a few marks and light mount staining, framed and glazed Lister 6, iv/iv. (1)

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£100 - £150

194* Clausen (George, 1852-1944). Making Guns, 1917, 5 lithographs on pale cream wove paper, watermarked Holbein (from the set of 6), consisting of The Furnace, The Great Hammer, Turning a Big Gun, The Radial Crane, and Lifting an Inner Tube (lacking Where the Guns are Made), two with publishers blindstamp towards lower left margin, generally good strong impressions, in clean condition (one or two light surface marks), all in original card window-mount (one with card mount partly deﬁcient, together with the original title page, and original upper wrapper with printed title label (both some marks and upper wrapper frayed with some loss, overall size 63 x 51 cm (24.75 x 20 ins), sheet size 51 x 38 cm (20 x 15 ins), and inverse

£600 - £800

Clausen’s series Making Guns formed part of The Great War, Britain’s Efforts and Ideals, a sequence of 66 prints by various artists of the day including C. R. W. Nevinson, Augustus John, Frank Brangwin, and others, commissioned by Wellington House, the secret Government department set up to produce artistic propaganda. The works were printed by Avenue Press, and each set was published in an edition of 200 impressions, the Efforts being sold for 2 guineas, and the Ideals for 10 guineas. Clausen’s set depicts gun making at the Royal gun factory at Woolwich, Arsenal. (5) £400 - £600

Lot 192

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 194

196* Derkovits (Gyula, 1894-1934). 1514, Szikra Kiadas, 1945, 4 preliminary leaves (title, introduction and contents), and 11 original woodcuts, each numbered in roman numerals to lower right corner, sheet size 38 x 35 cm (15 x 13.75 ins), or inverse, loosely contained in original publisher’s cloth-backed printed wrappers, rubbed and slight wear, slim square folio (39.5 x 36.5 cm)

195* Delacroix (Eugene,1798-1863). Juive d’Alger,1833, etching on laid paper, as published by Cadart & Luquet, Paris for the Société des Aqua-Fortistes, the 4th state (of four), with the title, publisher’s and printer’s name added to lower margin, a very good, adrk impression, plate size 21.5 x 17.5 cm (8.5 x 6.9 ins), with margins, framed and glazed Delteil 18. (1)

Hungarian painter and graphic artist Gyula Derkovits (1894-1934) suffered paralysis of his left arm in the ﬁrst world war. From 1916 he lived in Budapest, where he learned painting and printmaking at the Art School of Karoly Kernstock. He met up with left-wing Hungarian immigrants in Vienna, where he joined the Austrian Communist Party, and witnessed the political upheavals of 1928-29, in the wake of the clashes between fascists and socialists subsequent to the April 1927 National Election. Derkovit’s most important graphic series, ‘1514’, inspired by the Dozsa peasant revolt, was completed during this period and published posthumously by the Circle of Friends of the Visual Art in 1945. (1) £300 - £500

£300 - £500

197AR* Drury (Paul, 1903-1987). Nicol’s Farm, 1925, etching on antique laid paper (with partial watermark), published by the XXI Gallery in an edition of 75 impressions, signed, dated, and titled in pencil, some overall toning/browning, framed and glazed, plate size 111 x 192 mm (4.25 x 7.5 ins), sheet size 216 x 250 mm (8.5 x 9.9 ins) Garton 18, v/vi. (1)

£300 - £500

199* Helleu (Paul Cesar, 18 - 19). Three studies of the artist’s son Jean, drypoint etching, 11 3/4 x 15 7/8, printed with light plate tone on Van Gelder Zonen laid paper with large, full margins, signed . Goncourt 3, de Montesquiou LXI, Bibliothèque National Inventaire 48. (3) £200 - £300

198AR* Gibbings (Robert, 1889-1958). The Retreat from Serbia, 1916, woodcut printed in colours, on thin card, signed and dated to lower right blank margin, some light spots (mainly to left side and blank marg ins), sheet size 34 x 31.5 cm (13 3/8 x 12 3/8 ins), window mounted, framed and glazed (35.3 x 34.3 cm), with gallery label of Jeremy Cooper Limited, London to verso (1)

200* Klinger (Max, 1857-1920). Menzel Festblatt, etching on (2nd leaf of) watermarked laid paper bifolium, with etched signature, 1st leaf with engraved illustrations and printed title: 'Erinnerungsblatt an die feier, welche zu ehren der vor fünfzig jahren erfolgten publication des ersten werkes Adolf Menzels ... Berlin ... 1884', some spotting and toning, mainly to blank margins, a triﬂe edge-frayed, 65 x 46cm (25 1/2 x 18 1/8ins)

£1,500 - £2,000

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Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

Lot 201 201* Kubin (Alfred, 1877-1959). Die drei Lithographien: Märchenprinzessin, Pferdeschwemme, Der steinerne Fischer, Vienna: Never Graphik, 1920, 3 lithographs on paper, each signed lower right (pencil), each with small embossed stamp 'NVG' to lower left corner, versos with ink stamp 'Max Morgenstern, Wien ...', a few minor spots to blank margins, each sheet size 40 x 28.5 cm (15 3/4 x 11 1/4 ins), loosely contained together (as issued) in paper wrappers (spotted), front cover with lithographed imprint, and with artist's signature in black crayon, lithographed titles and limitation inside front cover, 40.7 x 30 cm (1)

202* Langmaid (Rowland 1897-1956). Plymouth Hoe, drypoint etching on cream wove paper, 1/100, image size approx. 90 x 330 mm (3.5 x 13 ins), framed and glazed, artists proofs, signed and titled in pencil, plate size 88 x 335 mm (3.5 x 13.25 ins), with full margins, sheet size by 19 x 44 cm (7.5 x 17.25 ins), mounted to backing card with single glue spot to upper left and upper right black corner, framed and glazed (25.5 x 49.5 cm), with original printed title label, and framers label of Harris & Sons, Plymouth to verso, together with Tower Reach & Greenwich from the River, two etchings on pale green wove paper, both artists proofs, signed in pencil, signed in pencil, plate size 63 x 166 mm (2.5 x 6.5 ins), with margins, both framed and glazed, both with period label of Deighton’s Strand gallery to verso

£300 - £500

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Lot 202

£200 - £300

203 Leighton (Clare, 1898-1989). The Farmer’s Year, 1st edition, London: Collins, 1933, 12 full-page wood engravings, further illustrations in-text, modern sticker to front pastedown, lightly spotted to preliminary leaves, original publisher’s green cloth gilt, cloth faded to board margins and backstrip, oblong folio (1)

205AR* Macnab (Iain, 1890-1967). Southern Landscape, circa 1941, woodcut, depicting a view looking from a window onto a Mediterranean village by the sea, signed, titled and numbered 52/75 in pencil to lower margin, laid down at edges onto later card, image size 20 x 25 cm (7 7/8 x 9 7/8 ins), sheet size 25 x 32.5 cm (9 7/8 x 12 3/4 ins), Alfred Styles & Sons Ltd framing label to verso, mounted, framed and glazed (42.2 x 45.4 cm)

£150 - £200

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£400 - £600

204AR* Macnab (Iain, 1890-1967). Snow on the Radnor Hills, circa 1945, black and white woodcut, depicting a picturesque rural snowy landscape, featuring the rolling hills of Radnor, a man and dog standing in a cottage garden, signed, titled and numbered 32/50 in pencil to lower margin, laid down at edges onto later card, image size 22.2 x 17.6 cm (8 3/4 x 7 ins), sheet size 32.5 x 25 cm (12 3/4 x 9 7/8 ins), Alfred Styles & Sons Ltd framing label to verso, mounted, framed and glazed (45 x 38 cm) Born in the Philippines, Macnab studied at Glasgow and Heatherley’s art schools and served in both wars. An inﬂuential art teacher of the interwar period, he was founder and principal of the Grosvenor School of Modern Art, to which he recruited as teachers Claude Flight, Sybil Andrews and Cyril Power. Macnab specialised in wood engraving, linocut, lithography and painting. He was part of the printmaking revival of the 20th century and his school pioneered the linocut. His work is represented in the British Museum, V&A, Ashmolean, Fitzwilliam and the Government Art Collection. (1) £200 - £300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

206* Morisot (Berthe, 1841-1895). Berthe Morisot dessinant, avec sa ﬁlle,1889, drypoint etching on pale cream wove paper, printed with light plate tone, the second state (of two), a very good clean impression, plate size 19 x 14 cm (7.5 x 5.5 ins), with margins, framed and glazed Johnson 8. (1)

£200 - £300

209* Nash (Paul, 1889-1946). The Raider on the Moors, London: Curwen Press, published by The National Gallery for The Ministry of Information, 1940, colour lithograph, depicting a German ﬁghter airplane downed on the moors, inscribed by artist with title to lower right, some smudgy marks to margin, title, artist and publisher information printed on verso, 38 x 56 cm (15 x 22 ins)

207* Nash (Paul, 1889-1946). Landscape of the Megaliths, London: Contemporary Lithographs Ltd, [1937], colour lithograph, depicting a landscape with three large stones casting shadows on the ground, closed tears to edge of paper, some encroaching into image with minor loss, water stain to middle right edge, right edge of image cut away with loss of roughly 7 cm including margin, signed lower left, publishing details printed to lower left of margin, 50.4 x 70 cm (19 7/8 x 27 5/8 ins) (1)

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£300 - £400

208 Nash (Paul, 1889-1946). Moonlight voyage, Hampden flying above the clouds (Flying against Germany), London: Curwen Press, published by The National Gallery for The Ministry of Information, 1940, colour lithograph, showing a Hampden fighter airplane flying above the clouds with the moon behind it, signed lower right, some smudgy marks to margin, title, artist and publisher information printed on verso, 40.5 x 54.5 cm (16 x 21 3/8 ins) (1)

£400 - £600

210* Palmer (Samuel, 1805-1881). The Skylark, 1850, etching on chine collé on thick wove paper, the seventh state (of eight), after the plate was minimally cut down, but this impression, apparently without the vertical line extending obliquely to the right of the skylark towards the tree on the right side of the image, and without the etched lettering to lower margin Samuel Palmer 1717 (as described in Lister), signed in the plate to lower-left corner, a few light scattered spots, and pale mount stain, margins trimmed, plate size 120 x 97 mm, sheet size 134 x 105 mm, framed and glazed (19.5 x 17.5 cm)

£600 - £800

Lister E2, vii/viii. Perhaps an intermediate state between states 6 and 7. (1) £300 - £500

212AR* Raverat (Gwen, 1885-1957). Childe Rowland, 1947, colour wood engraving on laid paper, printed in an edition of 26 impressions in colour (there were 10 impressions of the monochrome version), printed in dark grey, light grey and pale yellow, signed and titled in pencil to lower margin, some light overall toning, image size 185 x 235 mm (7.4 x 9.2 ins), sheet size 8.4 x 10.1 ins????, framed and glazed, with period handwritten ownership label to verso of ‘Alison Clay, 7 Park Lane, Oxford OX7 1UD or return to: Mrs. S. Pryor, 10 Chancer Rd., Cambridge’ Selbourne & Newman P550. (1)

£250 - £350

211* Palmer (Samuel,1805-1881). Christmas, or Folding the Last Sheep, 1850, etching on chine collé on heavy pale cream wove paper, a few light spots and mount staining, plate size 124 x 117 mm, etched surface 98 x 81 mm, and before the plate width, the second state (of ﬁve), with signature etched to lower right corner of the image before the reduction in plate width to 102 mm, upper blank margin with some loss (where it previously adhered to mount), sheet size 157 x 146 mm, framed and glazed (18 x 19.5 cm) Lister E4, ii/v. (1)

£700 - £1,000

213* Stössel, (Oskar, 1879-1964). Portrait of Max Morgenstern, etching with drypoint printed in colours, on van Gelder laid paper, a very good impression, signed 'Oskar Stössel' in pencil lower right, with margins, plate 49.5 x 40 cm (19 1/2 x 15 3/4 ins), sheet 65 x 50 cm (25 5/8 x 19 5/8 ins), some minor discolouration and creasing at the extreme right and left sheet edges (1)

Lot 212

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

Lot 214 214AR* Sutherland (Graham, 1903-1980). Pecken Wood, 1925, etching, on heavy buff laid paper, a very good well-contrasted impression of the third to fifth state (with the artist’s name and date added to upper right corner of the plate), signed in pencil lower right, one of a total edition of 85 published of the third to fifth states (there was one impression printed of the first state and two of the second), published by the Twenty One Gallery, with margins, light mount stain, outer edges strengthened with paper to verso, hinge-mounted, in pale cream card window mount, plate size 139 x 188 mm, sheet size 160 x 230 mm Cooke, Graham Sutherland Early Etchings, 26, iii/iii. Man 24, v/v. Plate destroyed. (1) £1,500 - £2,000

215* Urushibara (Yoshijiro, 1888-1953). Leaves from the Sketch Books of Frank Brangwyn, Leigh-on-Sea: F Lewis (Publishers) Ltd, [1940], 19 colour woodcuts, all mounted in individual card passepartout, 3 signed in pencil by Brangwyn, paper wrapper around plates with Laurence Binyon introduction, creased with closed tear, loosely contained in leather morocco back portfolio, titled to upper cover, rubbed with some marks and discolouration, limited edition of 50 copies, this copy unnumbered, 4to (1)

£300 - £500

Lot 215

216* Whistler (James Abbott McNeill, 1834-1903). Bibi Lalouette, 1859, etching and drypoint, on thin Japan paper with wirelines, a fine impression of the second (and final) state, printing with burr, platetone and inky plate edges, with margins, some minor handling creases, generally in very good condition, plate size 225 x 152 mm (8 7/8 x 6 1/8 ins), sheet size 258 x 201 mm (10 1/4 x 8 ins), framed 42 x 33.5 cm

217* Whistler (James Abbott McNeill, 1834-1903). La Vieille aux Loques (from Twelve Etchings from Nature), 1858, etching and drypoint on off-white laid paper, signed in the plate lower right, the 3rd state (of three), mounted (to sheet edges only) on later card, plate size 210 x 148 mm (8.2 x 5.8 ins), sheet size 252 x 181 mm (9.9 x 7.1 ins), framed and glazed, with old typewritten label for the work to verso

Provenance: Thomas Agnew & Sons Ltd., Inv. No. 34624. Kennedy 51 ii/ii. Bibi was the ‘patron’s’ son at a restaurant in the Rue Dauphine, Paris, famous for its burgundy, where Whistler and other members of the Société des Trois, Fantin-Latour and Legros, regularly took their meals. According to the Pennells, the artist owed Lalouette 3,000 francs when he left Paris. (1) £600 - £800

Kennedy 21, iii/iii. (1)

£250 - £350

218* Wyllie (William Lionel 1851-1931). The Shot Tower and Waterloo Bridge, drypoint etching on pale cream wove paper, a very good, delicate impression, signed in pencil lower left, light mount stain, full sheet, corner-mounted to backing card, sheet size 24 x 4 1/2 cm (9.5 x 17.5 ins) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

Lot 219 219* Wyllie (William Lionel, 1851-1931). The Battle of Trafalgar, 21 October 1805, etching on wove paper, signed in pencil lower left, printed caption dated August 1st 1905, variable discolouration, very slight surface abrasion in few places, plate size 39.7 x 73.8 cm (15 5/8 x 29 ins), window mounted, framed and glazed (64.1 x 96.1 cm), verso with label of Bell Fine Art, Winchester, Hants. (1)

£150 - £200

220* Wyllie (William Lionel, 1851-1931). The Poseidon Temple, Attica, circa 1920, etching on pale cream wove paper, signed in pencil lower left, plate size 254 x 354 mm (10 x 14 ins), with margins, framed and glazed (1)

221* Atché (Jeanne Louise Marie Euphrasie, 1872-1937). Reverie, 1903, circular colour lithograph, some toning and light overall discolouration, 34 cm diameter, framed and glazed Atché’s female heads - in particular the diptych Meditation and Reverie were inspired by the very successful series of Tetes Byzantines by Alphonse Mucha, issued in 1897. (1) £150 - £200

£100 - £150

222AR* Auerbach (Frank, 1931-). Head of Julia, 2001, etching on Somerset white paper, printed by Mark Balakjian at Studio Prints, in collaboration with Marlborough Graphics, London, in an edition of 150 impressions, signed, dated 01, and numbered 63/100 in pencil, as issued in the exhibition catalogue of the artist work entitled Frank Auerbach, Paintings and Drawings 1954-2001, at the Royal Academy of Arts, 14 September-12 December 2001, plate size 11.5 x 14.5 cm (4.5 x 5.75 ins), sheet size 23 x 25.5 cm (9 x 10 ins), the book also signed by the artist in ink and numbered 63 to colophon at rear (1)

£1,000 - £1,500

223AR* Hayter (Stanley William, 1901-1988). La Noyée, 1955, soft-ground edging and engraver with scorper printed in colours on BFK Rieves paper, printed by the artist at Atelier 17, from the published edition of 175 impressions, signed, dated, titled, and numbered 151/175, published L’Oeuvre Gravée, Zurich, with their blindstamp, plate size 36 x 48 cm (14.2 x 18.8 ins), sheet size, with margins, antique-style gilt frame, glazed, with framers label of Durkin Art Galleries, 137 Green Bay Road, Rd, Wilmette, Illinois to verso Black & Moorhead 222. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£400 - £600

224AR* Hockney (David, 1937- ). Le Nid du Duc, May 1971, colour lithograph, depicting an apricot rose in a bud vase on a window sill, initialled, titled, and dated lower right, 48.8 x 38.8 cm (19 1/4 x 15 1/4 ins), framed and glazed (57.3 x 47.3 ins) (1)

£200 - £300

225AR* Hockney (David, 1937-). Red Square and The Forbidden City, 1982, colour lithograph on Somerset satin-finish mould-made rag paper, printed in five colours at Petersburg Studios, New York, 1982, in an edition of 1000, signed and numbered 38/1000 in pencil, folded three times, as issued, overall size 495 x 540 mm (19.5 x 21.25 ins), loosely contained in original red printed sleeve, with a copy of the published edition of China Diary by Stephen Spender and David Hockney, published by Thames and Hudson, 1982, signed by Hockney and Spender to halftitle, bound in original red cloth gilt in fine condition, with original publisher’s card slipcase Tokyo 254. (1)

£1,500 - £2,000

Lot 224

Lot 225 89

227* Kokoschka (Oskar,1886-1980). Variazioni su un Tema, con una prefazione di Max Dvorak, Vienna: Richard Lanyi & Ed. Strache, 1921, printed title, 10 phototype (collotype) reproductions of portrait drawings by Kokoschka, printed by Max Jaffé, Vienna, in an edition of 300 copies, this copy numbered 121 of 250, single page of text in italian at rear with colophon to verso, sheet size 70 x 50 cm (27 1/2 x 19 3/4 ins), a few marks, loosely contained in original publishers cloth-backed boards, with title in gilt to upper cover ‘Oskar Kokoschka, Variations on a Theme’, rubbed and soiled with some wear, large folio, 71 x 51 cm (28 x 20 ins) (1)

£200 - £300

226AR* John, Augustus Edwin (1878–1961). The Malt House, Etching and drypoint, 1904, a very good, atmospheric impression of the second (ﬁnal) state, signed in pencil, inscribed with another hand in black pen and ink ‘Plate No. 14 “The Little Malt House” Imp. no. 16/25, on laid paper, with wide margins, a deckle edge at right, in good condition, minor rubbing around the signature, minor surface dirt, plate 8.1 x 10 cm (3 1/4 x 4 ins), sheet 22.5 x 28.5 cm (8 7/8 x 11 1/4 ins), framed (36 x 36 cm.) Literature: Campbell Dodgson 126. (1)

£200 - £300

228AR* Masson (André, 1896-1987). Commentaire d’un dessin de Blake, pen and ink on wove paper, depicting an erotic portrait of a woman integrated into the landscape, signed and captioned to lower margin, sheet size 57.5 x 38 cm (22 3/4 x 15 ins) Masson's series of drawings entitled Commentaire d'un dessin de Blake is related to his suit of erotic visions entitled Terre Erotique, the exhibition for which at Galerie du Chene, Paris was closed on the grounds of public indecency in 1948. (1) £500 - £700

Lot 227 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

229* Masson (André, 1896-1987). Les Amants Celebres, 1979, the complete set of 10 colour etchings, printed by Aldo Crommelynck, Paris, in an edition of 70 impressions, each signed in pencil, and numbered 49/70, with publisher’s blindstamp to lower left corner, sheet size 66 x 50 cm (26 x 19 3/4 ins), in very good condition, loose in cloth portfolio (81 x 66 cm) Saphire-Cramer 114. (1)

£600 - £800

230* Mooney (Craig McDonald, Canadian, 20th century). A group of 10 wood engravings and two watercolours, 1960s/1980s, titles include Midsummer, Bluenosers, Velvet, Ingénue, Oxen, Centennial, Lunenburg, Last Passage and Wrath, all but one with pencil signature (C. M. Mooney), title and limitation to lower mount, ﬁve being one of six artist’s proofs, three from an edition of 25 and one of 100, the largest image 25 x 17 cm (10 x 6 3/4 ins), the smallest 10 x 12 cm (4 x 4 3/4 ins), together with two signed watercolours by Mooney of ﬂowers (42 x 58 cm) and a rocky coastal study (30 x 42 cm), all framed and glazed (12)

£150 - £200

231AR* Moore (Henry, 1898-1986). Homage to Sacheverell Sitwell, 1979, lithograph over a reproduction in colour of a drawing by Moore, printed on T. H. Saunders paper, published in an edition of 50 impressions, printed at Skelton’s Press, Wellingborough and Curwen Studio, published by the Fairfax Press 1980, York for the Henry Moore Foundation, as published in Valse des Fleurs by Sacheverell Sitwell, this being one of 30 hors commerce impressions, signed in pencil, and numbered HC 7/30, sheet size 44 x 30 cm (17.25 x 11.8 ins), framed and glazed

233AR* Pedersen (Carl-Henning, 1913-2007). Composition with Mask and Bird, 1967, colour lithograph on wove paper, some overall toning, marks to margins, sheet size 42 x 38 cm (16.5 x 15 ins) (1)

£100 - £150

Kramer 537. The book was published in a total edition of 400 copies, although only 20 deluxe copies numbered I-XX, and 30 hors commerce impressions were issued with this signed print. (1) £300 - £500

232AR* Nash (John, 1893-1977). The Avenue, colour lithograph, depicting a landscape, a line of trees acting as a boundary between a ploughed ﬁeld and a road, published by the Fine Art Trade Guild, artists signature printed on image and in pencil to lower right margin, laid down onto backing board, image size 37 x 52.5 cm (14 1/2 x 20 5/8 ins), sheet size 50 x 64 cm (19 3/4 x 25 1/4 ins), window mounted, framed and glazed (56.2 x 69.7 cm) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 234

£150 - £200

234* Steinberg (Saul, 1914-1999). Canal Street, Ian Frazier & Saul Steinberg, New York:. Published by the Library Fellows of the Whitney Museum of American Art, 1990, 2 color woodcuts by Steinberg, one of which is signed and numbered 146/160 by him, hand-printed by Michael Berdan and proofed by Steinberg, 16 colour and monochrome tipped-in offset lithographs, bound in original publisher’s quarter black morocco over mustard yellow cloth, bound by hand by Stamperia Valdonega, Verona under the supervision of Martino Mardersteig, light soiling to covers, limited edition of 160 copies, signed by the author and artist to colophon at rear, large 4to (34 x 28.5 cm)

236AR* Tilson (Joe, 1928-). Ziggurat, 2002, color screenprint and woodcut on heavy Arches paper, printed and co-published by Advanced Graphics, London, in an edition of 300 impressions, as issued with the printed exhibition catalogue of Tilson’s work entitiled Pop to Present, at the Royal Academy of Arts 14 March-12 April 2002, signed and numbered 299/300 in pencil lower right, sheet size 28 x 24 cm (9.5 x 11 ins) (1)

£150 - £200

The ﬁrst title in the series Artists and Writers: American Journals, published by the Whitney Museum of American Art. New York. (1) £1,000 - £1,500

235AR* Thornton (Valerie, 1931-1991). Facade of Queen’s College, Oxford, colour etching on pale cream heavy wove paper, with pencil signature lower right and numbered 16/50 in pencil lower left, plate size 40 x 52 cm (15 3/4 x 20 1/2 ins), mounted, framed and glazed (64 x 74.6 cm) (1)

£100 - £150

237AR* Trevelyan (Julian, 1910-1988). Marseille, 1975, soft-ground etching with aquatint printed in colours, on T.H. Saunders handmade heavy paper, signed, titled and inscribed ‘Artist’s proof’, and with colour notes added below ‘I. Ultramarine (tube), Windsor Red (tube), 1 Windsor orange (tube), 1 II black (Windsor Penrose), 1 burnt sienna (tube) 1’, artist’s proof aside the numbered edition of 51 impressions, printed by Studio Prints, some minor light spots and marks to margins (generally in good condition), with full margins, sheet size 79 x 56.5 cm (31 x 22.5 ins) (1)

Lot 236

£300 - £500

238AR* Trevelyn (Julian, 1910-1988). As You Like It, 1964, colour lithograph on paper, signed and numbered 35/50 to lower margin, RCA watermark lower right, image size 355 x 480 mm (14 x 19 ins), sheet size 490 x 620 mm (19.25 x 24.5 ins), framed and glazed (1)

£300 - £500

Lot 240

239AR* Williams (Kyfﬁn, 1918-2006). Llanedwen Church, Anglesey/Llanedwen Church in moonlight, monochrome lithographs on wove paper, both signed and numbered 128/250 in pencil to lower margins, sheet sizes 25 x 32 cm (10 x 12 1/2 ins), framed and glazed (42 x 50 cm) (1)

£200 - £300

240AR* Williams (Kyfﬁn, 1918-2006). Mabinogi, a group of 4 linocuts on wove paper, each numbered 4/50 and initialled in pencil to lower margins, each 21.5 x 15 cm (8 1/2 x 6 ins), framed and glazed (65 x 53 cm) (1)

£200 - £300

241AR* Williams (Kyfﬁn, 1918-2006). Sunset over the Gower coast, colour lithograph on wove paper, artist’s proof, numbered V/XV and initialled ‘KW’ in pencil to lower margin, image size 60.5 x 60 cm (23 3/4 x 23 1/2 ins), sheet size 75 x 75 cm (29 1/2 x 29 1/2 ins), framed and glazed (95 x 95 cm) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 241

£700 - £1,000

20TH CENTURY PAINTINGS & WATERCOLOURS

242* World War One. Field Hospital, 1921, oil on canvas, depicting a ruined building amonst woods, a fallen soldier carried on a stretcher followed by a wounded soldier carried out in the arms of two of his comrades, two more soldiers look on, one saluting the other standing to attention, signed ‘W Eley 1921’ to lower right, relined, (61 x 76.5 cm), unframed Provenance: Private Collection, Herefordshire. Restored approximately 25 years ago at the request of the current owners by Ronald Moore Fine Art Conservation, of Upper Sydcombe, Hereford. The identity of the artist, W. Eley, has not been established. (1) £500 - £800

243* Bennett (William A., active 19221927). Boat Song, oil on canvas, depicting a possibly Cornish harbour scene, signed ‘Will Bennett’ lower right, verso with title label also giving artist’s address ‘Moor Croft, Weston in Gordano, Portishead’, 51.3 x 61.3 cm (20 1/4 x 24 ins), antique moulded gilt frame and glazed (68 x 77.8 cm), frame with a few very minor losses William A. Bennett was a landscape painter in oil who lived near Portishead, Somerset and later at High Ackworth, near Pontefract, Yorkshire. He was an associate member of the Royal West of England Academy and exhibited six works between 1922-1927. See Jeremy Wood, Hidden Talents: A Dictionary of Neglected Artists Working 1880-1950 (1994), page 13. (1) £300 - £500

Lot 244

Lot 245

244AR* Benois (Nadia, Надежда Бенуа, 1896-1975). Still life of tulips and other ﬂowers in a jug, 1946, oil on canvas, signed and dated lower right ‘Nadia Benois 46’, 68.5 x 50.8 cm (27 x 19 7/8 ins), ornate gilded frame (90 x 72 cm) Provenance: Arthur Tooth, London, his exhibition label on the stretcher (damaged). (1) £500 - £800

245AR* Benois (Nadia, Надежда Бенуа, 1896-1975). Yellow and Red Poppies, 1940, oil on canvas, still life of yellow and red oppies and a spray of boughs in a vase on a table, signed and dated ‘N Benois 40’ lower right, 40.5 x 50.5 cm. (16 x 20 ins), in an ornate gilded frame (61 x 69 cm) (1)

£1,000 - £1,500

246* Bishop, (Piran, born 1961-). Self portrait, 2009, oil on canvas, signed lower right, counter signed and dated verso, 57 x 39.5 cm (22 3/8 x 15 1/2 ins), framed (81.5 x 62 cm), together with Nude woman on a sofa, oil on canvas, signed lower right, counter signed verso, 30.5 x 25 cm (12 x 9 3/4 ins), framed (53 x 48 cm); plus Dressed woman on a sofa, 2008, oil on canvas, signed lower left, counter signed and dated verso, 60.7 x 25 cm (23 7/8 x 9 3/4 ins), framed (84 x 43.5 cm) (3)

Lot 246

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

247AR* Carnt (Shirley, 1927-). Buttercups and Dandelions at Burnham overy Staithe, oil on panel (presumably, unexamined out of the frame), signed lower right, with the artist's label verso, 30 x 60 cm (11 3/4 x 23 5/8 ins). framed (42.5 x 72 cm) (1)

£150 - £200

248* Collis (Louise, 1976-). Worms Head Shimmer, oil on canvas, signed 'L. Collis' lower left, 29.7 x 60 cm (11 3/4 x 23 5/8 ins), framed (34 x 64 cm) Louise Collis is a landscape artist, practising from her studio in Abergavenny. (1)

£200 - £300

249* Henderson (William Bankier, 19031993). Still life of fruit and vegetables, oil on canvas, depicting a green porcelain bowl containing fruit and vegetables, including pears, greengages, and onions, on an orange ground, initialled in red lower right, 38.5 x 55.2 cm (15 1/8 x 21 3/4 ins), wooden mount, framed and glazed (56.7 x 75 cm) (1)

£300 - £500

250* Malakoul (Poum, 1910-1973). Thai river scene with stilt houses and figures, circa 1970, oil on canvas, signed lower right, 69 cm x 49 cm, framed (1)

£700 - £1,000

251 No Lot Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

252AR* Royle (Herbert F., 18701958). Bringing in the harvest, 1933, oil on canvas board, depicting a sunlit scene of a loaded haywain being drawn by a brown horse and a pair of grey horses, another horse-drawn cart in the background, signed and indistinctly dated with the end of the brush into the pigment lower left (‘27?), 49.7 x 60.2 cm (19 1/2 x 23 5/8 ins), framed (65.5 x 74.2 cm) Herbert Royle showed an early talent for painting, and he trained at the Harris Institute, Preston and the Southport School of Art, as well as taking lessons from John Buxton Knight, whose style greatly influenced him. He was a member of the Manchester Academy of Fine Arts, exhibiting there annually from 1894 for almost fifty years. From 1900, he also exhibited regularly at the Royal Scottish Academy, the Glasgow Institute, the Royal Society of Painters in Oils, and the Liverpool Academy, and his paintings are now held in a number of institutions, including the Walker Art Gallery, Liverpool and Manchester City Art Gallery. As a painter of landscapes mainly in oils, Herbert Royle worked in an impressionistic style characterised by strong brush strokes, heavy impasto and bold vibrant colours. His romantic scenes of English haymaking, now so nostalgic, are particularly sought after. Having moved to Nesfield near Ikley in 1924 he is often thought of as a Yorkshire artist. It was apparently a common sight for Royle’s contemporaries to see him cycling through the Dales, his easel strapped to his back, in search of suitable scenes to paint, in winter a hot potato in his pocket for the dual purchase of warming his hands and quelling his hunger at lunchtime. (1) £800 - £1,200

253* Rutherford (Harry, 1902-1985). Canal and ﬁgures, oil on canvas, 46 x 61 cm (18 1/8 x 24 ins), framed (61 x 76.2 cm), with extensive printed note of provenance on verso Provenance: Gifted to the current owner, an acquaintance of the artist, by the late Sir George Kenyon, chairman of the Bank of Scotland and executor of Rutherford’s estate as part payment for assistance in cataloguing the artist’s studio on his death. (1) £300 - £500

Lot 254

254* Sauter (Georg, 1866-1937). Venice with the Salute, early morning, 1924, oil on canvas, signed and dated lower right, 49.5 x 69 cm (19.5 x 27 ins), moulded painted frame Provenance: Private Collection, Hampshire. Georg Sauter married Lilian Goldsworthy (1864-1924), the sister of the novelist John Goldsworthy in 1894, and lived in London where he was acquainted with a variety of artists including Herkomer, Lavery, Watts, Pennell and Whistler. He produced a series of views of Venice on a similar scale to the present work, in 1924. (1) £700 - £1,000

255* Thornton (Richard, 1922-1971). Canal Boats, acrylic on board, signed and dated lower left, 45.5 x 61 cm (18 x 24 ins), mount aperture, wood-framed, glazed (58 x 73.5 cm) Richard Thornton studied at the Birmingham School of Art, and after the war at the School of Architecture in Birmingham (1946-50). (1) £150 - £250

Lot 255

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

100

257* White (Sallie, 1912-). Five Circus Horses, 1956, oil on board, artist’s monogram and date lower right, some minimal surface loss, 47 x 55 cm (18 1/2 x 21 5/8 ins), framed (60.7 x 68.9 cm), typewritten label ‘26 Cavalli del Circo’, and exhibition label to verso for Wildenstein & Co. Ltd., 147 New Bond Street, London, W1 Provenance: The Wildenstein exhibition label to verso is for the exhibition ‘Paintings of Sallie White’, 13 February-18 March 1957. The exhibition catalogue lists this painting as number 11 of the 15 works exhibited. Sallie White, also known as Sally White Robinson, was born Sarah Lancashire White in Beverly Farms, Massachusetts. Sallie started painting seriously in 1936, and in 1942 she married the navigator-adventurer and writer William Albert Robinson. Although she sailed with him to Tahiti, living and painting there for some years, she missed the activity of city life and in 1951 returned alone to New York to pursue her career in art, exhibiting at the Carstairs Gallery, New York. A year later she travelled to Italy and remained there for many years, painting local landscapes and exhibiting at venus including the Obelisco Gallery and the Schneider Gallery. White had an especial love of horses, both riding and painting them. The Italian art magazine Eco di Roma, in November 1956 mentioned that “... her Cavalli (horses) painted with great talent are seemingly of life, giving the impression that they are in movement, thus showing the great ability of the artist.” Many of her paintings are in private collections in the United States of America. (1) £500 - £800

256* Wellington (Hubert Lindsey, 1879-1967). Farm at Uley, Gloucestershire, oil on board, depicting a landscape vista of a rural dwelling and outbuildings seen from a 5-bar gate framed by trees, 35.5 x 49 cm (14 x 19 1/4 ins), label on verso with title and artist’s name in ink

258 No lot

Hubert Lindsay Wellington was born in Gloucester and studied at the School of Art there between 1895 and 1898, before attending the Birmingham School of Art (1898-1899) and the Slade School of Art (1899-1900). He lectured at the National Gallery between 1919 and 1922, taught for 10 years at the Royal College of Art, served as principal of the Edinburgh College of Art between 1932 and 1942, and lectured at the Slade between 1947 and 1949. He exhibited widely, including at the Royal Academy, and his work is represented in a number of institutions, including the Tate Gallery, London, and the Ashmolean Museum, Oxford. (1) £150 - £250

Lot 257

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Lot 259

Lot 260

259* Liebermann (Max, 1847-1935). Portrait of Hertha Morgenstern, 1921, pastel and coloured chalks on thick card, halflength portrait of a dark-haired young lady, seated in a carved wooden chair, her hands clasped on her knee, wearing a dark dress, a diaphanous green stole, and bangles on her arms, some surface marks and spotting, signed in red lower left 'Mx Liebermann Berlin 1921', 97 x 72 cm (38 1/4 x 28 3/8 ins), mounted on a contemporary black painted wooden support to verso (101 x 76.5 cm)

260AR* Benois (Nadia, Надежда Бенуа, 1896-1975). Near Montisi, Tuscany, 1947, pen, black ink and watercolour on pale cream wove paper, signed and dated lower left, titled lower right, sheet size 27 x 38.3 cm (10.75 x 15 ins), framed and glazed (45 x 60 cm) Provenance: Private Collection, Monmouthshire, England. Exhibited: Paintings by Nadia Benois, London: Arthur Tooth & Sons 1947, 24 September-18 October 1947. Nadezhda Leontievna Ustinova (Russian: Надежда Леонтьевна Устинова; 27 April 1896 – 8 December 1975), née Benois (Бенуа), better known as Nadia Benois, painter, stage designer and writer, was born near St Petersburg, Russia, into a cosmopolitan family that included a number of distinguished artists. Her father was Louis Benois, architect to the Tsar; her uncle, who taught her, was the great stage designer Alexandre Benois. She studied at the St Petersburg Academy, and married the journalist Iona Ustinov, their son being the actor-playwright Peter Ustinov. Nadia Benois settled in England (from the early years of World War II the family lived in Gloucestershire). She had early successful shows at the Little Gallery, 1924, and with Arthur Tooth in 1929. She also showed with Goupil, Leicester and Matthiesen Galleries and widely abroad. Tate Gallery and Manchester City Art Gallery hold examples of her work. Michael Parkin Fine Art included Benois in an exhibition entitled ‘Three Women Painters’ in 1975. (1) £300 - £500

Hertha Israel (1900-1962) married Maximilian Morgenstern (1883-1946) in 1922, and this picture was painted just prior to their marriage, presumably as a formal engagement portrait. Wealthy owner of a textile mill, Max Morgenstern was a bibliophile and art collector particularly known for his patronage and mentorship of Alfred Kubin, whose works he began collecting in the early 1900s. He and his wife had two children, both sons Charles Peter (Curt Peter) Morton and Robert William (Wolgang Robert) Morton. At the outbreak of WWII Max and Hertha were forced to ﬂee their opulent home in Vienna, to England, where their sons were being educated. The couple took very little with them, and most of their possessions were seized by the Nazis. Max Liebermann lived and worked for a time in Munich, but in 1884 returned to Berlin where he remained for the rest of his life. Prior to the Second World War he was lauded by high society; noted particularly for his portraiture, it is not surprising that he was chosen to portray Hertha, a relation of the wealthy Rothschild family. However, as for his fellow-Jews the Morgensterns, the rise of Hitler sounded the death knell to life as he knew it. Liebermann withdrew from public life in 1933 and two years later, at the age of 87, he died. (1) £600 - £800

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

102

261* Manner of Giovanni Boldini (1842-1931). Study of a Girl, gouache and watercolour on paper, depicting head and shoulders of a pensive girl looking to the left, wearing a black hat and white lace collared blouse, inscribed ‘Marlta’ lower left, sheet size 35.2 x 27.7 cm (13 7/8 x 10 7/8 ins), mounted, framed and glazed (52 x 44.5 cm) (1)

£600 - £800

262* Brannan (Edward, 1886-1957). Rural landscape at harvest time, pen, ink, and watercolour, depicting a farmhouse and outbuildings beside a ﬁeld of hay stooks, with scudding clouds in the sky, signed lower right, 26.5 x 38.4 cm (10 1/2 x 15 ins), mounted, framed and glazed (45 x 55 cm), together with: Waterloo Place, Bath, pen & ink on textured pale beige paper, depicting a hilly townscape with bridge and a lock, titled in pencil lower left, 26.1 x 37.6 cm (10 1/4 x 14 3/4 ins), mounted, framed and glazed (44 x 54 cm), and 25 other landscape drawings by the same artist, all pen & ink, some with watercolour or watercolour wash, all on thick paper (1 laid down on card), except 1 on thin paper, including harvest scenes, trees, buildings, a few with additional sketch on verso, each approximately 29 x 39 cm (11 1/2 x 15 1/4 ins), all unframed (27)

£100 - £150

Lot 261

Lot 262

103

265* Folkard (Charles, 1878-1963). The artist’s painting smock coat, early-mid 20th century, long smock coat, handmade in linen, with collar, long sleeves with cuffs, and two patch pockets, machine-stitched seams, yoke, pockets, and sleeves smocked by hand in cream thread, hand-stitched button holes to front opening and cuffs (lacking buttons), some staining and marks, one 6” drip of white paint to right-hand smocked area of yoke, linen hanging loop inside neck broken, length 109 cm (43 ins), sleeve length 59 cm (23 1/4 ins), together with: The artist’s lay ﬁgure, possibly French, 19th century, hand-carved wooden ﬁgurine with articulated head, torso, and limbs, lower part of left leg attached to right knee, lower part of right leg detached (and broken where articulated), 17.5 cm x 5 cm (6 7/8 x 2 ins), plus an autograph letter signed written to the artist’s grandson, saying ‘Ted [Folkard, the artist’s brother] gave me this years ago after “mending” it - you observe the legs are on the wrong way round!’, going on to express the hope that he would picture his grandfather using & enjoying it, and Teddy Tail looking into a cave, pen & ink with watercolour wash in tones of blue, showing a mouse wearing a striped tunic and a hat, looking through a crevice at rock formations, signed upper left ‘Charles Folkard’, 13 x 18.7 cm (5 1/8 x 7 3/8 ins), mounted, framed and glazed (25.7 x 31.1 cm), with pencil inscription on backboard ‘Teddy Tail - Rock’

263* Chikowore (Zebedee, 20th century). Mother & Child at Home, 1948, pen, black ink and watercolour on Whatman board, signed and dated lower right, 37.8 x 27.3 cm (14 7/8 x 10 3/4 ins), window mounted, framed and glazed (50.3 x 38.3 cm), verso with framers label of Alfred Stiles & Sons, Ltd., London, the label also with early ink manuscript inscription ‘Mother & Child at Home, by Albert Chikowore, from Cyrene School - Rhodesia. Bought 1952 from an S.P.G exhibition in L’pool’ (1)

£300 - £500

Provenance: From the artist and thence by descent. The smocking on the coat is believed by the family to have been stitched by the artist’s daughter, Janet (born 1917). The photograph of Charles Folkard wearing the smock and leaning over a garden gate was taken in the 1950s in Winchelsea, Sussex, where he and his son built a cottage on the Ridge near the beach. Charles Folkard is best-known for his imaginative illustrative work for children’s books, as well as for creating the inﬂuential strip cartoon ‘Teddy Tail’. Before becoming an artist, Folkard was a magician and performed Punch and Judy shows, appearing under the pseudonym ‘Professor Volkard’. It is thought that he probably wore a velvet jacket and velvet smoking hat when in this guise. He only realised his artistic talents when he began designing programmes for his conjuring shows. Family reminiscences recall that at least one of his small grandsons found Folkard’s Punch and Judy shows quite terrifying, whilst later he cut quite a ﬁgure in his smock. (3) £150 - £200

264* Cox (Neil, 1955 -). Swans, watercolour on paper, signed lower left, 24 x 34.5 cm mount aperture, together with another by the same artist, Canada Geese, 25 x 34.5cm, both framed and glazed with Wren Gallery label to verso, frame size 48.5 x 57 cm (2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£150 - £200

104

266AR George (Adrian, 1944-). Marble with Drapes, pastel and crayon, showing three pieces of fabric (green, red and blue) draping down against a grey background, signed and dated 1985 lower right, 74.5 x 52.8 cm (29 3/8 x 20 3/4 ins), mounted, framed and glazed (99.4 x 75 cm) Francis Kyle Gallery label to verso (1)

£200 - £400

267* Hepworth (Barbara, 1903-1975). Three autograph letters signed, and one handwritten postcard signed, by Barbara Hepworth to James Archdale of Edgbaston, Birmingham, July 12th-August 16th 1950, all on headed paper or card with the artist's name and address Trewyn Studio, St Ives, Cornwall, comprising a single sheet handwritten on one side only, dated 12/7/50, a ﬁvepage letter written on one side of each sheet, dated Aug 13th [1950], a small handwritten card, written to both sides, dated Aug 16th [1950], and a single sheet, handwritten to both sides, dated Oct 3rd [1950], together with 6 photographs by Studio St Ives Ltd., one showing the artist in her studio, the others showing different views of the sculpture Cosdon Head (1949), all but one inscribed by the artist, two additional photographs by Studio St Ives Ltd., one showing Barbara Hepworth on a platform outside her studio beside two large stones for an Arts Council commission, dated April 1950, the other depicting Bicentric Form (1949-50), plus a typewritten letter signed by Mary Woodall to James Archdale, dated 11th October 1951, with four further photographs of the Cosden Head, and a printed woodblock Christmas card from Frank and Mary Dobson, circa 1950, depicting a resting deer (15)

£200 - £300

Lot 266

Lot 267

105

269* John (Rebecca, 1947-). Apples on a Branch, pencil on Fabbriano 100/100 cotton paper, depicting two red apples hanging from a section of branch, drawn by the artist at Priddbwll Bach, Llangedwyn, North Wales, initialled lower right in pencil ‘R.J. Sep 23-25 ‘95’, sheet size 28 x 18.8 cm (11 x 7 1/2 ins), mounted, framed and glazed, small crack to glass top left, (45.9 x 36.2 cm) Rebecca John, grand-daughter of Augustus John, was in her thirties when she began to ‘make tentative pencil studies of ﬂowering plants’. In 1994 she enrolled for the new botanical painting course at Chelsea Physic Garden. She then began to spend more time at her mother’s cottage in Wales where she could work more closely with nature. (1) £200 - £300

268AR* Hervey-Bathurst (Caroline, 1936-). Garden Roses, watercolour and pencil, showing four studies of cream and yellow garden roses in various stages of blossom, 28.8 x 20.2 cm (11 3/8 x 8 ins), framed and glazed (49.7 x 39 cm) (1)

270* John (Rebecca, 1947-). 'Sloe, Oak, Apple, Sage', pencil, pencil study, depicting plump sloes, an acorn and oak leaves, and an apple, each on a section of branch, and a piece of purple sage, initialled in pencil to lower right 'R.J. Oct 1-4 '95', small water mark to lower margin, 20.4 x 27.5cm (8 x 10 7/8ins), foxing to mount, mounted, framed and glazed (47 x 56cm), together with: Small (Julie, 1948-). Ginkgo Biloba, pencil study, depicting sections of the Ginkgo Biloba tree including a cross section of the seed pod, signed lower right, minor foxing, sheet size 35.5 x 42.5cm (14 x 16 3/4ins), tipped in with tape to mount (43 x 44.5cm) and two others, depicting Douglas Fir and Sitka Spruce

£100 - £150

(4)

£200 - £300

271* Macdonald (William Alister, 1861-1948). Portree, Skye, September 1905, watercolour, with traces of pencil on paper, signed, titled and dated lower left, 20.2 x 34 cm (8 x 13.25 ins), framed and glazed Lot 269

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

(1)

106

£200 - £300

272* Nuttgens (Joseph Edward, 1892-1982). East Window, Alert Bay, B[ritish] C[olumbia], 1930, watercolour on paper laid on card, design for an arched tracery three-light stained glass window, depicting Christ in the centre captioned ‘Thine is the Kingdom the Power and the Glory’, flanked by St Raphael and St Gabriel on the left and St Uriel and St Michael on the right, topped by 3 decorative lozenges, signed and dated lower right and titled below image, slightly rubbed, image size 34.5 x 20.5 cm (13 1/2 x 8 ins), sheet size 37 x 21.1 cm (14 1/2 x 8 1/4 ins), mount with shaped aperture, overall size of mount 46.2 x 31.1cm Joseph Edward Nuttgens was born in Aachen, Germany, to a German father and English mother, and he moved with his family to London at the age of three. After leaving school he studied at Harrow Technical College and School of Art, subsequently spending five years working as an assistant in Arthur Orr’s stained glass workshop. In 1911 he began studying at the Central School of Arts and Crafts under Christopher Whall, where he was influenced by the Arts and Crafts Movement, and specifically by the philosophy and art of William Morris and Edward Burne-Jones. Nuttgens went on to produce stained glass designs for famous firms such as James Powell and Sons, as well as working for artists such as Paul Woodroffe in Chipping Campden. He later set up his own studio at Piggott’s Hill near High Wycombe, Buckinghamshire, where he was influenced by his neighbour Eric Gill, contributing an East Window to the only church designed by Gill, the church of St Peter, Gorleston, in Norfolk. Nuttgens was associated with the Art Workers Guild and the Warham Guild, and was a Fellow of the British Society of Master Glass Painters. In turn he influenced other stained glass makers, including John Piper and Patrick Reyntiens, whose collaboration began in Nuttgens’s studio, and a number of his offspring followed him into the arts or decorative arts. His son, Joseph Ambrose Nuttgens, completed a window depicting wild flowers commissioned by Linda McCartney, one of the last designs his father worked on before his death in 1982. Nuttgens was prolific, producing around 300 stained glass windows, as well as executing designs and carrying out glasswork for other workshops and artists. The majority of his output is found in Britain, but his work can be found in churches as far flung as Hong Kong and Canada. The window executed from the design offered here can still be seen in Christ Church Anglican Church, in the remote rural community of Alert Bay on Cormorant Island, northeast of Vancouver Island, British Columbia. (1) £200 - £300

273 No lot

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275* Rothenstein (William, 1872-1945). Portrait of Hannah Whittal Smith, July 1893, pastel on brown paper, full length portait, halfprofile to right, of a bonneted elderly lady seated in a wicker armchair reading a book, signed and dated to right-hand margin ‘Will R 93’ and captioned in the artist’s hand to lower margin ‘Will Rothenstein, Hannah Whittal Smith, Friday’s Hill. July 1893’, 47.3 x 35.2 cm (18 1/2 x 13 7/8 ins), mounted, framed and glazed (67.2 x 54.3 cm) Provenance: Oliver and Ray Strachey; thence by family descent; private collection, UK; Bonhams, ‘Fine Art & Antiques’, 5 November 2014, lot 37. Evangelist and religious writer Hannah Tatum Whitall Smith (1832-1911) was born into an influential Quaker family in Philadelphia. She married Robert Pearsall Smith who was also descended from a long line of Quakers. After struggles with her beliefs and the exploration of various other Christian doctrines and denoninations, Hannah came to a deep faith following the loss of her 5 year old daughter. She and her husband became speakers in the Holiness movement in the United States and the Higher Life movement in the UK, and they travelled to various countries in Europe to hold meetings and preach. Hannah wrote a widely-read book on the subject of Christian mysticism and practical Holiness theology entitled The Christian’s Secret of a Happy Life, published in 1875. She was also active in the women’s suffrage movement as well as the temperance movement. One of her daughters, Mary, married the art historian Bernard Berensen. Ray Strachey, born Rachel Pearsall Conn Costelloe (1887-1940), was the daughter of Mary Berenson by her first husband Frank Costelloe. She was a feminist politician, mathematician, engineer, artist and writer, and, like her grandmother Hannah, worked tirelessly for the suffrage cause, publishing a number of writings on the subject, including The Cause published in 1928. She married Oliver Strachey, brother of Lytton Strachey, in 1911. The National Portrait Gallery holds a bromide print after Rothenstein’s portrait by an unknown photographer (NPG Ax160542). It was given to the NPG in 1999 by Barbara Strachey, daughter of Ray and Oliver, who also donated a platinum print of Hannah and Robert outside Friday’s Hill House (NPG Ax160670), their home in Fernhurst near Hazlemere, where they entertained artists, writers, musicians and intellectuals, William Rothenstein amongst them. (1) £200 - £300

274* Read (Harold Hope, 1881-1959). Beach Scenes and Figures, 8 watercolours, comprising 4 pen, ink, and watercolour drawings of humorous crowded beach scenes, a similar watercolour of figures in a park, a pen, ink, and monochrome wash drawing of figures gathered around an infant, a self-portrait in pastels, and an oil painting of a man smoking a pipe, with a woman and other figures behind, smallest 19.4 x 23.2 cm (7 5/8 x 9 1/8 ins), largest 26.7 x 36.4 cm (10 1/2 x 14 1/4 ins), all mounted, with matching glazed frames (largest 41.6 x 51.5 cm), self-portrait with glass cracked (8)

£200 - £300

276* Sleigh (Bernard 1872-1954). Four views in Holland, coloured chalks on paper, heightened with touches of white bodycolour, including two canal scenes with barges, and two scenes of Dutch houses, sheet sizes 26 x 33.5 cm (10 3/16 x 13 3/16 ins), and smaller, plus a study of a Dutch girl, coloured chalks on paper, sheet size 42 x 32.3 cm (16 1/2 x 12 3/4 ins), all unsigned (5)

Lot 275

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

108

£200 - £300

Margaret Stones (1920-2018) Australian born Margaret Stones started her formal art training at Swinburne Technical College in 1936 and continued it at the National Gallery of Victoria School from 1940 to 1942. The outbreak of war brought an uncertain future so Margaret decided to train as a nurse. Shortly after completing her nursing exams she was struck down by tuberculosis. During her eighteen month recovery she rediscovered the therapeutic value of drawing. Sir Clive Fitts, a hospital doctor who was also an art collector and patron, mentioned her work to the Director of the National Gallery of Victoria and encouraged Margaret to take up botanical drawing seriously. In 1951 Margaret arrived in London to work with botanists and develop her art, working for more than ﬁfty years as a freelance botanical illustrator for the Royal Botanical Gardens at Kew. She also illustrated The Endemic Flora of Tasmania, published as six vols in 1967-78, and completed The Flora of Louisiana for the Louisiana State University, Baton Rouge. She retired to Australia in 2001.

277AR* Stephenson (Ian, 1934-2000). Untitled, watercolour and gouache on grey paper, signed and numbered ‘5’ in white ink lower right, traces of masking tape residue to extreme outer corners, sheet size 78 x 52.5 cm (13.75 x 12.75 ins) The work of abstract artist Ian Stephenson is characterised by mesmeric and immersive compositions made from thousands of tiny dots forming layered constellations combining density and surface. Stevenson studied fine art under Sir Lawrence Gowing at Kings College, Newcastle (19511956), and later became studio demonstrator on the famous art education experiment course run by Victor Pasmore and Richard Hamilton at Newcastle known as The Basic Design Course. His first solo exhibition took place at the New Art Centre in London in 1962, with later solo exhibitions at the Laing Art Gallery (1970), Hayward (1977), and Birmingham Art Gallery (1978). (1) £400 - £600

278* Stones (Margaret, 1920-2018). Carpentaria Californica, watercolour, showing a section of tree anemone with white ﬂowers and yellow stamens and narrow elliptical leaves, signed lower left, pencilled title and inscription 'met. R.G.B. Kew June 4th 1990' to lower margin, 37 x 25.2 cm (14 5/8 x 10 ins), mounted, framed and glazed (54.8 x 41.4 cm) (1)

109

£200 - £300

279* Stones (Margaret, 1920-2018). Malus Niedzwetzkyana, watercolour, depicting a section of branch from a Niedzwetzky’s apple tree showing the pink blossom and red skinned fruit, signed in lower stem, pencilled title and inscription 'RBG Kew Ap 14th & June 20th 89' to lower margin, 20.6 x 15 cm (8 1/8 x 6 ins), mounted, framed and glazed (36.8 x 30 cm) (1)

281* Stones (Margaret, 1920-2018). Trillium Sessile, watercolour, depicting a single trillium sessile with marked green leaves and upright pinky red ﬂower emerging from the centre, artist’s signature to lower right stem, pencilled title and inscription 'Spinners, Hampshire, March 2002' to lower margin, 24.5 x 16.3 cm (9 5/8 x 6 3/8 ins), mounted, framed and glazed, (40.4 x 31 cm)

£200 - £300

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280* Stones (Margaret, 1920-2018). Narcissus Bulbocodium, watercolour, showing a large clump of vibrant yellow daffodils, artist’s signature to lower right, 25.3 x 17.5 cm (10 x 6 7/8 ins), mounted, framed and glazed (59.6 x 44.3 cm), together with: Moon (Henry George, illustrator), Various Flora, 1903-05, 7 colour lithographs, each depicting different ﬂowers including - The Cambridge Calla, Meconopsis Integrifolia, Tulipa Tubergeniana, Anemone Cernua, Group of Hybrid Iris, Sarracenia Flava and Rhododendron Augustinii And Its White Form, all with title to lower margin, image size 30 x 22.2 cm (11 3/4 x 8 3/4 ins), each mounted (43.2 x 34.8 cm) and a pencil drawing of celery by Hannelore Blanchard (9)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£150 - £200

282* Stones (Margaret, 1920-2018). Tulipa sp (?T. tschinganica), watercolour, depicting a bright red goblet shaped tulip with speckled green leaves, signed in image lower right, titled and inscribed in pencil to lower margin 'Tulipa sp (?T. tschinganica) USSR RBG Kew, March 30th 94', 20 x 15 cm (7 7/8 x 6 ins), mounted, framed and glazed (36.8 x 30 cm) (1)

£200 - £300

110

£200 - £300

283* Talbot Kelly (Robert George, 1861-1934). A village scene in (probably) Burma, watercolour on wove paper laid onto board,33.4 x 46.3 cm (13 1/8 x 18 1/4 ins), framed and glazed (45.6 x 58.1 cm), together with another watercolour, possibly by another hand, depicting an olive grove in the south of France, on wove paper laid onto board, 39.2 x 49.3 cm (15 3/8 x 19 3/8 ins), ﬂoat-mounted, framed and glazed (59.5 x 74 cm), both generally in good condition (2)

£300 - £500

284* Talbot Kelly (Robert George, 1861-1934). An Egyptian Oasis, watercolour, mount opening 29 x 46.5 cm (11 3/8 x 18 1/4 ins), framed and glazed (52 x 71 cm) (1)

£200 - £300

285* Talbot Kelly (Robert George, 1861-1934). Egyptian lake with dows, & Rocky shore line with a rockpool, the sea beyond; two watercolours on wove paper, each signed lower left ‘R.Talbot Kelly’, the ﬁrst dated 1909, mount-openings respectively 36 x 53 cm (14 1/4 x 20 3/4 ins) and 34.8 x 47.5 cm (13 3/4 x 18 5/8 ins), both apparently in very good condition, unexamined out of the frames, framed and glazed (60 x 76 and 59 x 70.5 cm respectively) (2)

£400 - £600

286 No Lot

111

287* Tomkin (William Stephen, 1861-1940). Searchlights during a Zeppelin raid over London, September 8th 1915, watercolour on wove paper, with touches of bodycolour, signed lower right, dated lower left, lightly cockled, single wormhole to right edge, sheet size 19.5 x 29.8 cm (19 1/8 x 11 3/4 ins), unframed

289* Wigley (William, 1880-1943). La Rochelle, watercolour on paper, unsigned, mount aperture 28 x 38 cm (11 x 15 ins), framed and glazed (51 x 60cm), attribution label to verso 'purchased from the artist's studio', together with another by the same artist, depicting a continental harbour, 17 x 37.5 cm, framed and glazed, plus Taylor (G.H. 19th century). Pat's Poor Prospects 1871, watercolour on paper, signed and dated lower left, 37 x 25 cm, framed and glazed, and Spear (Ruskin, 1911-1990). ick the mood you're in when writing this memo, pencil sketch of a cat sitting by a table lamp, signed in pencil, mount aperture 12 x 14 cm, framed and glazed

On September 8, 195, Aldersgate in London was targeted by Heinrich Mathy, commanding a German Zeppelin. The raid killed 22 people and inﬂicted serious damage on the centre of the City of London. (1) £300 - £500

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£200 - £300

288* Weeks (Edwin Lord, 1849-1903). Middle-Eastern Scenes, watercolour, depicting a street scene, with camel and rider in the centre, and a mosque in the background, initialled to lower right, 21.8 x 13.8 cm (8 5/8 x 5 3/8 ins), mounted, framed and glazed (31 x 22.8 cm), together with 4 other watercolours similar by the same artist, 2 depicting market scenes and 2 depicting country scenes, all initialled, each mounted, framed and glazed

290* Wylde (Geoffrey Spencer, 1903-1972). Woman with Hooped Earrings, 1933, pencil, head & shoulders portrait, half-proﬁle to left of a negro woman wearing a tied headscarf, hooped earrings, and a large pendant around her neck, signed and dated lower left, 33.4 x 25 cm (13 x 9 7/8 ins), mounted, together with 2 other pencil drawings by the same artist, comprising a half-length portrait of a seated young woman, signed lower right and dated 1938, 35 x 27.3 cm (13 3/4 x 10 3/4 ins), and a study of a standing native young man, wearing a headdress and long robes, signed lower right, 23.7 x 14.8 cm (9 3/8 x 5 7/8 ins), both mounted

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Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£150 - £200

112

£150 - £200

KATHLEEN HALE (1898-2000) Kathleen Hale is best known for writing and illustrating a series of books about Orlando, the Marmalade Cat. She started drawing at a young age, and as a teenager attended life-drawing classes at Manchester School of Art under M. Adolphe Valette, before studying under Allen Seaby as a scholarship student at Reading University College. Living in London, Hale became part of Jacob Epstein's set, having been initially invited to his parties by Meum Stuart - Epstein's favourite model. During the latter part of the First World War she joined the Land Army as a carter, producing many sketches of horses as a result. Once the War ended, Hale obtained work designing dust-jackets for W.H. Smith. As a member of the Studio Club in Regent Street, Hale met the artist Frank Potter with whom she had a love affair that lasted several years. In her autobiography A Slender Reputation Hale describes how Potter introduced her to the work of the Post-Impressionists which "opened my eyes and my mind" (p.78). Potter worked at the Slade School of Art, while Hale took various menial jobs. In 1920, struggling to make ends meet, Kathleen met Augustus John who asked what art project she was working on. When Hale described her various paid occupations, John exclaimed that they were "a monstrous misuse of [her] talents", offering her work as his secretary (p.85). During this time Kathleen became great friends not only with Augustus himself, but also his wife Dorelia, or 'Dodo', and their family and friends. Hale worked for John for around 16 months, after which she left to join Frank Potter in Étaples, France, where she drew many of the local characters: poor fisherwomen, their babies and children. Encouraged by Augustus John, Hale exhibited some of the pencil drawings she had produced during this time. They sold well at the Grosvenor Gallery and the New English Art Club and were reproduced in a number of art journals. She began to receive a wide variety of commissions, and became part of the artistic circle known as Fitzrovia. Hale became friends with many other artists, for example she met Arthur Lett-Haines and Cedric Morris in Paris in the 1920s, and she later frequented the bohemian Benton End community where they had established the East Anglian School of Painting and Drawing. In 1923, while sick in hospital, Hale met Dr John McClean, eventually marrying his son Douglas, a young doctor himself. Having gained greater financial security, she studied under Bernard Meninsky at the Central School of Arts and Crafts, taking formal lessons in oil painting for the first time. She also experimented in collage and assemblage, exhibiting at the Lefèvre Gallery, amongst other places. When Douglas and Kathleen's first son, Peregrine, was born, they left the smoke of London and moved to Rabley Willow in Hertfordshire, which would appear in many of her paintings, as did scenes garnered on holidays, such as a "working" holiday in Spain taken with Vyvyan Holland and a family holiday to Sneem in County Kerry, Ireland. Hale began her most famous project, the adventures of Orlando the Marmalade Cat, as bedtime stories for her sons, and in 1976 she received an OBE for her work as an illustrator. The items offered here are from the family archive. The photograph shown, taken circa 1934/35, portrays Kathleen Hale with her youngest son Nicholas, and Orlando, the 'original' marmalade cat.

291* Hale (Kathleen, 1898-2000). An archive collection of 44 drawings and sketches, most on paper, a few on thin card or board, several laid down, many signed, several inscribed or annotated on recto or verso, some numbered on verso, comprising: 9 pencil sketches, subjects include Bill, the family’s black poodle, Frank Potter, Ronald Moody, and Jane Peers; 21 watercolours, most with pencil or pen & black ink, generally landscapes, a few abstract or still-life, a couple of nudes; 14 pen & ink sketches, including many humorous scenes, and a rough sketch of Celia Johnson, plus some later reworkings of two sketches reproduced in her autobiography, and a framed and glazed humorous pencil sketch produced in 1913, when Hale was just 15 years old, various conditions and sizes, contained together in a large drop-spine box (63.7 x 51.5 cm) Bill, the black poodle, was the McClean’s ﬁrst family dog. In her autobiography A Slender Reputation, Kathleen Hale describes how “Bill became the boisterous anti-hero of my next book, Orlando Keeps a Dog”. The watercolour landscapes include scenes in Spain, Portugal, Ireland, France, and Yorkshire. The reworked sketches reproduced in A Slender Reputation can be found on pages 174 & 219. (44) £300 - £500

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292* Hale (Kathleen, 1898-2000). Dinghy park at Hamble, 1958, watercolour and pencil on paper, signed lower right, mount aperture 26 x 37.2 cm (10 1/4 x 14 5/8 ins), framed and glazed (39.9 verso with red ink numbers '66' (crossed-out) and '86' relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, together with: Spain, pen & black ink and watercolour on paper, titled and signed lower right, mount aperture 23 x 32.5 cm (9 1/8 x 12 3/4 ins), framed and glazed (44.5 x 53.1 cm), plus: Amalfi, 1926, watercolour, pen & black ink over pencil on heavy paper, signed and titled ‘Amalfi’ lower right, verso with an unfinished sketch in pen & black ink, titled Amalfi and dated 1926, also annotated ‘F47’ & ‘257’, and ‘7’ in a circle, sheet size 22.8 x 30.3 cm (8 7/8 x 12 ins), window mounted, framed and glazed (44 x 50.5 cm), verso with red ink number ‘38’, relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, and three others: Abstract with geometry instruments, 1974; Mincer, 1974; Abstract with monkey wrench, 1975, all pencil on paper, the first with watercolour, the 2nd with wash, each signed and dated, window mounted, framed and glazed (48.9 x 39 cm and smaller) (6)

£200 - £300

293AR* Hale (Kathleen, 1898-2000). Four Maenads Dancing, 1920s, oil on canvas, signed lower left, unstretched, some surface craquelure and other marks, including two small horizontal tears near left edge (one with minor loss), 62.5 x 72.8 cm (24 5/8 x 28 5/8 ins), framed (76.8 x 89.8 cm) (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £500

114

294* Hale (Kathleen, 1898-2000). My First Love, circa 1921, linocut portrait of Frank Potter, signed and numbered 4/10, mount aperture 19.8 x 13.8 cm (7 7/8 x 5 1/2 ins), framed and glazed (39.7 x 32.2 cm), verso with red ink number ‘33’, relating to Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, together with: Aquarium, or, Mediterranean Blues, 1920s, linocut in colours, signed and numbered 1/15, mount aperture 19.4 x 22 cm (7 5/8 x 8 5/8 ins), framed and glazed (41.7 x 43.1 cm), verso with printed label giving artist and title, plus: Sleeping woman in attic, linocut, pencilled number ‘150’ to upper right, mount aperture 18.3 x 21.2 cm (7 1/4 x 8 1/4 ins), framed and glazed (36.5 x 37.5 cm), and 14 unframed linocuts, comprising: Farmyard in Étaples (1); Owl and mouse (3); Aquarium (3 printed in colours, 1 in green only); Sweet Corn (mice and corn - 1 printed in shades of brown/yellow); Scratching hen (1); My First Love (4)

295* Hale (Kathleen, 1898-2000). Portrait of a French peasant woman with scarf, 1920, pencil on paper, signed lower right, dated upper right, sheet size 31.8 x 24 cm (12 1/2 x 9 1/2 ins), window mounted, framed and glazed (46 x 37.8 cm), verso with ink numbers ‘P67’ & ‘528’, and manuscript Gallery label ‘Goldmark no. 61 ...’, together with: Waiting for the Kettle, circa 1920, pencil on paper, depicting an elderly French woman sitting in a kitchen, signed lower right, single foxing spot to lower right corner, mount aperture 26.7 x 22.1 cm (10 1/2 x 8 3/4 ins), framed and glazed (48.1 x 42.4 cm), verso with Goldmark Gallery labels, and ink manuscript numbers ‘P68’ & ‘529’, plus: Portrait of a girl in a headscarf, circa 1920, pencil on paper, signed towards lower right, mount aperture 22.8 x 20.5 cm (9 x 8 ins), framed and glazed (47.4 x 43.2 cm), verso with red ink number ‘26’ relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, and two other similar portraits: Boy with cap turning his head, and Babies, both pencil on paper, the former signed and dated 1920, both window mounted, Boy with cap turning his head unframed (mount size 43.2 x 38.8 cm), Babies framed and glazed (50.8 x 42.7 cm), ink manucript number ‘435’ on verso

‘My First Love’ is reproduced in Kathleen Hale’s autiobiography A Slender Reputation on p.78. ‘Scratching hen’ is reproduced on p.159. Several of the linocuts are listed in the catalogue of the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, with ‘My First Love’ also appearing in the Michael Parkin exhibition Modern British Art, works on paper, 20-30 June 2001. (17) £300 - £400

The portrait of a French peasant woman with scarf is reproduced in Kathleen Hale’s autobiography A Slender Reputation on p.108, and in the catalogue of the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001 (item 22). These drawings, and those in the following 4 lots, were produced when Kathleen Hale was living and working with Frank Potter in Étaples, France, circa 1920. In A Slender Reputation, Hale describes how, “We chose our models from the poor ﬁsherwomen, old and young, with their babies and their children”. (5) £300 - £500

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296* Hale (Kathleen, 1898-2000). Portrait of a seated and sad ragged little boy, 1920, watercolour and pencil on paper, signed centre left, dated lower left (behind mount), watermark to left side ‘B. Crayon Ang’ne Manuf’re Canson & Montgolﬁer’, some spotting and light dust-soiling, verso with annotations ‘Pic P33’ & ‘443’, sheet size 31.6 x 24.5 cm (12 1/2 x 9 5/8 ins), window mounted, framed and glazed (41.5 x 30.5 cm), together with: Portrait of a young boy holding some bread, circa 1920, watercolour and pencil on paper, lightly toned, mount aperture 32.8 x 22.5 cm (13 x 8 7/8 ins), window mount toned with some dampstaining to edges, verso with ink numbers ‘Pic FS 2’ & ‘227’, mount size 49 x 34.5 cm (unframed)

297* Hale (Kathleen, 1898-2000). Young Boy, 1920, watercolour and pencil on paper, full-length portrait of a seated child in ragged clothing, dated lower right, spotted and lightly dust-soiled, verso with annotations ‘Pic P32’ & ‘442’, also ‘14’ in a circle, sheet size 31.7 x 24.5 cm (12.5 x 9 5/8 ins), window mounted, framed and glazed (56 x 46 cm), verso with typewritten label, including title ‘Young Boy, 1920’, and with red ink number 15, relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, together with: Portrait of a boy frowning, circa 1920, pencil on paper, spotted and lightly dust-soiled, mount aperture 25.4 x 18.9 cm (10 x 7 3/8 ins), framed and glazed (45.5 x 38.5 cm)

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Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £400

116

£300 - £400

298* Hale (Kathleen, 1898-2000). Portrait of a woman in proﬁle, 1920, pencil on paper, signed and dated lower left, lightly toned, a few fox spots, sheet size 37.4 x 27.6 cm (14 3/4 x 11 ins), pencilled ‘10’ on verso, window mounted, framed and glazed (58.8 x 48.1 cm), red ink ‘21’ on verso, relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, together with: Portrait of a French peasant woman, 1920, pencil on paper, signed lower right, mount aperture 28.4 x 23.5 cm (11 1/4 x 9 1/4 ins), framed (unglazed, 48.7 x 42.2 cm), red ink ‘23’ on verso, relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, plus: Portrait of a boy in a cap, 1920, pencil on paper, signed and dated lower left, lightly creased and marked, sheet size 35.8 x 25.2 cm (14 1/8 x 10 ins), window mounted, with three other similar portraits: Little girl (signed, some light discolouration), Boy in a cap (threequarter proﬁle, dated, foxed), both pencil on paper, and Girl sitting on a chair with checked dress (signed), pen & blue ink on paper, all window mounted, framed and glazed (56.6 x 47.1 cm and smaller)

299* Hale (Kathleen, 1898-2000). Portrait of a young girl in a checked blouson, 1920, pencil on paper, signed lower right, additionally signed and dated lower left, a few foxing spots, sheet size 31.8 x 24.3 cm (12 1/2 x 9 5/8 ins), verso with numbers ‘5’, ‘Pic P 24’ & ‘434’, window mounted, framed and glazed (56.5 x 47.1 cm), verso with red ink ‘16’, relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, together with: Portrait of a young girl (a young Norman woman), 1920, pencil on paper, signed and dated lower left, toned, a few pale fox spots, faint scratch to forehead, sheet size 35.4 x 26.9 cm (14 x 10 5/8 ins), window mounted, framed and glazed (57.5 x 48 cm), verso with pencilled ‘17’ relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, and a label incorrectly identifying it as ‘21. Woman in Proﬁle’, plus: Portrait of a middle-aged French peasant woman, c.1920, pencil on paper, signed lower left, some pale discolouration to lower edge, mount aperture 34.2 x 24 cm (13 1/2 x 9 12 ins), framed and glazed (52.1 x 41.6 cm), and two other similar portraits: French baby, & Seated boy with cap, both pencil on paper, each signed and dated 1920, both window mounted, Seated boy with cap unframed (mount size 45 x 36.2 cm), French baby window mounted, framed and glazed (31.4 x 29 cm)

The portrait of a woman in proﬁle is reproduced in Kathleen Hale’s autobiography A Slender Reputation on p.109. Boy in a cap is reproduced in the catalogue of the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001 (item 14). Little girl, and Boy in a cap (three-quarter proﬁle) both appeared in the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001 (numbers 28 & 18 respectively). (6) £300 - £500

Portrait of a young girl (a young Norman woman) is reproduced in the catalogue of the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001 (item 17). (5) £300 - £500

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301* Hale (Kathleen, 1898-2000). Rabley Willow Sitting Room, oil on canvas, some areas of ﬂaking and loss, mainly affecting left side, verso with ink manuscript numbers ‘Pic 57’ and ‘021’, 61.5 x 46.5 cm (24 x 18 ins), unstretched and unframed, together with: Portrait of a young boy [Ian Blagg], oil on canvas, verso with ink manuscript ‘Pic P4’ and ‘004’, 48.8 x 39 cm (19 1/4 x 15 3/8 ins), unstretched and unframed, plus: Peacock and stag, oil on canvas, top margin and verso with ink manuscript ‘Pic I13’ and ‘013’, 39.5 x 48.5 cm (15 1/2 x 19 1/8 ins), unstretched and unframed, with: River and wooded cliffs [Rossdohan Island, County Kerry], oil on canvas, signed lower right, 51 x 61.3 cm (20 1/8 x 12 1/8 ins), framed (64.5 x 74.6 cm), verso with framer’s label ‘The Rowley Gallery Ltd., Kensington’, and ink manuscript ‘Pic ISL1’ and ‘015’, and 4 others similar: 3 oil on canvas landscapes, (unstretched and unframed), one oil on board depicting a pair of white egrets (title label on verso ‘Two Cranes’), unframed, each 49 x 58 cm and smaller Rabley Willow in Hertfordshire was the home that Douglas and Kathleen moved to when their ﬁrst son was born, to escape the noise and polluted air of London (A Slender Reputation p.183). The three additional landscapes depict: Kerry - inlet with rocks, trees and mountains; Lake and hills, Kenmark Estuary, Kerry; Rocky seashore, Kenmark Estuary, Kerry. On page 247 of A Slender Reputation the artist mentions a family holiday to Sneem, a village on the coast of County Kerry near Rossdohan Island, taken sometime during the late 1940s. She describes the "trees hung with bright green moss, ... immense boulders encrusted with orange, grey, white and black lichen ...”. (8) £300 - £500

300* Hale (Kathleen, 1898-2000). Portrait of Dorelia John, circa 1919, pencil on paper, signed and titled towards lower right, lightly foxed, dampstain to left edge (beneath mount), sheet size 24.1 x 20.4 cm (9 1/2 x 8 ins), window mounted, framed and glazed (36.5 x 29.8 cm), verso with crossed-out ink number ‘13’, and pencilled ‘15’, together with: Mother, pencil on paper, signed and titled lower left, somewhat foxed and marked, mount aperture 27 x 17.5 cm (10 5/8 x 6 7/8 ins), framed and glazed (40.5 x 31 cm), framers tape on verso with ink manuscript artist’s name and title ‘My Mother’, possibly in the artist’s hand (2)

£200 - £300

302* Hale (Kathleen, 1898-2000). The End of the Day, or, Horse and Cart by Moonlight, pencil on paper, a couple of small fox spots, sheet size 11.2 x 15.4 cm (4 3/8 x 6 1/8 ins), window mounted, framed and glazed (30.5 x 27.5 cm), together with: Rag-and-Bone Man, 1913, pencil on paper, some discolouration, mainly to upper margin and right side, sheet size 16.1 x 22 cm (6 3/8 x 8 5/8 ins), laid on paper (with pencilled caption to lower margin ‘November 13th 1913’), window mounted, framed and glazed (35.5 x 39 cm), verso with red ink manuscript number 1, relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001 Both depicted in Kathleen Hale’s autobiography A Slender Reputation, on pages 36 & 34 respectively. (2) £200 - £300

Lot 301

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

118

SCULPTURE

303* Barye (Antoine Louis, 1796-1875). Lion Assis, bronze sculpture, dark brown patina, modelled sitting, tail curled around haunches, head raised with curled ﬂowing mane, late recasting, with previous catalogue label underneath, 20cm high including socle x 16cm long, together with an unrelated 20th century bronze of a Lion resting, modelled lying down, tail curled around his haunches, front paws stretched in front, head raised with curled ﬂowing mane, mounted on marble plinth, 8cm high including plinth x 15.8cm long (2)

£700 - £1,000

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304* Delabrièrre (Paul-Édouard, 1829-1912). Truie, 19th century, patinated bronze sculpture, modelled as a pig grazing on a naturalistic base, signed ‘E. Delabrierre’, 18 cm high x 23 cm wide (1)

£200 - £300

305* Manner of Andrea del Verrocchio (1435-1488). The Infant Christ, mid-16th century, polychrome and gilt gesso carved wood, depicting a naked infant Christ holding an orb (probably the globus cruciger) in his left hand and offering benediction with his right hand, on integral plinth, some damage to ﬁngers and general minor wear, overall height 58 cm (22.75 in) Provenance: Private Collection, Herefordshire, England. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

120

£500 - £800

Day Two

OBJETS D’ART To commence at 10am

Lot 310 Lot 311

311* Agate Boxes. A collection of 19th century and later agate boxes, including a dome top casket with gilt metal mounts, 4 cm high x 9 cm wide x 4.5 cm deep, another with gilt metal mounts with ball feet, 4.5 cm high x 8 cm wide x 6 cm deep and others plus two oval agate dishes, 6 cm long

310* Agate Box. A ﬁne 18th century agate and gilt metal box, with octagonal panel applied to the cover and base, 3 cm high x 7.5 cm wide x 5.5 cm deep (1)

£200 - £300

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£200 - £300

312* Alfred Jewel. A fine late 19th century replica of the Alfred Jewel, with a later loop hallmarked for Birmingham 1954, in silver-gilt, with polychrome enameled image of a standing male with rock crystal cover, the edge with text +AELFRED MEC HEHT GEWYRCAN, with pelleted border above, the finial formed as a beast-head with suspension emerging from mouth, the base engraved with a foliate decoration, 7 cm long, in original fitted brown leather case The Alfred Jewel is an Anglo-Saxon pendant dating to the late 9th century and was made during the reign of Alfred the Great. It is made of gold with enamel and quartz decoration and was discovered in North Petherton, Somerset in 1693. Now on display at the Ashmolean Museum in Oxford. The inscription reads “aelfred mec heht gewyrcan” (Alfred ordered me to be made). After decades of scholarly discussion, it is now “generally accepted” that the jewel’s function was to be the handle for a pointer stick for following words when reading a book. There were a number of silver-gilt replicas of the Alfred Jewel produced during the reign of Queen Victoria and were commissioned and distributed by Elliot Stock (a London bookseller and publisher). (1) £700 - £1,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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313* Bilston Enamel Boxes. A George III period enamel patch box made to commemorate John Paul Jones, who was the United States’ ﬁrst well-known naval commander in the American Revolutionary War, the oval box with a portrait of Paul Jones in military uniform and titled ‘Paul Jones’ with blue enamel base, there is black monogram to the inner lid, minor damage, 48 mm long, together with three further enamel boxes all of the same period comprising ‘The Happy Union of England & Prussia’, Cheltenham Wells and a courting couple, all damaged John Paul Jones (1747-1792) was a ScottishAmerican naval captain who was the United States’ ﬁrst well-known naval commander in the Amerian Revolutionary War. Jones is sometimes referred to as the “Father of the American Navy”. (6) £200 - £300

Lot 313 315* Bronzes. A 19th century French bronze inkstand, the rectangular box surmounted by a putto holding a torch whilst resting on a dolphin, enclosing ink and pounce pot on an acanthus moulded base, 14 cm high x 14.5 cm wide x 9.5 cm deep, together with a 19th century bronze modelled as a cherub holding a swan, 12.5 cm high, a bronze bull (lacking one horn), 9 cm long plus another bronze ﬁgure (incomplete and would probably have once held a ﬁshing net), 20 cm high (4)

£200 - £300

316* Campaign Writing Box. A Victorian mahogany and brass bound campaign writing box, the rectangular box with vacant escutcheon with brass bands, brass corners and key plate, recessed brass handles, the hinged lid enclosing tooled leather fall and two associated ink bottles, 15 cm high x 50 cm wide x 27.5 cm deep, together with another Victorian mahogany writing box, the lid inset with an oval mahogany panel, brass carrying handles to the side, 16 cm high x 47 cm wide x 26 cm deep, both boxes would beneﬁt from some restoration (2)

314* Boulle Clock. A Victorian Boulle work mantel clock, the circular white enamel dial with black Roman numerals and steel hands, single winding hole (chipped around hole), the case with arched top, brass inlay and rococo scroll brass handle, the sides and rear door glass enclosing a brass fusee movement with key and pendulum, raised on four brass bun feet, the catch for the dial glass door is inoperable and the clock is not working, it would therefore beneﬁt from an overhaul, 23 x 14 cm (1)

£200 - £300

Lot 315

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£100 - £200

Lot 317

317* Chess. A 19th century Chinese export ivory chess set, comprising 32 pieces, one side stained red the other natural, the king’s 9 cm high, the pawn’s 5.5cm, the natural pieces with a king and queen (probably George III and Queen Charlotte) the red with a Chinese Emporer and Empress, some loss throughout and due to the fragility some pieces would beneﬁt from restoration, contained in an associated Victorian satin walnut box, the lid inset with beige velvet printed ‘Album’ under glass, 12 cm high x 29 cm wide x 19.5 cm deep (1) £1,500 - £2,000 318* Chess. A Victorian Jacques Staunton pattern ivory chess set circa 1880, one side stained red the other natural, the kings 7.5cm, the pawns 3.5cm, some pieces stamped ‘Jacques London’ and others with green registration mark paper labels, contained in original Gothic papier-mâché Cartonpierre box, with tooled leather and violet velvet lining, 10 cm high x 21 cm wide x 15 cm deep Please note, one red pawn is missing. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 318

£600 - £800

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321* Coins. George III silver crown (2) 1820 and 1821, both worn, two pairs of George III spectacles, an Edwardian yellow metal pencil fob the top inset with a citrine, 5 cm long, various WWI badges and silver sporting fob and other items (small bag)

£70 - £100

319* Coco de Mer. A fine ‘blonde’ Coco de Mer (Lodoicea Maldivica) which was found in the Seychelles, the polished example measuring approximately 30 cm The Coco de Mer is a palm endemic unique to the islands of Praslin and Curieuse in the Seychelles. It was first discovered in 1768 but prior to that was a popular legend amongst sailors that it came from a mythical tree at the bottom of the sea, as husks were often found floating on the water. (1) £500 - £700

320* Coconut Powder Flask. A wonderful carved coconut powder ﬂask 1823, carved by J Stevinson, a soldier of the 45th (Nottinghamshire) Foot, the regimental crest surrounded by battle honours of the Peninsular War, the opposite side inscribed ‘The mother of me is a coconut tree and her liqueur is excellent sou’nd for out of her body comes arbrack and tody so drink and be merry all round over rocks and sands and barran lands yet god protect me still and through this land a wilderness I climb to Zions Hill’, the sides carved with the name ‘J Stevinson’, the other side ‘Ino Stevinson’, the base inscribed ‘The 20 of Oct 1823 Ceylon’, with two handles and cord, the neck of the ﬂask applied with pewter spout, 15 cm high, presented on a gilt metal stand with lions mask supports (1)

322* Collectors Chest. A handsome Victorian tabletop collectors chest, the mahogany veneered chest with single panel door enclosing 5 drawers each with brass ring turn handle, a lock to the side but lacking key, scratches and general wear, 35 cm high x 28 cm wide x 32 cm deep (1)

£300 - £500

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£100 - £150

Lot 325

325* Desk Seal. A Victorian spinning desk seal, the gilt metal wheel holding 6 multicoloured stone intaglio seals, each different for example ‘Always at Home’ with snail design, ‘Time Flies but Friendship Stays’ with an egg timer design, ‘All Good Turns Deserve Another’ with a thistle design and others, with a purple facet cut glass handle, 10 cm long, contained in a period fret cut box, lined with a green velvet and green ribbons, the inner lid with 6 printed impressions of the seals (1)

£200 - £300

326* Desk Seals. A collection of agate desk seals, including a large example with foliate white metal seal and initials, 11 cm long, another carved with thistles, 6 cm long, another with a heraldic crest IACOBUS STOVINARM VIC, 6 cm long, a rock crystal seal carved with a squirrel, 5 cm long and one other (5)

£100 - £200

324* Desk Seal. A Victorian white metal desk seal in the form of a greyhound, with carnelian seal with greyhound intaglio, 35 mm high, with a lovely tarnished patina (1)

£200 - £300

323* Corpus Christi. An antique Continental carved wooden Corpus Christi, the rustic torso with loin cloth, traces of pigment and weathered with age, 110 cm high (1)

£300 - £500

Lot 326

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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327* Edison Electric Pen. The nickel-plated ﬂywheel stamped ‘Patented Aug 15 1876’, cast iron frame painted black with gold line detail, the electric motor formed with two electromagnetic coils, nickel-plated shaft with chequered grip, 14 cm long, in original green card box (lacking lid) with green cord cable and attachments Introduced to the public in 1876, the Edison Electric Pen was used to make multiple copies of handwritten documents by utilising a small motor causing a reciprocating needle to perforate specially prepared paper and thus, making a stencil. The stencil and copy paper were then placed in a frame where ink was applied making a copy. The Edison pen was made obsolete by the introduction of the typewriter. (1) £700 - £1,000

328* Edison Electric Pen. The nickel-plated ﬂywheel stamped ‘Patented Aug 15 1876’ and numbered ‘5306’, cast iron frame painted black with red line detail, the electric motor formed with two electromagnetic coils, nickel-plated shaft with chequered grip, 14 cm long, in original green card box with cover Introduced to the public in 1876, the Edison Electric Pen was used to make multiple copies of handwritten documents by utilising a small motor causing a reciprocating needle to perforate specially prepared paper and thus, making a stencil. The stencil and copy paper were then placed in a frame where ink was applied making a copy. The Edison pen was made obsolete by the introduction of the typewriter. (1) £700 - £1,000

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330* Grand Tour. A collection of red plaster cameos of classical and neo-classical circa 1820-1840, some mounted on card and inscribed for example ‘Hermes (Mercury of the Romano)’ a group of three, largest 30 x 24 mm, another group of three similarly presented ‘L. Septimus Severus, Roman Emporor A.D. 193-211’, largest 30 x 28 mm, single examples including ‘Anthony & Cleopatra’, 50 x 40 mm, ‘Dimondes’, 55 x 45 mm and others (16)

331* Grand Tour. A glass intaglio circa 1850, showing a Greek empress, 39 mm diameter, contained in a circular treen box with Hunt & Roskell trade label to the inner lid, together with a glass cameo carved as a classical female, 28 mm diameter displayed in a contemporary red leather case, two conch shell cameos including one carved with the Capitoline Doves, 31 mm long, plus an unusual red stone/glass intaglio ﬁnely carved with a classical battle scene, damaged (cracked), mounted in a frame, 58 mm wide

329* Fire Dogs. A pair of Victorian brass ﬁre dogs, each modelled as a dragon, registration ‘kite’ marks to one side and base for September 1874, on tapered base, 16 cm high x 23 cm long (1)

£200 - £300

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£200 - £300

£80 - £120

Lot 330

332* Jardinière Stand. A 19th century Italian green marble jardinière stand, the ﬂuted column with shaped cap and acanthus base approximately 115 cm high (1)

333* Liberty & Co. A Tudric pewter crumb tray designed by Archibald Knox for Liberty & Co, cast in low relief with stylised foliate decoration, stamped marks to base 25 cm long,

Lot 331

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

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£70 - £100

334* Marchant (Nathaniel, 1739-1816). Hercules, engraved intaglio on amber glass, signed by Nathaniel Marchant, 20 x 20mm, tiny nick to rim of verso, together with Artemis holding a deer, engraved intaglio on amethyst glass, signed by Nathaniel Marchant, 22 x 18mm, two chips to rim of recto and verso, with 18 other late 18th and early 19th century intaglios on varicoloured glass, of oval, square and rectangular form, various sizes and subjects including a clear glass intaglio of a putto atop a lion, engraved ‘Amor vincit omnia’, another of a dog, engraved ‘When this dog barks our friendship ends’, a few chipped Nathaniel Marchant studied under Edward Burch. After spending time in Rome, he became a noted engraver of intaglios, medals, and cameos. He also became assistant engraver to the mint, gem sculptor to the Prince of Wales, and engraver to the king. He became a member of the Royal Academy in 1809. (20) £700 - £1,000

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337* Mêne (Paul Jules, 1810-1879). A bronze sculpture modelled as a recumbent goat, the oval base signed, 12 cm long, together with an 18th century ormolu wall plaque modelled as a classical female standing by a peacock, some damage, 17 cm high, a Chinese bronze candlestick modelled as a dog of fo, 12 cm long and other items (5)

335* Marine Chronometer. A ﬁne Regency period ship’s chronometer by Molyneaux & Sons, 30 Southampton Row, London circa 1830, the 9 cm circular silvered dial signed and numbered 1422, with arabic numerals calibrated for 0-23 for the hours and the outer rim for every 5 minutes with subsidiary seconds dial, the brass case with pivotal gimble, in working condition with key

£100 - £200

Robert Molyneux was a successful maker of chronometers and precision clocks during the early 19th century. He originally trained under Thomas Earnshaw and went into business himself in the 1820s. By 1832 Molyneaux had moved his business from 44 Devonshire Street to 30 Southampton Row in Bloomsbury London. (1) £500 - £800

336* France. Philip II (1674-1723), Duke of Orleans And Regent of France. Bronzed Copper Medal, 1715. Obv: Bust of Philip II right, signed S.V. below. Rev: France leaning on a shield with ﬂeur-de-lis, bowing before Duke of Orleans, date and signed S.V. in exurgue. 34mm, 45.9g. Charles X, 1824-30. Coronation, 1825. Bronze Medal. By Jacques Edouard Gatteaux, 1788-1881. 51mm, 52.9g. And two other French Medals, 72 mm and 51mm, the ﬁrst with a reddishbrown patina, a few surface marks, the second some signs of minor verdigris and light surface marks, the remaining larger with discolouration on rev, the smaller with a few small edge nicks

338* Octant. 19th century 10-inch octant by J Hughes London, polished steel and brass scale, wooden handle with accessories, in a mahogany box with original trade label for ‘J Hughes, Sextants & Quadrants, Compasses, Telescopes’

Provenance: Patricia Milne-Henderson (1935-2018), art historian. (4) £80 - £150

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£100 - £150

339* Pipe Tampers. A collection of 17th/18th century pipe tampers, including an erotic tamper, cast with a couple embracing, 65 mm high, together with a hand holding a pipe, 52 mm high, another in “detector ﬁnd” condition with initials ‘WF’ plus a small brass pendant cast with royal crest (9)

£100 - £200

340* Pitcairn Island. A souvenir of Pitcairn Island, carved as a flying fish by Fred Christian on 5 September 1956, the intricately detailed fish with wings stamped ‘Made by Fred Christian great grandson of Fletcher Christian of the Bounty who was killed by the natives in the year 1796’ the other wing stamped ‘From Pitcairn Island the home of the mutineers of the Bounty arrived on the 23rd of Jan. 1790 with 26 people on board’, the sculpture displayed on a turned support and the square wooden base stamped ‘Pitcairn Island September 5 1956’, 23 cm high x 26 cm long (1)

341* Powder Horn. A Georgian scrimshaw powder horn probably 18/19th century, carved with a ship under sail, mermaid, ﬁsh, a couple and the legend ‘Safe Returned’, inscribed ‘The Mo’ with military broad arrows, 44 cm long (1)

£100 - £150

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£300 - £500

342* Regency Clock. A Regency period bronze and ormolu mantel clock by Baetens, 23 Gerrard Street, Soho, London, the fine bronze case with white circular enamel dial, black roman numerals, gilt metal hands and winding hole, adorned with a figure of a philosopher/explorer in 17th century dress, his hand resting on the clock whilst holding a scroll/map, the integral rectangular base applied with ormolu cherub mask flanked by swags on ball feet, with pendulum and associated key, 22 cm high x 19 cm wide

344* Roman Bowl. A Roman gilt-bronze bowl, circa 220AD(?), the circular hammered bowl engraved ‘XX I’ to denote 20 years loyal service of a Roman Legionary, within a laurel wreath, the exterior of the bowl with circles formed from dots and a similar ﬁnish throughout, 32 mm high x 100 mm diameter

Baeten’s & Co produced clocks at 23 Gerrard Street, Soho, London from about 1814, the factory specialised in manufacturing clocks in bronze and ormolu which was unusual for the time as many clock manufacturers had to outsource ﬁrms to make the cases. (1) £300 - £500

Provenance: Private collection, Cotswolds. (1)

£1,500 - £2,000

343* Rococo Figure. An intriguing Rococo carved wood crinoline lady, probably 18th century, the ﬁgure carved from a softwood, standing against a rococo scroll on a similar c-scroll base, some loss and old worm holes, evidence of white and gold paint, suggesting it was once gilded, 17 cm high

345* Sailor Art. An early 19th century scrimshaw whale’s tooth, engraved with a French three-masted ship with tricolour ensign within a laurel wreath, 16 cm long

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

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£150 - £200

346* Scale Beam. A substantial brass 56 lbs scale beam by W & T Avery Ltd, formerly in the ownership of Gloucestershire County Council, engraved in large running script ‘County of Gloucester’, ‘Capacity 56 lb’, the opposite side engraved ‘W & T Avery Ltd London’, numbered ‘773’, 74 cm long, contained in a wooden transportation box with brass plaque engraved ‘Gloucestershire County Council Weights and Measures Department 56 Lbs Scale Beam. No. 773’ (lacking pans and chains) (1)

£150 - £200

347* Scent Bottles. A collection of Victorian and Edwardian scent bottles, including a double-ended example with blue cut glass and white metal foliate embossed caps, one end with stopper, 11 cm long, a tapered red glass bottle with white metal cover, 12 cm long, a teardrop glass bottle with red and clear glass and white metal cover with glass stopper, 10 cm long, a novelty green glass example in the form of a horn with white metal mounts, 5.5 cm long and other scent bottles (16)

Lot 346

£200 - £300

348* Seal Die. A Victorian brass seal die depicting a castellated building, diameter 7.5 cm (1)

£70 - £100

349* Seal Die. An armorial circular seal die for the Dukes of Devonshire, late 18th century (?), the engraved steel seal die with armorial and motto Cavendo Tutus, worn, diameter 4.5cm, together with ﬁve porcelain disks, each with hand-painted European armorials, late 19th century, one bearing the names C. Gastpar & F.H. Hauser to verso, and dated 1885/86, diameter 7 cm and smaller, one mounted within wooden frame

Lot 347

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£100 - £200

351* Snuff Box. A ﬁne Regency treen snuff box circa 1830, the lid transfer printed in black with a proﬁle of King George IV, an excellent example in good condition, 6 x 8 cm (1)

£100 - £150

352* Sundial. A polyhedral slate sundial circa 1850, signed on the chapter ring but so weathered it is now illegible, with dials in each corner for morning, afternoon, evening and night, each with brass gnomon, the slate worn and chipped in several places, 36 x 36 cm Similiar examples were produced by Richard Melvin, London. (1) £200 - £300

350* Shipwreck Coins. Spain, 8 Reals recovered from the Rill Cove Wreck which sank in 1618, presented with a certiﬁcate of origin provided by W.H. Lane & Son, Penzance together with another coin from the wreck of the Hollandia, which is similarly presented

353* Swagger Stick. A 19th century swagger stick, with rounded knop and sharks vertebrae with ebony ferrule, 74 cm long (1)

The Rill Cove Wreck was a 16th century Spanish cargo ship that sank off the coast of Rill Cove, Penzance, Cornwall. The remains were ﬁrst discovered in 1969. Over 300 coins were recovered from the wreck mostly from the reign of Philip II or Philip III. The identity of the ship has never been identiﬁed. The Dutch East India Company ship the Hollandia was wrecked on Annet, off the Isles of Scilly on 13 July 1743, with the loss of 276 crew. The ship was discovered in 1971 and a large collection of coins were recovered plus bronze cannons and mortars. In 1977, Penzance auctioneers W.H. Lane & Son auctioned these two coins in their “Treasure of Four Centuries” sale. (2) £100 - £150

£80 - £120

354* Tantalus. An Edwardian three bottle tantalus, the oak stand with nickel-plated carrying handle and lock with shield shape cartouche, the bottles each with stopper (one bottle with a chip on the neck), 28 cm high x 37 cm wide (1)

£70 - £100

Lot 353 Lot 351

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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357* Tunbridge Ware. A Victorian Tunbridge Ware box by T Barton, the lid inset with a pin cushion, the base with original trade label, 7 cm high x 15 cm wide x 10 cm deep, together with a collection of miscellaneous items including a George III tortoiseshell etui of tapered form, inlaid in silver retaining one bottle, 6.5 cm long, a gold painted porcelain cup and saucer with a proﬁle of Napoleon in relief, the cup in the ‘Josephine’ style with elegant handle, rubbing to the gildings and no marks, cup 13.5 cm high, saucer 16 cm diameter, a Japanese carved ivory ball, Meiji period (1868-1912), a Japanese carved horn lion, 17 cm long and other items (small box)

£100 - £200

355* Taxidermy. A late Victorian taxidermic diorama, the large glass dome containing several exotic birds including a kookaburra and parakeets, 67 cm high, some damage to the wooden base (1)

£300 - £500

358* Walking Stick. A George I piqué cane, the ivory top ﬁnely inlaid with pique work with silver collar engraved ‘Thomas Lowe de Sutton, August 3d 1721’, on a malacca shaft with eyelet for wristband, missing ferrule, 85.5 cm long (1)

359* Wall Clock. A Victorian circular wall clock, the 30 cm dial with black roman numerals, single winding hole, the wooden case painted black with gold painted scroll decoration, with brass movement, key and pendulum

356* Tobacco Box. A George III period ‘folk art’ pewter tobacco box circa 1820, the canted cover with turned ﬁnial, the base engraved with a farmer herding a cow titled ‘Good Beef Whats Better’, the opposite side bearing the name ‘J. Lewis’, the sides ‘Trade’ and the opposite side with an anchor, the interior with an iron tamper, some loss and wear, commensurate with age, 13 cm high x 11 cm wide x 7.5 cm deep (1)

£300 - £500

(1)

£70 - £100

360* Water Clock. A 1920s copy of a 17th century water clock, the oak case with brass movement and 24 hour face, signed John Barton 1696 with a latin inscription which translates ‘God Leads Us’, 62 cm high

£200 - £300

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£70 - £100

361* Work Box. A ﬁne George III period rosewood parquetry work box, inlaid with a sunburst and paterae spandrels with geometric border, the hinged lid enclosing blue velvet compartments with various accessories including mother of pearl handle tools and ink bottles, 16 cm high x 35 cm wide x 25 cm deep (1)

£200 - £300

362* York Minster. A 19th century circular oak box, the lid inset with a white metal medal depicting York Minster by Harper, Cattle & North, the yellow metal border engraved ‘The Choir & Lady Destroyed by Fire Feby 2d 1829’ the opposite side with an interior view, old split to lid, 9 cm diameter together with a similar oak box inset with a circular panel engraved with cross keys and inscribed ‘Bell Metal & Wood of York Burnt May 20 1840’, 8.5 cm diameter On 1 February 1829 Jonathan Martin (1782-1838) hid behind a monument in York Minster, and emerged later that evening when the cathedral was empty. He piled cushions and prayer books together in the Choir and set fire to them. The fire spread throughout the night and was eventually died out later the following day. Martin was a non-conformist who believed all prayer should come from the heart rather than be recited from formal liturgy. He was quickly caught and stood trial but found not guilty due to insanity. He committed suicide in 1838. York Minster was damaged by fire again on 20 May 1840 but this time by accident when a candle was left burning by William Groves, a clockmaker from Leeds. (2) £100 - £150

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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JEWELLERY

Lot 363 363* Memento Mori Ring. A George II yellow metal ring ﬁnely decorated with a skull, shells and foliate scrolls, the inner band with maker’s mark WC and engraved ‘C.V. obt. 12 May 1723 æt: 41.’, size Q, weight 4g (1)

365* Coral Necklaces. A double row of red coral graduated bead necklace, with yellow metal clasp, 54 and 44 cm long, together with three further red coral necklaces (4)

364* Akoya Pearl Ring. A 14ct gold triple pearl ring, set with three 7 mm Akoya cultured pearls on a knife-edge supports, stamped with Mikimoto sponsor mark and 14K, size O, gross weight 3.3g (1)

£150 - £200

£1,000 - £1,500

£100 - £150

Lot 364

366* Diamond Bracelet. A Victorian yellow metal diamond cluster bracelet, the central cluster with a diamond surrounded by 8 smaller stones, ﬂanked by a series of two rows of 3 interspersed by 3 single stones, the yellow metal bracelet formed with curb and scroll links, with safety chains, lacking hallmarks but engraved ‘363 H’, approximately 19.5 cm long, gross weight 13.9g (1)

£400 - £600

Lot 366

Lot 365 137

367* Diamond Brooch. A white metal diamond ribbon brooch, set with a large brilliant-cut diamond ﬂanked by 2 smaller diamonds and the ribbon inset with small multiple diamonds, unmarked, the central diamond approximately 6 mm diameter (1)

£700 - £1,000

368* Diamond Solitaire Ring. An Art Deco diamond solitaire ring circa 1940, the 0.95ct round brilliant cut diamond set in platinum and white gold, stamped ‘18ct’, ‘Plat’, size N, gross weight 2.9g

370* Dress Rings. A 15ct gold opal ring, the ﬂat oval opal in poor condition, size Q/R, together with a 9ct gold and opal ring, the oval opal cabochon set in wire scoll mount, size J/K, a yellow metal carnelian ring, the bulbous cabochon set in peg claws, size K, plus a white metal and quartz solitaire ring, size M/N (4)

£150 - £200

371* Earrings. A modern pair of 18ct gold clip-on earrings, of ﬂower-head design each set with ﬁve brilliant-cut diamonds, the central stones measuring approximately 4 mm diameter, the earrings 20 mm across, stamped ‘750’, gross weight, 15.7g (1)

£300 - £500

An insurance valuation dated 2015 accompanies the lot (£9000). (1) £1,000 - £1,500

369* Dress Ring. An Art Deco yellow and white metal ring, set with a synthetic sapphire with synthetic white sapphire shoulders, size P/Q, gross weight 4.8g (1)

£100 - £150

373* Emerald Ring. An 18ct gold cluster ring, set with a large facet cut emerald surrounded by 12 small brilliant-cut diamonds, stamped ‘750’, size N, emerald approximately 5 mm x 10mm, gross weight 5g (1)

374* Emerald Ring. An 18ct gold ring, set with a facet cut emerald ﬂanked by 2 brilliant-cut diamonds, hallmarked ‘750’, size L, emerald approximately 6 mm x 5mm, gross weight 2.7g (1)

372* Emerald and Diamond Ring. An art deco emerald and diamond cluster ring, set in platinum with square-cut emerald (6 mm x 5mm) bordered by 10 small diamonds and a larger diamond to each corner with calibre cut emerald shoulders, size O, gross weight 3.4g An insurance valuation dated 1999 accompanies the lot (£6900). (1) £800 - £1,200

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£200 - £300

375* Emerald Ring. An 18ct gold ring, set with a large Columbian emerald cabochon (approximately 9 mm x 6mm) ﬂanked by small diamonds, stamped ‘750’, size P gross weight 9.4g (1)

£400 - £600

378* Gemstones. A collection of semiprecious gemstones, including white sapphires, aquamarine, citrine, smoky quartz, two moonstones, orange topaz, garnet, turquoise, tigers eye, ﬁre opal, peridot, emerald and agates, various forms and sizes, together with a small box of mixed hardstone including an amethyst coloured egg, 40mm, a similar string of beads, tigers eye egg, 30mm, agate slice and other items (two small boxes)

376* Fob. An interesting 19th century fob / pendant, the yellow metal mount of ﬁlagree work depicting a bird holding a carnelian stone carved as a classical head, approximately 35 mm long (1)

377* Fob. A Victorian yellow metal fob, with a citrine intaglio carved as a heraldic grifﬁn with the initial ‘B’, on a 9ct gold chain, length approximately 80cm, weight 19.5g (1)

£300 - £500

£200 - £300

379* Gold Jewellery. A modern 18ct gold bracelet, with ﬂat links and lobster claw catch stamped ‘750’, 19 cm long, 5.9g, a similar 14ct gold neck chain, stamped ‘585’, 43 cm long, 6.8g, a 14ct gold bangle with a pierced key design, stamped ‘585’, 13g, a 14ct gold pendant set with 5 small sapphires, stamped ‘585’, gross weight 5g, a small aquamarine pendant set in 14ct gold on a 14ct gold chain stamped ‘585’, an 18ct gold ‘nugget’ bracelet stamped ‘18K Italy’’,18 cm long, 4g, plus a yellow metal bracelet set with 10 small spherical beads, unmarked and untested, 18 cm long (7)

£800 - £1,200

380* Lorgnette. A pair of French yellow metal lorgnette circa 1900, ﬁnely pierced case with hinged spectacles, stamped with eagles head mark, 7.5 cm long (1)

Lot 379

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£200 - £300

Lot 384

381* Malcolm Appleby. A jewellery suite by Malcolm Appleby, Edinburgh 1995, comprising an 18ct gold and silver necklace, the eighteen two-tone links each with an abstract design, some with hallmarks, the link stamped 750, 49 cm long, together with matching earrings, hallmarks for Edinburgh 1994, 4.8 cm long, plus a pair of circular silver ear studs each depicting a Scottish wild rose, 1.4 cm diameter Edinburgh 2000 and a silver button manufactured in the same year, gross weight 45.8g

385* Mixed Jewellery. A Victorian yellow metal mourning brooch, the oval brooch with a portrait to the front bordered by blue enamel, the opposite side engraved ‘In Memory of A.T. obit 6th Feby 1878’ incorporating a photograph of a man, 35 x 30mm, together with a mixed collection of items including a Victorian locket pendant probably rock crystal and gilt metal, Edwardian gold plated sovereign case, agate pendant, yellow metal mesh purse and other items

Malcolm Appleby (1946-), was born in West Wickham, London, he studied at Central School of Art as well as the Royal College of Art, London. He established a studio in Scotland in 1969, specialising in silver and metal engraving. (4) £300 - £500

(small box)

£100 - £200

382* Mixed Jewellery. A 9ct gold dress ring, set with a purple stone surrounded by pearls, stamped ‘9ct’, size L, together with 3 further dress rings including a 9ct gold ring set with a large green stone, stamped ‘375’, size N/O, plus a cultured pearl bracelet with 9ct gold clasp inset with peridot, 22 cm long a collection of costume jewellery (small box)

£100 - £200

383* Mixed Jewellery. A collection of Mexican and middle eastern silver jewellery, including a large brooch with a polished turquoise cabochon, 55 mm long, a silver and amber pendant, 50 mm diameter on a ﬁne silver chain plus a similar pair of earrings, green hardstone necklace and other items (small bag)

£100 - £200

384* Mixed Jewellery. A pair of yellow metal, smoky quartz, and simulated pearl earrings, the trap cut stone surrounded by 23 small ‘pearls’, gross weight 6.72, together with a pair of white metal cultured pearl and white sapphire earrings, set with a single 7 mm cultured pearl with 12 small rounded faceted white sapphires, gross weight 4.96g, a vintage jade pendant with gold top engraved ‘Mizpah from WSK’, 50 mm long plus a Victorian pinchbeck heart shape locket, the back engraved with foliate scrolls (4)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

386* Mixed Jewellery. An 18K gold ladies fob watch, with Swiss movement signed S. Barlow, lacking glass and hand, poor condition, 35 mm diameter together a Victorian silver and agate brooch, 55 mm wide, a Victorian silver knot brooch, 35 mm wide, gilt metal seal fob inset with a carnelian, 19th century yellow metal pendant inset with a lock of hair and other items

£100 - £200

(8)

140

£200 - £300

387* Turquoise Ring. A Victorian yellow metal ring, the domed head set with turquoise cabochons, stamped 750, size Q, gross weight 7.19g

390* Opal and Sapphire Pendant. An opal pendant set in yellow metal with a sapphire cabochon, suspended from a ﬁne yellow metal chain, gross weight 6.5g

393* Sapphire & Diamond Ring. A Victorian 14k diamond and sapphire cluster ring, set with a 1.16ct cut sapphire surrounded by nine old cut diamonds (totaling 1.2ct) in a cast silver mount with scalloped claw gallery on a tramline bezel, size R, gross weight 3.29g

(1)

£100 - £150

388* Mourning Brooch. A George III yellow metal mourning brooch, the oval brooch enamelled in blue with initials ‘HD’ inset in small diamond chippings laid on hair, the opposite side with a glass aperture inlaid with hair with a yellow metal border engraved ‘Hannah Doorman Ob 30 January 1807 aet 68’, some damage to the enamel, approximately 40 x 35mm

£80 - £120

391* Opal Bracelet. An Edwardian 15ct gold opal bracelet, the hollow curb link bracelet set with ﬁve opal cabochons, with safety chain, stamped ‘15’, gross weight, 19 cm long, 12.55g (1)

£400 - £600

£500 - £700

394* Sapphire & Diamond Ring. An 18k white gold sapphire and diamond ring, set with eight marquise-cut sapphires and eighteen small single cut diamonds set in four claw peg mounts, stamped 18K 98B, size P/Q, gross weight 6.33g (1)

£200 - £300

Hannah Doorman was from Wanstead, Essex. She is buried in St Mary’s Church, Wanstead and a monument erected. (1) £200 - £300

389* Opal & Diamond Ring. An 18ct gold ring, set with central opal ﬂanked by diamonds and opal cabochons in a straight claw setting, stamped ‘18’, size P, gross weight 3.4g (1)

392* Pink Sapphire Ring. 14K gold pink sapphire cluster ring, the high domed multi-row cluster set with central pink sapphire surrounded by four rows of pink sapphires (ﬁfty-six in total), stamped 14K, size P, gross weight 7.22g

395* Smoky Quartz Ring. A yellow metal and smoky quartz ring, the large trap cut stone set, 27 x 19 x 12 mm (approximately 40.75ct) with four claw mount with triple wire shank with rope shoulder mount, size Q, gross weight 20.02g

(1)

£100 - £150

141

£100 - £150

SILVER

396* Mixed Silver. A George III silver soup ladle by Thomas Dicks, London 1803, plain form engraved with a monogram, 32 cm long, 186g, together with a George IV silver basting spoon by Randall Chatterton, London 1832, 29 cm long, 77g, a pair of George III bright cut sugar tongs by WS, London 1806 (31g), another pair by WHR, Dublin 1824 (46g) plus a teapoon (18g) and mustard spoon, London 1790 (15.5g) (6)

£200 - £300

398* Bonbon Dish. A George III silver bonbon dish by Henry Chawner, London 1791, of navette form with swing handle on pedestal foot, the bowl pierced and engraved with festoons, and with initial ‘M’, 9.5 cm long, 211g (1)

£100 - £150

397* Basting Spoon. A George III by Thomas and William Chawner, London 1764, of plain form engraved with heraldic crest, 35 cm long, 171g (1)

£100 - £150

399* Brandy Warmer. A George III silver brandy warmer by FW? (possibly Fuller White?), London 1764, of circular baluster form with turned fruitwood handle, with an associated cover by Edward Farrel, London 1819 and a later silver stand with burner by George Fox, London 1876, height including stand 20cm, brandy warmer height 13 cm (including cover), brandy warmer 528g, stand 272g (2)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

142

£500 - £800

400* Bulldog Club. Two silver prize teaspoons for The London Bulldog Society, Birmingham, 1912 and 1913, engraved ‘Islington 1913 Marley Cup Letchford Lassie’ and L.K.A. 1915 Aston Lion Cup Letchford Lion’, together with two further silver teaspoons for Manchester and Counties Bulldog Club, Shefﬁeld 1913, one engraved ‘London B.S. 1913 Letchford Lassie’, the other ‘A&B Show 1914 Letchford Minnie’, approximately 15 cm long, combined weight 128g (4)

£300 - £500

401* Butter Dish. A George III silver butter dish by William Troby, London 1812, of scallop shell form with scroll handle and hanging loop, 11 x 9cm, 65g (1)

403* Candlestick. A George II silver candlestick by William Gould, London 1751, the ornate candlestick with detachable sconce and square base, 13 cm high, 171g

£100 - £150

(1)

402* Caddy Spoon. A George III silver caddy spoon, of leaf form by TI(?), London 1817, the bowl engraved with loop handle, marks worn, approximately 7 cm long, together with a white metal toddy ladle, the foliate embossed bowl inset with a Queen Anne 1707 Shilling, with a long turned fruitwood handle, approximately 31cm, a pair of Victorian silver candle snuffers by Sampson Mordan & Co, London 1897, 17 cm long, a silver vesta case, two mother of pearl and silver fruit knives plus a novelty silver bookmark in the form of a swallow, by WH Birmingham 1897, 6 cm long (7)

£300 - £500

404* Card Tray. A George II silver card tray by Edward Feline, London 1727, of square form with raised edge and serpentine corners, chased scroll and ﬁgures pattern with a heraldic crest to the centre on four hoof feet, 13 x 13cm, 242g (1)

£100 - £150

143

£200 - £300

Lot 405

Lot 409

405* Card Tray. An Irish silver card tray by Richard Williams, Dublin 1772, of circular with shell and piecrust border, the centre engraved with a family crest showing a stags head bordered by rococo scrolls, on three hoof feet, 17 cm diameter, 233g

407* Coffee Pot. A George III silver coffee pot by Henry Chawner, London 1790, of plain ovoid tapering form with lined detail and acanthus detail to the handle, fruitwood handle, 31.5 cm high, approximately 637g

(1)

£200 - £300

£300 - £500

408* Coffee Pot. A George III silver coffee pot by John Denzliow, London 1785, of baluster form engraved with festoons and ﬂoral swags, oval vacant cartouche, the domed cover with urn ﬁnial and fruitwood handle, 32 cm high, approximately 808g (1)

409* Cream Jug. A George III silver cream jug by Robert and David Hennell, London 1796, of ogee form with engraved decoration, with traces of monogram bordered by a wreath, 10.5 cm high, approximately 105g together with a contintental silver beaker by Cesar Tonnelier, France, of plain tapering form engraved with foliate garlands, gilded interior, 7 cm high, 74g (2)

£100 - £150

£400 - £600

406* Child’s Rattle. A George III child’s rattle by John Rich probably London 1797, with hinged suspension loop and 8 bells and coral teether, 14.5 cm long (1)

£200 - £300

Lot 408

Lot 407 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

144

Lot 414 410* Cream Jug. A Victorian silver cream jug by Stokes & Ireland Ltd, Chester 1898, of baluster form embossed with two swans a vacant cartouche and c scroll decoration, scroll handle of 2 cabriole supports, 7 cm high, 71g, together with a similar cream jug, London 1818, 9 cm high, 74g (2)

£80 - £120

411 Cream Jug. An Edwardian silver cream jug by Thomas Bradbury & Sons, London 1903, of helmet shape form with reeded handle and oval foot, 14 cm high, 115g, together with a silver tea canister by William Aitken, Birmingham 1904, of cylindrical form with ﬂat cover, 8.5 cm high, 185g (2)

£80 - £120

412* Cream Jugs. A Victorian silver cream jug by George Unite, Birmingham 1907, of helmet shape form with reeded handle and square foot, 14.5cm, 110g, together with a similar cream jug by C.J. Vander Ltd, Birmingham 1952, 19.5 cm high, 137g (2)

£80 - £120

415* Irish Silver. A George III Irish silver cake slice by William Bond, Dublin circa 1790, with pierced and chased blade decorated with exotic birds amongst ﬂowers, the handle with feather edge and the rounded top engraved with the armorial of Lt. Gen. Lancelot Baugh (1728-1792), 30 cm long, 155g

413* Cucumber Slicer. A Regency silver and ivory cucumber slice by HD, London 1831, of paddle form with adjustable silver blade, 21 cm long (1)

William Bond is recorded as working in Dublin between 1785-1808. The armorial is of Lt. Gen. Lancelot Baugh (1728-1792) and shows gules of fess vair between 3 mullets agent. Lancelot Baugh was a British career military ofﬁcer, who rose through the ranks and was eventually promoted to the rank of Lieutenant-General. For many years he was a Colonel of the Sixth (or Warwickshire) Regiment of Foot. It appears he was stationed in Dublin in the 1780s/early 90s. The Syracuse University Special Collections holds a letter from Lt. Gen. Lancelot Baugh to an unidentiﬁed recipient “Sir George”, written from Dublin, 1785, on behalf of a young Irish soldier named Hill who was in need of funds. His will of 1792 mentions three close cousins, Charles Hill of Ireland, Lancelot Hill of Limerick and James Hill of Dublin. The letter of 1785 may well refer to one of his cousins. (1) £400 - £600

£200 - £300

414* Desk Standish. A George II silver desk standish by William Robertson, London 1757, the rectangular base with pierced gallery, encompassing a silver candlestick over a glass pot, ﬂanked by two silver top pounce pots (one glass base cracked in half), the base raised on four splayed supports, engraved with a monogram to the underside of the base, 5 cm high x 19 cm wide x 10.5 cm deep, the tray weighing 279g (1)

£300 - £500

145

416* Jug. A George II silver jug, no makers mark but London 1741, of plain ovoid form with straight sided neck and scroll handle, the base with presentation inscription dated 1898, 12 cm high, 373g (1)

£200 - £300

419* Mixed Silver. A George V silver coffee pot by Walker & Hall, Sheffield 1929, of tapered form with ebony finial and handle, 21 cm high, gross weight 541g, together with a similar teapot, makers mark worn, Birmingham 1931, 24 cm long, gross weight 403g, two sauceboats by Viner’s Limited, Sheffield 1929 (100g) and the other by Henry Clifford Davis, Birmingham 1931 (100g), together with a modern pair of bottle coasters, each with pierced decoration and turned oak base, 10.5 cm diameter, weighted (6)

£200 - £300

420* Mixed Silver. A mixed collection of silver comprising, 31 teaspoons, 3 sugar tongs, 4 salt spoons. dessert fork, butter knife, various makers and dates, mostly late 18th / early 19th century, combined weight approximately 830g (40)

£200 - £300

417* Loving Cup. A George III silver loving cup, makers mark unidentiﬁed, London 1771, of plain form on pedestal base, one handle engraved with initials B T A, the other handle with erased initials, crease to lower section, 15.5 cm high, 497g (1)

£200 - £300

421* Mixed Silver. A Victorian silver mug by Richard Martin and Ebenezer Hall, Shefﬁeld 1894, plain form engraved with former owners name, 11 cm high, 319g, together with a George III silver cream jug, marks worn, 13 cm long, 109g, a Victorian silver christening cup by D & LS, Birmingham 1883, 9 cm high, 112g, two cased christening sets, comprising knife, fork and spoon and other items, weighable silver approximately 628g

418* Mixed Silver. A George III silver mug by Charles Chesterman, London 1770, the miniature baluster form mug engraved with monogram and with scroll handle, 6.5 cm high, 76g, together with a George III silver etui (lacking contents), of tapered form, engraved with geometric and chequered decoration, marks worn, 6 cm high plus three pieces of foreign silver (5)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

(10)

£100 - £150

146

£200 - £300

422* Mixed Silver. An Edwardian silver snuff box by William Neale 1904, of oval form curved to ﬁt in a pocket, engraved with a monogram and dated 1908, 8 cm long, 34g, together with a cream jug, London 1914, of ovoid form with reeded neck and handle, 6.8 cm high, 105g, a mustard pot with blue glass liner, London 1911, 6.5 cm high, 52g, a christening cup, Birmingham 1917, 8 cm high, 149g, a modern metal wine label for Claret, a silver napkin ring (34g), miniature silver propelling pencil, another silver pencil, a plated pencil, plus a 1920s Danish silver-plated pillbox (10)

£200 - £300

426* Salver. A George III silver salver, lacking makers mark, London 1762, the circular salver with gadroon and shell border, the opposite side engraved with initials MF and signs of engraving erasure, 18 cm diameter, 303g (1)

£150 - £200

427* Russian Silver. A 19th century Russian silver cream jug by AK, Moscow 1880, of baluster form engraved with a geometric design, scroll handle of spread foot, 8 cm high, 83g (1)

£100 - £150

423* Salver. A George III silver salver by James Morrison, London 1760, the circular salver with family crest of a ram with a shield within a gadroon and shell border on three hoof feet, 18.5 cm diameter, 248g (1)

£200 - £300

424* Nutmeg Grater. A George III silver nutmeg grater, in the form of a barrel by IS, London 1796, the reeded barrel with steel grater, 40 mm high (1)

£200 - £300

425* Pedestal Cup. A George III ivory and silver cup, makers mark worn but London 1805, the ivory cup with silver lining on silver pedestal foot, 9 cm high x 10 cm diameter

428* Russian Silver. An Imperial Russian silver bowl by Vicktor Vasilyevich Savinksy 1868, of octagonal pedestal form with swing handle and engraved with scrolls on a stippled ground, approximately 7.5 cm diameter, 102g

(1)

£200 - £300

Lot 424

Lot 425

£200 - £300

Lot 427

147

Lot 428

429* Tankard. A George III silver tankard by W. & J. Priest, London 1768, plain tapered form with domed cover and foliate thumbpiece, the handle engraved with initials ‘B E S’ with heart shape terminal, scratch marks to base, 19 cm high, approximately 746g (1)

£1,000 - £1,500

430* Salver. A George II silver salver by Lewis Herne and Francis Butty, London 1757, the circular salver with pierced and acanthus rim on three pierced out splayed supports, 31 cm diameter, 995g (1)

£700 - £1,000

431* Salt Cellars. A ﬁne pair of George III silver salt cellars by WK, London 1815, of oval form, half gadroon and shell rim, each engraved with a family crest of a squirrel, 11 cm long, combined weight 248g (2)

Lot 430

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

148

£200 - £300

432* Salt Cellars. A group of three George III silver salt cellars by Robert Hennell, London 1773 and 1774, of oval form with pierced gallery engraved with a family crest showing a rampant lion, blue glass liners on four ball and claw supports, one damaged, 7.5 cm long, combined weight 139g (3)

£100 - £150

Lot 434

433* Tankard. A Queen Anne silver tankard by Nathaniel Lock, London 1710, of tapering circular form with domed hinged cover, scroll handle and thumb-piece, 19 cm high, 808g (1)

£1,500 - £2,000

434* Salver. A George III circular silver salver by Elizabeth Jones, London 1784, of plain form engraved with armorial bearings perhaps for the Little family impaling Hallowes family (dexter, sable a salter argent impaling azure on a fess argent between three crescents or three torteaux) and with family crest of a leopards head affrontée in his colours (natural), with scallop and beaded edge on three ball and claw feet (1)

435* Tankard. A George I silver tankard by John Edward II, London 1726, plain tapered form with domed cover and foliate thumbpiece, engraved with the armorial bearings and crest of the Hibbert family (the family originated from Marple in Cheshire, the armorial displaying the paternal coat of Hibbert family, blazon ermine on a bend sable, 3 crescents argent impaling quarterly one & four gules on a chief argent two hearts, two & three argent a saltire gules, the crest showing an arm erect vested vert cuffed ermine, the hand proper grasping a crescent argent) and bearing the motto 'Sit Prudentia', the handle additionally hallmarked with maker and with heart shape terminal, scratch marks to base, 18cm high, approximately 808g

£300 - £500

(1)

149

£1,500 - £2,000

439* Teapot. A George III silver teapot by Henry Chawner, London 1783, of oval form with band decoration to the top and bottom and engraved with a monogram to each side, fruitwood handle and ﬁnial, 26 cm long, gross weight approximately 373g (1)

£200 - £300

436* Sauce Boat. A George III silver sauceboat, makers mark worn but London 1793, of small proportion probably for mint sauce or similar, engraved with a monogram and scroll handle on four cabriole supports, 11 cm long, 52g (1)

£80 - £120

440* Salver. A George III silver salver by John Carter, London 1772, the plain circular salver with ﬂoral swags and beaded and scallop edge on three ball and claw feet, 25 cm diameter, 762g (1)

£300 - £500

437* Salver. A George III silver salver by John Swift, London 1763, of circular form engraved with Home family of Berkshire crest depicting a unicorns head with coronet and the motto ‘Remember’, within a gadroon and acanthus border, on three cabriole feet, 21.5 cm diameter, approximately 13.2oz (1)

£200 - £300

438* Sifter Spoons. A pair of George III period silver sifter ladles, marks worn but latter half of the 18th century, ﬁddle pattern with scroll pierced bowls each engraved with a family crest depicting a cockerel, 18 cm long, combined weight 93g (2)

441* Silver Cups. A 1930s German silver presentation cup, the tapered cup with ﬂared rim and hammered ﬁnish engraved ‘III. Mannschaft Europameisterschaft Im Wurfttaubenschiessen Berlin 1936’ (III. Team European championship in clay pigeon shooting Berlin 1936), 11.5cm, approximately 146g, together with a German silver cup by H Meyen & Co, the conical cup engraved ‘Kartell Fur Reit-Und Fahr Sport Reichsverband Fur Deutsches Halbblut’ (Cartel for riding and driving sport Reich Association for German half-blood), 11 cm high, approximately 118g

£80 - £120

(2)

£100 - £150

442* Silver Mug. A George V silver presentation mug by S.W Smith & Co, Birmingham 1913, of plain tapered form engraved with West Kent (Queens Own) Yeomanry crest and Trained Yeoman’s Musketry Course Sergt A.B. Challis 1913, 12.5 cm high, 389g, together with a silver bottle coaster London 1971, with turned oak base, 13 cm diameter plus two plated items (4)

Lot 439

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

150

£100 - £150

443* Silver Shaker. A George III silver shaker by Richard Palmer, London 1777, of baluster form with engraved and pierced cover with spiral twist ﬁnial, 12.5 cm high, 65g, together with another George III silver shaker by John Merry, London 1812, of neo classical form with square pedestal base, 14 cm high, 108g

445* Straining Spoon. A George III silver straining spoon by Hester Bateman, London 1788, of plain form with long stem and engraved with an armorial crest of the Amphlett or Cardinal families, depicting a dromedary in his colours (natural), 29 cm long, 124g

(2)

(1)

£100 - £150

444* Silver Table Box. An early 20th century Continental silver table box probably German, of bombe form the hinged lid inset with a Lapis Lazuli cabochon, the whole piece ﬁnely embossed with foliate and c-scroll decoration, gilded interior and raised on four lions head cabriole supports, stamped ‘800’ with ‘82’ mark, 11.5 cm high x 23 cm wide, approximately 834g (1)

£200 - £300

446* Sugar Bowl. A George III silver sugar bowl by Henry Chawner, London 1791, the circular bowl with foliate engraved decoration on four lions paw feet, 9.5 cm high, 211g (1)

£300 - £500

151

£100 - £150

Lot 447

447* Salvers. A pair of George II silver salvers by John Robinson II, London 1747, of circular form with gadrooned and shell border each with family crest showing a grifﬁn within a rococo cartouche, on three hoof feet, each with various scratch marks to the base including No 6 9 13, the other No 10 7, 17.5 cm diameter, combined weight 590g (2)

£400 - £600

Lot 449 449* Teapot Stand. An 18th century Irish silver teapot stand, Dublin hallmark but lacking date letter, of oval form engraved with a family crest of an arm holding an arrow bordered by a foliate garland, with reeded rim engraved with a beaded border, 20 cm long, 248g (1)

448* Tankard. A George III silver tankard, makers mark worn but London 1779, of plain tapered form engraved with a monogram with domed lid and scroll handle, the thumb-piece damaged, 16 cm high, 559g (1)

450* Teapot. A George III silver teapot by Duncan Urquhart & Naphtali Hart, London 1805, of boat shape form engraved with acorns and oak leaves, ﬂowers, classical key and wriggle-work, one side engraved with a family crest the other with initials, loose ﬁnial, 28 cm long, 606g

£400 - £600

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

152

£150 - £200

453* Toothbrush. A George III silver toothbrush by John Thornton, Birmingham 1801, of plain slender form, 10 cm long, with original red leather case (1)

£100 - £150

451* Teapot. An Irish silver teapot by Gustavus Byrne, Dublin 1775, of classical form with pineapple ﬁnial and foliate engraved decoration with a vacant cartouche to each side, fruitwood handle, 30 cm long, gross weight 497g (1)

£300 - £500

452* Toothbrush. A George III silver toothbrush by John Thornton, Birmingham 1804, the plain toothbrush with detachable ivory bristle section. 11.5 cm long, contained in original red leater case with silver mixing spatula and container for the tooth powder (1)

454* Trophy Cup. A George III silver two handle trophy cup by Henry Chawner, London 1796, of plain tapering form, one side engraved with the crest of the Clive family of Powis Castle, the other an agricultural landscape titled above ‘Agricultural Reward’, the interior gilded, crease to main body and some minor dents, 20 cm high, approximately 370g, presented on an ebonised stand

£200 - £300

The cup shows the Clive Arms and supporters of the 1st Baron Clive of Walcot, later 1st Earl of Powis, of Powis Castle. He was a member of the Board of Agriculture in 1793. (1) £200 - £300

153

457* Wine Labels. A matched set of George III silver wine labels, comprising Madeira and Sherry (Josiah Snatt, London 1805) and Madeira and Sherry (John Rich, London 1807), each of oval form with line decoration, all lacking chains, 47 x 25mm, combined weight approximately 20g (4)

£200 - £300

455* Wine Bottle Labels. A pair of George IV silver wine bottle labels by Ledsam Vale & Wheeler, comprising Sherry and Madeira, each with shell and gadroon border and chain, 45 x 28mm, total weight 16g (2)

£100 - £150

458* Wine Labels. A set of four George III silver wine labels by William Hannay, Edinburgh 1818, comprising M, C, P and S, two lacking chains (C and P), each 35 x 38mm, total weight 40g (4)

456* Wine Funnel. A George III silver wine funnel by William Sumner, London 1789, of plain form with detachable spout, 14 cm long, 80g (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

154

£300 - £500

CERAMICS & GLASS

459* Chamberlain’s Worcester. Five armorial porcelain plates circa 1815, each with an armorial to the centre (or, on a bend sable 3 horseshoes? Argent) with the motto Dum Spiro Spero (while I breath, I hope) on white ground within a blue border with shaped and gilt painted rim, each with a family crest depicting a ‘coronet or, jewelled a pelican in her piety argent’, 'Chamberlains Worcester mark to base in iron red, 22.5 cm diameter (5)

£100 - £200

460* Decorative Ceramics. A modern Chinese blue and white teapot in the 18th century style, with eight rows of calligraphy to one side, the other with ten (probably a poem), a blue reign mark to base, lacking original cover but with a wooden substitute, 21 cm long, together with an early 19th century pearlware plate, in ironred and green depicting an animal within foliate ground, damaged, 22 cm diameter, a pair of 18th century Persian pottery dishes decorated with ﬁgures in the Iznik palate, both damaged and old repairs, 15 cm diameter, various 19th century and later meat plates and other items (a carton)

Lot 459

£100 - £200

462* Liverpool Delft. An 18th century Liverpool Delft char-pot circa 1750, painted with ﬁsh in manganese, green and iron-red, old chips to rim and loss of glaze, the base with old manuscript labels inscribed ‘Liverpool Delft Ware made by Zachariah Barnes of the Lake District for Potted Char, Date Early Part of 18th Cent’, 4.5 cm high x 23 cm diameter

461* Flask. A 19th century commemorative ﬂask, printed in green with a proﬁle of Leopold I of Belgium and his wife Princess Charlotte of Wales, incised ‘1830’, 20 cm high Leopold I of Belgium (1790-1865). (1)

The Old Haymarket pottery of Zachariah Barnes, is believed to be the biggest producer of Char Pots, dating from 1750-1770, examples can be found in several major institutions including the Victoria & Albert Museum. (1) £300 - £500

£100 - £150

155

464* Portland Vase. A 19th century pottery example of the Portland Vase by Gerbing & Stephan circa 1890, moulded in the traditional style with bronzed ﬁnish, the base with a ﬁgure and vine, impressed G & St and numbered ‘56’, 23.5 cm high (1)

£80 - £120

465* Royal Crown Derby. A part service of Royal Crown Derby ‘imari’ teaware and related items, comprising 4 teacups, 3 saucers (a plus matched Coalport saucer), 8 side plates, sugar bowl, coffee can and saucer (damaged), butter knife together with a loving cup, a miniature loving cup, vase, and bowl, mostly 2451, plus other part teawares (all continental lustre) (a carton)

£100 - £150

463* Nailsea Glass. A Victorian Nailsea glass flask, the blue and white flask of oval form with broken pontil mark, 17 cm high, together with a pink and blue glass flask, 21 cm long plus a blue glass miniature decanter with stopper, 14 cm high (3)

£100 - £150

466* Samson of Paris. A pair of late 19th century porcelain vases by Samson of Paris, each in the Chinese armorial style, faux marks to base, some rubbing to the gilding, 13 cm high together with a similar baluster vase and cover, some damage to the neck, 18 cm and an English 18th century soft paste porcelain tea bowl and saucer, painted in pink with ﬂowers on a white ground, the bowl, with small chip to rim 9 cm diameter, the bowl 12.5 cm diameter plus another tea bowl of the same period, swirl moulded and painted with ﬂowers, 8.5 cm diameter and other items (9)

£100 - £150

467* Worcester Porcelain. An 18th century Worcester porcelain cup and saucer, painted with ﬂoral panels on a blue scale ground, the base with a blue patch mark, the cup 8 cm diameter, the saucer 13 cm diameter, with similar coffee cup plus various Derby items including a miniature Bloor Derby bottle base decorated in gold with a bird on a dark blue ground, the base stamped ‘Bloor Derby’, 11 cm high (5)

Lot 464

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

156

£70 - £100

ORIENTAL WORKS OF ART

468* Amber. Early 20th century amber necklace, with 32 beads, larger beads towards the drop, secured by a gilt metal catch, 28 cm drop, together with 9 loose beads, combined weight approximately 83g (1)

£200 - £300

469* Anglo Indian. A 19th century workbox, of rectangular form, profusely inlaid with mico mosaic work on a stained green ground, the hinged lid enlosing ﬁtted interior with ivory accessories including spool holders, a single drawer to the base with white metal carrying handles, key escutcheon and drawer handle, some loss, 13 cm high x 43.5 cm wide x 29 cm deep (1)

£200 - £300

Lot 468

Lot 469

157

470* Anglo Indian. An 18th century Vizagapatam ivory table bureau, the hinged fall enclosing one long drawer beneath pigeon holes ﬂanked by three drawers, a deep drawer beneath cedar lined with compartments, the whole piece profusely engraved and inﬁlled in black with foliate scrolls, the accompanying mirror of later origin and converted to a dressing table stand, some damage throughout, several loose pieces and other small losses, replacement lock and restoration required, 81 cm high x 53 cm wide x 25 cm deep (1)

£2,000 - £3,000

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

158

473* Chinese Ceramics. A mixed collection of 18/19th century Chinese ceramics, including a large 18th century porcelain bowl, decorated with flowers in pink, blue, iron-red and green, the interior similarly decorated with deep foot rim, old chips to the rim, 10 cm high x 23 cm diameter, an 18th century blue and white porcelain jug and cover, of baluster form decorated in the ‘fence’ pattern with figures and buildings, double twist handle and sparrow beak spout, 13 cm high, a pair of famille-rose miniature vases, decorated with figures, some damage, 14 cm high, various tea bowls and saucers plus other items Please note, this is a large mixed lot and many of the pieces are damaged. It is,33 therefore, not feasible to do a condition report on every piece. Viewing is strongly advised but if this is not possible, please state which pieces you require further information. (33) £200 - £300

471* Card Case. A Canton ivory card case circa 1880, exquisitely carved throughout with ﬁgures, buildings and boats, the hinge loose and therefore would need reaﬁxing, 10.5 x 7 cm (1)

£200 - £300

474* Chinese Cloisonne. A 19th century Chinese cloisonne enamel box and cover, of circular form, decorated with ﬂoral scrolls on a light blue ground, the centre of the cover with a Chinese symbol, the interior of the bowl with blue enamel and similarly enamelled on the base, minor damage to the interior of cover and rim misshapen, 7 cm high x 12 cm diameter, together with a 19th century Chinese bronze and enamel censer, with two loop handles, foliate decoration on a light blue ground raised on three supports, damaged, 9 cm high x 12.5 cm diameter

472* Chinese Ceramics. A mixed collection of 18/19th century Chinese porcelain, including a pair of yellow porcelain bowls, decorated with ﬂowers, each with a red four-character mark to base, 5.5 cm high x 14 cm diameter, an 18th century famille-rose porcelain jug, of baluster form decorated with ﬂowers, lacking lid,14 cm high, various plates, bowls and other items plus some Japanese ceramics including a pair of 19th century Japanese bottle vases, decorated with bamboo in blue, iron-red and green, each with an old label to the base, 23.5 cm high

(2)

Viewing is strongly advised but if this is not possible, please state which pieces you require further information. Many of the pieces are damaged. (29) £200 - £300

159

£200 - £300

475* Chinese Dagger. A Chinese bronze dagger from the Henan probably Mid to Late Second B.C., cast bronze with 33 cm tapered blade and integral handle with two rings and ﬂat circular pommel, verdigris throughout and signs of age and use, overall length 41.5 cm long, presented in a modern Chinese box Provenance: Private collection, Kent. (1)

477* Chinese Soapstone. A Chinese soapstone Bi, of circular form, pierced in the middle with cut edges, 18 cm diameter, together with another hardstone Bi, of grey and iron red, traces of engraved decoration, 16.5 cm long (2)

£300 - £500

476* Chinese Rice Bowl. A 19th century blue and white rice bowl, cover and stand, the bowl decorated with 9 vertical rows of characters and birds and foliage, the base with four characters the cover and stand similarly decorated, 8.5 cm high, the stand 11.5 cm diameter (1)

478* Games Box. A 19th century Anglo-Indian games box, the ivory and tortoiseshell box richly decorated with pierced and engraved scroll decoration and playing cards to the corners, the domed hinged lid enclosing 8 circular ivory gaming counters and 6 rectangular, engraved with symbolic ﬁgures and all contained in four recessed holders, a ﬁne example in good condition, 4 cm high x 9.5 cm wide x 9 cm deep, with key

£150 - £200

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

160

£200 - £300

479* Indian Carving. A ﬁne 19th century Indian ivory carving of the goddess Kali, carved in the traditional style with a dancing girl to her side, 10 cm high, mounted on a later wooden base, 13 cm high (1)

£100 - £150

480* Japanese Lacquer Work. A Japanese tortoiseshell and lacquer case, Meiji Period (1868-1912), decorated with a crane with prunus blossom tree, the opposite side with an eagle and Mount Fuji in the background, the sides with a geometric design, 12 x 7 cm (1)

£100 - £150

481* Okimono. A Japanese ivory okimono, Meiji Period (18681912), ﬁnely carved showing as seated couple smoking a pipe, the base with two character signature, 7 cm high x 5.5 cm wide (1)

£200 - £300

482* Scroll Holder. A Tibetan white metal scroll holder, of cylindrical form, embossed and chased with foliate scrolls, vacant cartouche, the cover secured by a chain, 34 cm long, together with a similar white metal scroll holder but with pierced decoration, 34 cm long

Lot 479

(2)

£200 - £300

Lot 480

Lot 482

161

483* Tsuba. A collection of Japanese iron tsuba, 18/19th century, including a circular sword guard, pierced with a cricket and leaf design with three and two-character signatures, 7.5 x 7cm, another example with pierced bullrush decoration, with three and twocharacter signatures 7 x 6cm, other examples decorated with insects, dragons and ﬁgures, various shapes and sizes (7)

£300 - £500

485* Tsuba. A Japanese iron tsuba, 19th century, the shaped sword guard with ﬁve-character signature and decorated with dragons in gold, the opposite side similarly decorated, 6 x 5.5 cm (1)

484* Tsuba. A ﬁne Japanese bronze tsuba, 18/19th century, the oval sword guard formed as a dragon, with a two-character signature, 7 x 6 cm (1)

486* Walking Stick. A Japanese Shibayama walking stick Meiji Period (1868-1912), the ivory handle ﬁnely inlaid with mother of pearl and horn insects, with ﬁve character signature, rosewood shaft and ivory ferrule, 91 cm long

£200 - £300

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£150 - £200

162

£300 - £500

TRIBAL ART

487* Burkino Faso. A ceremonial carved wood plank mask, the long mask with geometric carving and antelope head, sole damage but traces of pigment, 132 cm long (1)

£80 - £120

488* Fang Tribe. An extremely large Fang Tribe mask mid 20th century, the carved wood mask with elongated face, cream and brown pigment, 175 cm long (1)

£200 - £300

489* Fiji Island. A Tapa cloth painting, the soft cloth painted with geometric decoration, rolled and supported on a wooden pole, 70 x 137 cm (1)

£100 - £150

Lot 488

Lot 489

Lot 487

163

490* Haida. An argillite pedestal bowl, black ﬁnish, damaged, 13 cm high x 15 cm diameter, together with a circular bowl with black and grey ﬁnish, 14 cm diameter (2)

492* Indonesia. A Nias carved wood stool, the circular dished top over ﬂared base pierced and carved in the traditional style, 28 cm diameter x 28 cm high

£80 - £120

(1)

£80 - £120

493* Indonesia. A Dyak carved wood drinking vessel, the large carved bowl with beast head handle and ﬂared spout, 73 cm long together with two similar but smaller, 53 and 42 cm (3)

494* New Guinea. A Tami Island carved wood bowl, the oval bowl carved in the traditional style with beasts, old chip to the rim, 72 cm long

491* Indian Hardwood Table. A ﬁne Indian carved hardwood side table, circa 1890-1900, the plain rectangular top bordered by foliate carved decoration over wonderfully carved elephant supports in the cabriole style, united by a cross stretcher with a dished centre which would most probably support a vessel, 77 cm high x 81 cm wide x 42 cm deep (1)

£100 - £150

(1)

£100 - £150

£300 - £500

Lot 494 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

164

495* Tibet. An early 20th century Tibetan butter lamp, the silverplated lamp with everted rim to the bowl on a knopped pedestal with shaped and splayed base, applied with four pierced symbolic panels, 14 cm high together with three similar but smaller, various sizes largest 12 cm high, smallest 8 cm high (4)

Lot 496

£80 - £120

496* Zulu. A collection of ﬁve pairs of Zulu ear plaques, various sizes and styles but all applied with perspex and metal studs in the traditional style, largest 6 cm diameter, smallest 5 cm (5)

£150 - £200

497* Zulu. A collection of six Zulu beer pot covers, each made from telephone wire, various size and colours, the largest 18 cm diameter, smallest 11 cm diameter (6)

£80 - £120

498* Zulu. A collection of six Zulu meat platters, the hardwood two handle platters of various shapes and sizes, largest 44 cm long, smallest, 33cm, damage throughout and three missing a handles (6)

Lot 497

£150 - £200

Lot 498

165

501* Cleoniceras. An impressive Ammonite, measuring approximately 19.5 cm across, this Ammonite had been cut through its centre and then polished to reveal the intricate chambers which have been preserved in Calcite and Limestone, together with a smaller cut ammonite, 4 cm across

FOSSILS & MINERALS

(2)

£100 - £150

499* Ammonite Block. A double Ammonite block, a rare double specimen of Procerites from the Inferior Oolite of Somerset, the ammonites measuring 9.5 cm and 12 cm A good substantial display piece. (1)

£300 - £400

502* Fossil Starﬁsh. A fossilised starﬁsh, Ordovician Period from Southern Morocco, a well-preserved example that measures 20 x 17 cm (1)

£80 - £120

500* Cleoniceras. A ﬁne Ammonite, the ammonite has been cut through its centre and then polished to reveal the intricate chambers which have been preserved in calcite and limestone, measuring 16 cm across A large and impressive display fossil. (1)

£150 - £200

503* Fossilised Coral. A comprehensive collection of coral, including specimens, mostly with typed names and locations for example Asaphus contractus M. Ordovician, Salamanca, Spain, Diphyphyllum sp. Rundle Formation, Mississippian, Canmore, Alberta, Canada, Heliolitid corals, Ludlovian, Lom Morina, Bohemia, April 1967 and others, contained in two archival cardboard boxes (2 boxes)

Lot 501 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

166

£200 - £300

506* Megalodon Tooth. A large Megalodon tooth from Indonesia, the ﬁne specimen approximately 16 cm from the tip to the edge of the root, the serrations are extremely good A collectors-grade tooth. (1)

£600 - £700

507* Neolithic Axe. A Neolithic hand axe from Spiennes, Belgium, 14.5 cm high (1)

£100 - £150

504* Fossilised Wood. An agatised wood slice from Madras, India, the large slice measuring 39 cm across, displaying a good rich colour of red which run through the agate Madras is an unusual location for fossil wood. (1)

£150 - £200

508* Neolithic Flint. A Neolithic flint (Livre de beurre) from Barrou, Loire, France, the specimen measures 20 cm long and weight approximately 1.8kg This is a flint core which was fashioned and used to make other smaller flint tools. It is known in France as the Loaf of Bread and is a very impressive ancient tool. (1) £100 - £150

505* Fossilised Wood. A large and impressive fossil wood slice from the Triassic Period, Madagascar, measuring 37 cm across and weighing approximately 4kg A good interiors piece. (1)

£150 - £200

509* Prehistoric Axe. A prehistoric hand axe, from the Acheulian period, North Africa circa 1.2 million to 500,000 years old, 15 cm long Fashioned by Homo Ergaster of North Africa, an exceptional and very rare. (1) £150 - £200

Lot 506

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Lot 510

Lot 514

510* Pterosaur Jaw. A Pterosaur jaw section with teeth, found in the Kem Kem basin in Southern Morocco, approximately 95 million years (1)

£400 - £500

512* Spinosaurus Tooth. A Spinosaurus tooth, the specimen fully rooted showing a small amount of natural feeding wear to the tip, a beautiful example measuring approximately 15 cm This is an exceptional tooth from one of the largest predators to have walked on our planet. (1) £150 - £200

513* Stephanoceras Ammonite. An ammonite from Somerset, with good preservation and many hours preparation work, 17 cm across This is a very well preserved example of a classic British Ammonite. (1) £200 - £300

514* Woolley Mammoth. A Woolley Mammoth jaw section with inserted teeth, dredged from Dogger Bank in the North Sea, a very large and impressive section of jaw that measures 35 cm in length (1)

£200 - £300

515* Woolley Mammoth. A Woolley Mammoth leg bone, this example is near complete and is a massive 67 cm long From an old British collection, specimens of this size are very rare as they are mostly found broken. (1) £300 - £500

511* Spinosaurus Tooth. A Spinosaurus tooth, the specimen fully rooted showing a small amount of natural feeding wear to the tip, a beautiful example measuring approximately 15 cm (1)

Lot 513

£200 - £300

Lot 515 Lot 512

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

168

FURNITURE & PIANOS

518* Chinoiserie Cabinet. An early 19th century Chinoiserie lacquered cabinet, the two doors enclosing two long drawers and seven short drawers, each with engraved brass handle beneath nine pigeon holes, the whole piece decorated in the Chinese style with ﬁgures, pagodas, pine trees and landscapes, elaborate brass lock, very worn condition and would beneﬁt from restoration (and a stand), 94 cm high x 94.5 cm wide x 48 cm deep (1)

£300 - £500

516* Artist’s Easel. A Victorian oak frame artist’s easel, with adjustable rack and pinion action, winding handle to the lower section on later casters, 184 cm high x 53.5 cm wide x 64 cm deep (1)

£300 - £500

517* Arts and Crafts. An early 20th century golden oak bench, the long rectangular top pegged and supported by two gothic style supports, 43 cm high x 155 cm wide x 26 cm deep

519* Heal & Son. A Victorian mahogany seven drawer chest by Heal & Son London, the tall chest with one deep drawer to the base, each with turned knob the top drawer stamped Heal & Son London, 122 cm high x 61 cm wide x 46 cm deep

(1)

£150 - £200

169

£200 - £300

520* Lancashire Regional Chairs. A matched set of eight Lancashire spindle back ash chairs, circa 1800-1850, all with two rows of ﬁve spindles, rush seats and square back legs united by turned stretcher, approximately 94 cm high For a comparable chair please refer to “The English Regional Chair” by Bernard D. Cotton, page 346 (8) £300 - £500

522* Longcase Clock. An 18th century longcase clock by Winstanley of Holywell predominantly circa 1740/50, the brass dial with chapter ring with black roman numerals, subsidiary seconds dial, ﬁnely pierced steel minute and hour hand, calendar aperture, ﬁnely engraved with exotic birds and rococo scrolls, with pierced scroll spandrels, contained in an oak case with mahogany crossbanding, approximately 200 cm high with two weights and a pendulum, some elements probably later (1)

523* Square piano. A mahogany square piano by John Broadwood & Sons, c. 1815-1820, inscribed serial no. 2555(_) internally (ﬁnal digit appears to be very faint/rubbed away), fascia board inscribed ‘John Broadwood and Sons’ above a 5 1/2 octave keyboard, mahogany case with brass edge decoration, two drawers beneath, on six turned & tapering reeded legs (repaired) terminating in brass caps and castors, pedal present (without rod attachment), width 172cm, depth 65cm, height 85 cm

521 Library Table. A Victorian mahogany library table, the rectangular top with rounded corners above a foliate carved frieze with a drawer to each side on acanthus carved cabriole supports united by a large stretcher, extensive water damage to the top and bowing, 71 cm high x 154 cm wide x 87 cm deep (1) £200 - £300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

John Broadwood (1732-1812) produced his ﬁrst piano in 1771. He traded as John Broadwood & Son from 1795 and when his third son joined in 1808, the ﬁrm assumed the name of John Broadwood & Sons Ltd. Characteristically for Broadwoods of the early 1820s, this one has the wrestpins for the top notes moved to the right, which reduces crowding at the narrow end of the main wrestplank. Soon after this, the divided bridge was introduced, but this one is still single. A handsome piano with a crossbanded case and motifs on the front corners. Brass inlay to the rosewood nameboard, and brass embellishments on the legs and around the lower edge of the case. With thanks to David Hackett (Friends of Square Pianos) for this additional information. (1) £300 - £500

170

Lot 523

Lot 525

524* Square piano. A mahogany square piano by William Henry Edwards, c.1830, satinwood fascia board with painted royal armorial and inscribed ‘W. Edwards, Bridge-road, Lambeth, London’ above a six octave keyboard, retaining dust cover ‘shade’ to the interior, mahogany & satinwood case, with brass decoration, base with three drawers (one dummy) and six tapering reeded legs terminating in brass caps and castors, pedal present (without rod attachment), width 168cm, depth 61cm, height 91.5 cm Rare. It is believed there are only a limited few examples of Edward’s pianos in collections around the world. The ﬁrm of William Henry Edwards of 17 Bridge Road, Lambeth, London manufactured pianos from 1803-1850. There is evidence of some refurbishment of this example. In an exuberant satinwood-veneered case by the rarely-encountered maker William Henry Edwards - notable for being ‘South of the River’ in Lambeth. With thanks to David Hackett (Friends of Square Pianos) for his comments and additional information. (1) £3,000 - £4,000

525* Square piano. A mahogany and satinwood crossbanded square piano by Johannes Broadwood, c. 1791-92, inscribed serial no. 1720 internally, the satinwood fascia board inscribed ‘Johannes Broadwood, Londini fecit 1791 Patent, Great Pulteney Street, Golden Square’ above a fiveoctave keyboard, the stretchered base with four tapered legs terminating in brass caps and castors, front-hinged lid flap detached, some loss of veneer, requiring refurbishment, width 159cm, depth 54cm, height 85.5 cm The vendor purchased the piano in America (piano bearing auction label from Simpson’s Fine Antiques & Objet’s d’Art, lot 47, Oct 09). It has been suggested that the present example might once have been in the collection of Thomas Jefferson (1743-1826), third President of the United States. Certainly, he visited Broadwood’s London showroom in Great Pulteney Street, Soho in 1785, to discuss musical instruments with the proprietor. After 1793, when James Shudi Broadwood was made a partner in the firm, the inscription was changed to read ‘John Broadwood & Son’. The serial number inside the piano is 1720, which is correct for 1792, and the Latinized inscription. With thanks to David Hackett (Friends of Square Pianos) for this additional information. (1) £500 - £800

Lot 524

171

HISTORIC TEXTILES

527* Bag. A bag made of seeds, probably Southeast Asia, late 19th/early 20th century, pentagon-shaped bag composed entirely of seeds strung together with black cotton thread, mainly of ipil seeds, but also incorporating details in larger brown seeds, with ﬂap and loop closure, pendants hanging from the 3 lower corners, and a short handle, overall size (including handle and pendants) 36 x 28 cm (14.25 x 11 ins) A most unusual and intriguing object. Occasionally such bags (as well as necklaces of similar construction) have appeared at auction, often classiﬁed as Tasmanian apple seed bags. However, research has since suggested that not only is there no evidence of these items having been made by Aboriginal Tasmanians, but also that the seeds are not apple pips, but ipil seeds, which come from a tropical plant which does not grow in Tasmania. (1) £100 - £150

526* Ackermann (R., publisher). A collection of cloth and paper sample plates, published Ackermann’s Repository of Arts, 1809-1815, a collection of 49 plates, each with several mounted samples, mostly of cloth, but some of paper, including some duplicates, some toning and marks, some edges trimmed, sheet size approximately 24 x 14.5 cm (9.5 x 5.75 ins) (49)

528* Bag. A tambour work reticule, circa 1790, bag of striped cream silk, neatly tamboured in polychrome silks, one side with central honeysuckle sprig, and border of scrolling flower stems interwoven with a line of gold metallic thread tambour work, the other side with central stem of Morning Glory, and a large flower stem to each corner (violas, lily of the valley, toadflax, and a rose bud), each stem with a bow of gold thread over spangles, and joined by a sinuous line of gold thread, edged all round with gold metal looped fringing, with a tassel at each lower corner, lined with cream silk, 2 cream silk ribbon drawstrings, one with gold embellishment matching edging (lacking from the other), drawstring casing torn at one side, 30 x 33 cm (11.75 x 13 ins), together with: A late 18th/early 19th century reticule, brocade bag, with woven design of a large spray of rosebuds on one side, and a spray of blue lily-style flowers on the other (with a couple of small marks), on a cream lattice ground, drawstring and edging of cream twisted cord (1 or 2 minor marks), steel cut tassels to top at either side, cream figured silk lining, 19 x 18 cm (7.5 x 7 ins) Two early reticules, both in very good condition. (2) £200 - £300

£100 - £150

Lot 528

529* Bag. An early embroidered silk reticule, circa 1790-1810, hand-stitched pale pink silk bag, the front elaborately embroidered in pale silk thread and gold metal threads with a large central satin stitch floral motif, surrounded by 10 foliate circles, each enclosing a flower of pink silk ribbon embroidery, embellished overall with beads, foliate circle design repeated on upper flap, the back similarly worked, with a heart motif in centre enclosing a flower of ribbon embroidery, border and flap edged with foliate sprays, small area 1.5 cm long on rear beginning to perish, lower edge with 3.5 cm fringe of seed and bugle beads, carrying loops composed of 3 plaited strands of gold metal cord held by a band of gold metal lace on each side (one side with the loss of a few stitches), lined with cream silk (largely intact) with matching ruched ribbon to opening, dimensions not including fringe 30.5 x 21 cm (12 x 8.25 ins) A beautifully worked reticule surviving in unusually good condition. (1) £100 - £200

Lot 529 Lot 527

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

172

533* Bed Linen. A pair of 19th century French linen sheets, 1853 & 1892, 2 ecru linen sheets, each hand-woven from handspun yarn, the ﬁrst with hand-stitched hems and central join, hand-embroidered in cross-stitch in red thread to one corner ‘GJ 1853’, 230 x 189 cm (90.5 x 74.5 ins), the second with machine-stitched hems and hand-stitched central join, one corner hand-worked in red cross-stitch ‘CJ 6 1892’, some discolouration, large machined patch, 240 x 184 cm (94.5 x 72.5 ins)

530* Bed Linen. A monogrammed French linen sheet, early 20th century, ecru linen sheet, with large embroidered initials ‘BN’ (18 x 24cm), hand-worked in padded satin stitch and french knots, drawn threadwork to turn-down, hand-stitched hems, occasional small marks, 347 x 224 cm (136.5 x 88 ins) A high-quality French linen sheet, beautifully stitched and in very good condition. (1) £100 - £200

532* Bed Linen. A monogrammed French linen sheet, early 20th century, ﬁne white linen sheet, with large hand-embroidered initials ‘RB’ (18 x 27cm), the letters worked in padded satin stitch and entwined with foliate decoration, turn-down with ladderwork and with scalloped edging incorporating draw-handle decoration hand-worked in button-hole stitch, handstitched hems, 333 x 233.5 cm (131 x 92 ins), together with: Table Linen. A set of 12 monogrammed French linen napkins, early 20th century, 12 white damask napkins, each handembroidered with large initials ‘JR’ embellished with ﬂoral decoration (9 x 14.5cm), worked in padded satin stitch, each approximately 71 x 83.5 cm (28 x 33 ins) (13)

Two pieces of early French linen of exceptional quality, of the sort that is becoming increasingly difficult to find. Each sheet is hand-woven from yarn that was hand-spun, giving a quality of texture which can never be reproduced via commercial means, and producing a final product which is amazingly durable. The handstitched centre seams are a particular sign of early sheets, as hand-woven fabrics were produced in much narrower widths than could be produced on wide machine looms. These sheets will have been washed many times, and are therefore unsusceptible to shrinking, and they can be beautifully enhanced using vegetable dyes. Each farm in France had its own field of flax, and so these sheets are almost certain to have been spun and woven on the site where the raw material was grown. Such linen formed an important part of a young girl’s trousseau, and hence would often be embroidered with the initials of the bride and her betrothed. More rarely pieces of linen would be dated, as here. (2) £200 - £300

£150 - £250

531* Bed Linen. A monogrammed French linen sheet, early 20th century, fine white linen sheet, with hand-embroidered initials ‘JB’ within an oval frame topped by a bow entwined with flower stems (19 x 36.5cm), floral stems repeated as wide border to turn-down, worked in padded satin stitch and eyelet stitch, scalloped edge worked in buttonhole stitch, hem hand-stitched, 321 x 200.5 cm (126.5 x 79 ins) (1)

£100 - £200

Lot 533

173

535* Bodices. A collection of bodices of 18th century Spitalfields silk, 4 bodices, all with later reworkings, including a bodice of gold metal thread brocade, with wide hand-made lace to neckline, and a boned bodice of blue silk brocade with elbow-length flounced sleeves incorporating lace, together with 4 flounced sleeves of Spitalfields silk (including a matching pair, of which one is heavily weighted), various sizes and condition (8)

534* Bodices. A collection of 18th century Spitalfields silk bodices, 5 bodices, all with later reworkings, including: a boned bodice with stomacher panel, elaborately trimmed with colourful flybraid; a bodice with elbow-length flounced sleeves; another similar, with boning, and lace flounces to sleeves; and a bodice with lacetrimmed neckline and deep v-shaped waist, various sizes and condition (5)

536* Bodices. A collection of early bodices, late 18th/early 19th century, 4 bodices, all with later reworkings, comprising: a painted fitted and boned lined bodice of cream silk with short sleeves and pointed v-shaped waist, hand-painted with Chinese design of bamboo stems in brown, blue, and green, entwined with flowering tendrils of purple and pink blossom on black stems, rear with eyelets for lacing (not present), and a self bow at waist, some light marks; a boned bodice of green and gold brocade with short sleeves and low-cut neckline, patterned with large flower and leaf stems, front opening with eyelets for lacing (not present), waist terminating in a v-shape at front and back, minor wear in places; another of hand-painted yellow silk, rubbed and torn; and a cream boned bodice of gauze over silk with long sleeves and pointed vshaped waist, various sizes, together with a make-do stomacher pieced from 18th century silk brocade

£200 - £400

(5)

£150 - £250

537* Caraco. A silk caraco bodice, French, circa 1780, a handstitched full-skirted ﬁtted jacket with three-quarter length sleeves, composed of cream chine silk, patterned in pink and green with double running stitch stripes alternating with wider ﬂoral stripes, front closure with eyelets stitched on linen for ribbon lacing (not present), each front side giving way to 2 laps, rear with longer gathered peplum back edged with pink furbelows, low round drawstring neck and front edged with cream lace (torn and becoming detached), lined with cream silk, outer silk beginning to perish in places, bust 92 cm (36 ins), waist 80 cm (31.5 ins), sleeves 41 cm (16.25 ins), length at back 59 cm (23.25 ins)

Lot 535

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

174

£200 - £300

Lot 537

539* Carpet. An Aubusson-style carpet, early 20th century, handmade tapestry wool carpet, in shades of pink, green, red, brown, and blue, with central square panel containing a foliate circlet within a wreath of ﬂowers, surrounded by rectangular panels of fruit and leaves, and irregular-shaped panels of ﬂoral garlands with small square panels of fruit in corners, border of roses to both short ends (small black mark to one, 2.5 x 1.5cm), and decorative border all round, several small areas of loss to stitches (largest 1 cm square), but overall in very good condition, 3 x 2.4m (9ft 10ins x 7ft 10 ins)

538* Carpet. A Tree of Life carpet, Indian, early 20th century, woollen carpet, with large blossoming tree, animals, and birds, within a niche-shaped frame, enclosed by a ﬂoral multi-banded border, short sides with fringed edging, some minor wear (mostly to extremities), 197 x 141 cm (77.5 x 55.5 ins), together with 2 others of similar age: a Caucasian Shiryan rug, and a Persian Fereghan rug (3)

An attractive hand-made carpet in very good condition. (1)

£100 - £200

175

£300 - £500

541* Chalice Veil. An embroidered and metalwork chalice veil, late 17th/early 18th century, with central initials ‘IHS’ and Latin cross worked in gold metal thread within a circular border of flowers worked in coloured silks and gold metal thread, large cornerpieces similarly worked each featuring a large flower with emanating tendrils and leaves, the silks predominantly in shades of pink, blue, green, and yellow, using mainly couching, long and short stitch, and bullion stitch, some small holes and tears, threads loose or missing in places, on a pieced gold moiré silk ground, with hand-stitched diagonal seam, some light soiling, backed with pieced pink glazed linen (faded and with some marks and small holes), 48 x 50 cm (19 x 19.75 ins), together with 4 other items comprising a 19th century hand-stitched pale gold silk brocade waistcoat, fabric beginning to perish in places and some soiling to one corner of lining, a 19th century Chinese cream silk sash, hand-embroidered with butterflies and flowers, silk a little marked and frayed in places, but embroidery bright and mostly intact, an Ancient Order of Foresters ceremonial sash, and a set of 6 ecclesiastical woven bookmarks joined at one end

540* Carter (Howard). A pair of curtains made of Pansies fabric, designed for Heals, 1962, pair of screen-printed cotton curtains, with large pattern of pansies printed in shades of yellow with touches of blue, green, and brown, on a white ground, each with an off-centre vertical join, rufflette tape to top edge, remaining edges machine-hemmed, each drop 199 cm (78.5 ins), width 164 cm (64.5 ins), together with: Day (Lucienne), A large pair of curtains made of Riga fabric, designed for Heals, 1961, pair of screen-printed linen curtains, with stripes of varying colours (some with marbled effect) on an acid yellow ground, each with a central vertical join, lined with light beige cotton twill, double row of cord gathering to top edge, with brass hooks attached with stitching, remaining edges machinestitched, hems weighted, side edges faded, drop 194 cm (76.5 ins), width 237.5 cm (93.5 ins) Reich (Tibor), Three curtains made of Jessica fabric (design 307), 3 curtains of screen-printed cotton, depicting rows of flowers, in red, green, blue, white, and black, on a royal blue ground, lined with ivory cotton, rufflette tape to top edge, sides seams stitched by machine, lower hem hand-stitched to 2 curtains (1 with loss of stitching), the other left unstitched, some side edges faded and with occasional minor wear, drop 151 cm (55.5 ins), width 115.5 cm (45.5 ins), and an unused length of Tintagel fabric designed by Francis Price, screenprinted cotton, depicting knights jousting, selvedges to sides, other edges raw, 211 x 125 cm (83 x 49.25 ins) (8)

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£100 - £150

£200 - £400

542* Children’s clothes. A Regency girl’s dress, circa 1810, handstitched long cotton baby dress, with fine purple seaweed pattern on a flecked white and lilac ground, bodice gathered at the front, short petal sleeves with double row of fine white braid, and dainty lace edging, close-gathered high waist, neck and waist with drawstring tie at back, some small marks and 1 or 2 tiny holes, chest 25 cm (17 ins), waist 38 cm (15 ins), sleeves 6.5 cm (2.5 ins), length 99 cm (39 ins), together with 2 other Regency cotton baby dresses similar, and an unusual child’s patchwork dress, composed of small rectangular patches of colour-printed flags and military badges, somewhat faded and worn, plus: A set of matching christening clothes, circa 1890s, comprising: a handmade cream silk baby gown, the bodice and long sleeves overlaid with net hand-worked with metallic threads forming large flowers and leaf sprays, button fastening to rear, hem with chiffon ruffle edging, chest 48 cm (19 ins), waist 42 cm (16.5 ins), length 82.5 cm (32.5 ins); a cream silk bonnet with metalwork as before, and a cream chiffon rosette to centre, matching satin ribbon ties (slightly perishing in a few places), with a bow at each side embellished with a metallic ribbon rosette; and a cream silk cape, stitched all over with faux pearls in a scalloped design (decorative chiffon ruffle hiding stitches on lining), some pearls missing, pleated neck trimmed with a cream chiffon rosette between metallic ribbon leaves, matching satin ribbon ties (perishing in places), some small stains, length 104 cm (41 ins)

Lot 541

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Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

176

£200 - £400

543* Chinese. A collection of fragments of hand-embroidery, 19th/early 20th century, comprising: parts of a deconstructed blue figured silk coat with embroidered borders of blue and white flowers; a large gathered cream silk bag, with border to top edge of bats and cranes between braid, handles of matching braid, with embroidered buttons at point of attachment, blue silk tassel to lower edge, lined with dark cream silk, stain to lower edge and a few small holes, 43 x 43 cm (17 x 17 ins) not including handles or tassel; a large square of cream silk, embroidered overall with diagonal stripes of flower sprays and butterflies and a circular motif in one corner, worked in black and shades of blue, some toning and spotting, backed with pale blue silk (some discolouration and a couple of very small holes), 77.5 x 72 cm (30.5 x 28.5 ins); 4 pairs of finely-stitched silk borders, vertically embroidered with various motifs, including flowers, butterflies, figures, bridges, urns, and bamboo, faded, and some discolouration, one with small portion of stitching loose, another with some fraying, edges raw, stitched areas approximately 9 x 46 cm (3.5 x 18 ins); and various collars, cuffs, and other edgings, with stitched flowers, bats, cranes, etc., some matching, various sizes (approximately 20)

Lot 544

£150 - £250

544* Chinese. A large embroidered panel, early 20th century, finely hand-worked in polychrome silk threads, large central panel with numerous oriental figures and scenes, including pagodas, junks, gardens, and 2 winged putti, with wide border of figures, including drummers, dancers, and figures holding fans, between narrow scrolling floral borders, the whole incorporating scattered butterflies, birds, blossom trees, clouds, bats, and other auspicious symbols, stitched using mainly long and short stitch, satin stitch, stem stitch, and chain stitch, some light discolouration to pale green silk ground, pale pink silk lining (with mottled fading, marked and perished in places), edged all round with 9 cm polychrome fringe incorporating pom pom swags (tangled and defective in places), dimensions excluding fringe 302 x 246 cm (119 x 97 ins) An impressive and highly decorative piece, surviving in good condition. (1) £500 - £800

177

545* Chintz. A large piece of hand-blocked chintz, Persian, circa 1896, large piece of unused chintz, patterned overall with dense dainty sinuous ﬂower and leaf stems, hand-blocked in red, green, and blue, and highlighted in gold, gold and red borders to short ends, one incorporating Arabic script in black in centre, one long side with selvedge, the other raw, a few small closed tears at one corner, but generally in good condition, 255 x 113 cm (100.5 x 44.5 ins) Provenance: Purchased in 1896 in Esfahan, Iran, by a member of the owner’s family, and thence by descent. (1) £150 - £200

547* Curtains. Two pairs of matching pale blue damask curtains, early-mid 20th century, 4 large hand and machine-stitched curtains of pale blue ﬂoral damask, top edges with double pleats, very occasional minor marks, lined with white cotton, lining with some soiling and slight wear to top edges where hooks previously attached, that to one curtain torn and becoming detached, lower hems raw (curtains sometime shortened) and some crude stitching to one, some vertical fading, most noticeable at edges, approximate measurements of each: drop 284.5 cm (112 ins), width 180 cm (71 ins) Provenance: From the British Embassy in Prague; given to the current owner over 30 years ago by her sister who worked for the daughter and son-in-law of the British Ambassador in Prague. (4) £100 - £200

546* Cretan. A group of hand-embroidered and hand-woven textiles, 19th/20th century, comprising: a small panel composed of embroidered strapping, worked in earthy shades, pieced together by machine and backed with brown cotton, with labels ‘hand Embroidered strapping - 1900 -’ and ‘Canaea. Crete. Bought 1976’, 24.5 x 42 cm (9.5 x 16.5 ins); an embroidered wall hanging, worked with a geometric pattern in polychrome wools on a coarse red ground, central vertical seam, 1 or 2 small holes and darns, twisted red and green cord to sides and upper edge (that to latter incorporating hanging loops), crocheted edging to lower edge embroidered with ﬂowers, backed with red linen, 63.5 x 130 cm (25 x 51 ins); a large rectangular bag embroidered with geometric patterns in vertical stripes on a coarse ground, with plaited thread strap, and 3 tassels to lower edge, some pulled threads and small darns, 66 x 46 cm (26 x 18 ins) excluding strap; a pieced coarse red bedcover, with tasselled wide embroidered borders to sides, 2 horizontal joins, a little loss of embroidery in places and a few small threadbare areas, 204.5 x 218.5 cm (80.5 x 86 ins); and 12 other embroidered or woven panels and fragments similar, various sizes and condition

548* Dress. A cream satin wedding gown with bustled trained skirt, circa 1880s, handmade dress, with boned ﬁtted bodice, front opening with 16 self buttons, high stand-up neck, and long narrow sleeves with wide gathered and frilled cuffs, the neck and sleeves heavily ruched, front of bustle skirt with horizontal gathers and frills, train trimmed with rows of gathered rufﬂes, hem with lace edging, fully lined, some light stains and minor marks to the lower part of the skirt rear, bust 76 cm (30 ins), waist 58 cm (23 ins), length (excluding train) 128.5 cm (50.5 ins) A beautifully-made wedding gown, elaborately-detailed and in very good condition. (1) £150 - £250

Provenance: Artist Penelope M. Dell (1918-1985) and thence by descent. (16) £200 - £300

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

178

Lot 548

Lot 550

550* Dresses. Two dresses worn by the wife and daughter of Sir Barnes Neville Wallis at The Dam Busters premiere, 1955, the first worn by Barnes’ wife Mary Frances Wallis (1904-1986), comprising a full-length evening gown of pale grey satin by Debenham & Freebody, London (woven label present), with lined fitted bodice featuring pleated sweetheart neckline, wide shoulder straps, flared skirt loosely pleated at rear, and stiff underskirt of vilene, front of bodice and skirt heavily beaded with flower sprays composed of lilac seed beads, silver bugle beads, and purple sequins, 2 additional sprays on back of skirt, zip closure at rear, occasional light marks, bust 82 cm (32 ins), waist 70 cm (27.5 ins), length from top of straps to hem 141 cm (55.5 ins), the second worn by Mary Eyre Stopes-Roe née Wallis (1927-2019), comprising a hand-made strapless evening gown of bottle green taffeta, with lined fitted and boned bodice featuring ruched pale green organza over gold fabric, v-shaped waist, loosely pleated skirt, and gold piping between skirt panels, zip closure at rear, bust 69 cm (27 ins), waist 63 cm (25 ins), length 127 cm (50 ins), together with a scrap of paper annotated in pencil ‘Dresses worn by MFW & MEW at Dambuster premiere’, the ‘W’ of ‘MEW’ crossed through and replaced with ‘S-R’ together with the date ‘1955’ in another hand Provenance: From the families of Marie Carmichael Stopes (1880-1958) and Sir Barnes Neville Wallis (1887-1979) by direct family descent. Two 1950s evening gowns, worn by the wife and daughter of renowned scientist and engineer Sir Barnes Neville Wallis to the premiere of the famous film, The Dam Busters, which immortalised Wallis’s invention of the bouncing bomb used by the Royal Air Force in Operation Chastise to attack the dams of the Ruhr Valley during the Second World War. (2) £150 - £200

549* Dress. A gown of early 18th century Chinese export silk damask, hand-stitched dress of silk damask, with large pattern of latticework and ﬂowers, including roses and tulips, amongst scattered acorns, in pink on a pale silver-pink ground, openfronted, with elbow-length sleeves, and tucks on reverse terminating in a v-shape (possibly of later construction, and with alterations), selvedges with double green line (width of fabric 55.5cm), occasional small marks, but fabric robust, skirt lined in cream silk, lining worn, length 142 (56 ins) Typical of silk damask designed for the Western market and manufactured in China; this fabric would likely have been woven between 1710 and 1740. For similar silk damask see dress and night gown in the V&A (T.35-1972 and T31.2012 respectively). Such silks were primarily intended for furnishing, and appear in merchants’ records as ‘bed damasks’; the length of their large pattern repeat was displayed to best advantage in the long drop of bed curtains. (1) £200 - £300

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Lot 551

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

180

551* Embroidered panel. A large and important redwork panel, British, circa 1620, embroidered in very fine wool thread dyed with cochineal beetle red, on a cream twilled fustian ground, with all-over pattern of flora and fauna, the former comprising: pomegranates, magnolia flowers, daffodils, harebells, aquilegia, lilies, and the latter: leopards, parrots, stags, squirrels, hounds, hares, and an elephant carrying a three-turreted castle on its back, fine line border to long sides, the outlines worked in stem stitch, with details in seeding, back, running, and lazy daisy stitches, 2 hand-stitched vertical joins with imagery continuous (each of the 3 widths approximately 49cm), handstitched horizontal join 35 cm up from lower edge (embroidery not continuous), side and lower edges bound with linen tape (that to left hand edge largely frayed), neatly stitch-mounted to a double layer cream backing, with velcro along top edge, some loss to embroidery and consequently pencil outlines visible in places, but stitching largely intact (although renewed in 1 or 2 small areas with pale brown thread), occasional small marks and some perishing of fustian ground (with stitched areas of consolidation), 2 areas of embroidery carefully cut round and re-mounted on new backing (approximately 23 x 9 cm and 59 x 16cm), overall size 216 x 149 cm (85 x 58.5 ins) Provenance: Private collection. Exhibited: Royal School of Needlework Exhibition, Irish Linen Centre in Lisburn Museum, May 2009-May 2010. The piece has also been displayed at the Royal School of Needlework at Hampton Court Palace on a number of occasions. Redwork embroidery of the early 17th century is rarely offered for sale even in small fragments, and therefore the importance of this large-scale piece new to the market - cannot be overstated. Redwork typically features detached but lively motifs regularly spaced in an organised design over a white linen or cotton ground, and was usually carried out by women who used it to decorate domestic furnishings such as bedcovers and hangings, cushions, workbags and curtains, as well as articles of dress. This substantial piece of embroidery, and its two companion pieces (see following lot) are likely to have been originally part of a set of bed hangings. Elaborate hand-work was treasured and handed down, and these pieces may have been modified in the 17th or 18th century in order to repurpose and infuse new life into them. Certainly they were subjected to a quite radical alteration, perhaps by a prudish Victorian owner, when the appendages protruding from the dogs were unstitched, in order to protect the sensibilities of the viewer! The outlines of tiny holes where the needle went through the fabric are still clearly visible, testament to a fascinating tale in the history of this panel. The broadly, but not perfectly, repeating design depicts stylised fruit and flowers, mostly of similar size, and a variety of beasts whose dimensions bear no relation to each other. This lack of proportional scale and freedom of distribution of motifs is typical of other work of the time. Both domestic and professional embroiderers took inspiration from pattern books, such as Richard Schorleyker’s A Schole-House for the Needle published in 1624, although other publications such as emblem books, herbals, illuminated manuscripts and bestiaries would also have provided imagery which could be copied or modified for transfer onto cloth. Thus the variation found within the all-encompassing term of ‘redwork’ is wide, each piece reflecting the individuality of the stitcher. The lone elephant shown to the lower left of the panel is an unusual, and therefore unexpected, inclusion, although the elephant and castle motif was widely known at the time. Indeed, in the mid-14th century the symbol was included on the coat of arms of the city of Coventry. The elephant is associated with a number of attributes, including wisdom, loyalty, chastity, strength and power, so perhaps it is not so surprising that the maker here branched out to include such a magnificent creature. Early redwork pieces, particularly of this size, are few and far between in institutions, but there are two notable examples which bear a strong resemblance to the piece offered here: a bedcover held by The Art Institute of Chicago (reference number 1986.988); and a bed curtain housed in The Metropolitan Museum of Art, New York (40.88a-f). Smaller pieces are held by the Royal School of Needlework, the Embroiderers’ Guild, and the V&A. (1) £10,000 - £15,000

552* Embroidered panels. A pair of redwork panels, British, circa 1620, embroidered in very fine wool thread dyed with cochineal beetle red, on a cream twilled fustian ground (toned), with all-over pattern of flora and fauna, the former comprising: pomegranates, magnolia flowers, daffodils, harebells, aquilegia, lilies, and the latter: leopards, parrots, stags, squirrels, hounds, hares, and elephants carrying on their back a three-turreted castle, the outlines worked in stem stitch, with details in seeding, back, running, and lazy daisy stitches, toned, each piece with a number of hand-stitched vertical joins (some original with imagery continuous, others later with embroidery truncated), backed with coarse linen and edged all round with linen tape, losses to embroidery and consequently pencil outlines visible in places (e.g. where dogs appendages removed as in previous lot), some light marks and small stitched repairs, one panel with 2 areas of embroidery carefully cut round and re-mounted on new backing (8.5 x 9 cm and slightly smaller), each panel approximately 35 x 197 cm (14 x 77.5 ins) Provenance: Private collection. Exhibited: These pieces have been displayed at the Royal School of Needlework at Hampton Court Palace on a number of occasions. Two companion pieces to the previous lot. (2)

181

£2,000 - £3,000

553* Embroidered panel. A metalwork hanging, late 19th/early 20th century, cream silk damask panel, with 5 Tudor roses, each framed by an arabesque border, a coronet entwined at each side of border, and a ﬂeur-de-lys at top and bottom of border, expertly hand-stitched in relief using padded long and short stitch and couching in shades of yellow, and couched gold metal threads, 11 cm wide ivory linen border to top edge (with water-stain to righthand side), backed in the same linen, large metal hooks on verso at top, cream, orange, and gold fringed braid to lower edge, occasional loose or lost threads, damask ground perishing, overall size 84 x 224 cm (33 x 68.25 ins) (1)

555* Embroidered picture. Christ and the Samaritan Woman at the Well, English, early 19th century, hand-stitched on silk, depicting Jesus seated beside a well talking to a Samaritan woman holding a pitcher, a tree shading the well, and dwellings and palm trees in the background, stitched in wool and silks in shades of brown, cream, green, blue, orange, and pink, using long and short stitch, and stumpwork, details of faces, hands, feet, and hair carefully delineated in pen & ink, some scattered tiny pin holes and spots to silk ground, 34.5 x 48 cm (13.5 x 19 ins), later 19th century varnished mahogany veneered frame, with quatrefoil ornaments at corners, 64.6 x 78.5 cm

£150 - £200

(1)

554* Embroidered panel. Portion of Indian embroidery, Gujarat, mid 19th century, with large central square of cerise silk, handembroidered overall with large floral and foliate scrolling stems, worked in silks in shades of purple, yellow, cream, and green, within a border of dark blue silk similarly worked, with pale pink square cornerpieces worked with a single flower and leaf stems within a border, the whole finely stitched in tambour work, outer border of gold silk, edged with cerise and cream silk, some soiling, occasional loss of stitching, and 1 or 2 very small repaired holes, 89.5 x 94 cm (35 x 36 ins), expertly mounted on cream linen over wood panel (94 x 96.5cm)

556* Embroidered picture. Elijah fed by ravens, early 18th century, hand-stitched embroidery depicting the Old Testament prophet seated beside a pomegranate tree, taking food from a raven’s beak, a second raven with food in ﬂight, and an exotic bird perching in the tree, with a lion to the left of Elijah and a deer to the right, various ﬂowering plants, including carnations, and a sun with face to top right corner, worked in coloured silks in red, blue, green, yellow, cream, and black, in long and short stitch and stem stitch, the embroidery carefully cut out and reapplied to a later cream silk backing, 35.5 x 32 cm (14ins x 12.75 ins), early black ebonised frame glazed (part of beading on right-hand side missing), 41 x 36.5 cm

Now mounted as a decorative panel, this beautifully embroidered piece would have been used as part of an Indian marriage ritual to conceal gifts in a silver dish. (1) £200 - £400

(1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£100 - £150

182

£200 - £300

557* Embroidered picture. Oval picture of a young girl and a lamb, circa 1790-1810, hand-worked in coloured silks on a cream silk ground, using satin stitch, long and short stitch, and stumpwork, depicting a young girl standing in a landscape, her face and hands ﬁnely delineated in watercolour, holding a garland of roses, also in watercolour, a lamb at her side, and a cottage in the background with trees, 14.5 x 11.8 cm (5.75 x 4.75 ins), gilt oval frame, with indistinct early manuscript label on verso (1)

£200 - £300

558* Embroidered reticule. A drawstring purse or sweet bag, British, early 17th century, square reticule of petit point over linen, finely stitched on both sides with central large red-feathered white tulip stem flanked by a 4-petalled pink flower on a leafy stem, and by a carnation on the left and an iris on the right, the flowers held in a blue and white Deftware vase with handles, the vase placed on the middle of 3 hillocks and flanked by a bee on the left and a small bird on the right, the latter beside a sprig of berries, the motifs worked in red, pink, white, green, blue, yellow, and brown, using tent stitch, with remains of black outline stitching present, the background worked in silver metallic thread in woven plait stitch, occasional loss of threads, lined with raspberry red grosgrain silk, edged all round with gold metal thread, the sides and lower edge worked in Elizabethan plaited braid stitch, the upper edges around the opening worked in a similar but narrower stitch (slightly breached in places), upper corners with knotted ornament of silver thread-wrapped cord, top edge with eyelet holes threaded with 2 drawstrings of pink and green braid, each terminating in a loop held by a Turk’s head knot (metal thread over loops becoming unravelled with some loss), each loop holding a coloured silk and metal thread-covered matching tassel (one tassel with top hanging loop becoming detached, the other with very slight loss of threadwork), with skirt composed of a pair of looped metallic ornaments embellished with Turk’s head knots, looped ornament repeated at centre of lower edge (that to each lower corner lacking), long handle of braid matching drawstring, 11 x 13 cm (4.25 x 5 ins)

Lot 558 meticulously-stitched items of needlework also appear sometimes to have been used to carry small objects such as a pair of gloves, a handkerchief, an almanac, or a small Bible or Book of Prayer, or as gift bags for items such as gold coins. Sometimes a matching pincushion is attached, suggesting the bag was used to contain sewing tools. Such gifts were frequently bestowed on Queen Elizabeth I, for example, to mark the New Year in 1565, William Huggans, Keeper of the Gardens at Hampton Court, gave “twelve sweete bags of taphata enbrauderid with flowers of Venice golde and silver” to the Queen as part of the festive celebrations. The needlework of the 16th and early 17th century invariably looked to nature for its motifs. Both domestic and professional embroiderers used not only pattern books such as Richard Schorleyker’s A Schole-House for the Needle published in 1624, but also herbals, emblem books and bestiaries to provide inspiration. A sweet bag of this fineness and delicacy would have been owned by someone of affluence and social standing, and the materials used, as well as the images depicted, would have been chosen to make a statement about the wealth of the owner. At a time when the tulip was prized above all other flowers, it is not surprising that it is given prominence here. Furthermore, striped tulips were the rarest, and therefore the most sought after and expensive. In particular the redfeathered Semper Augustus tulip, which our embroiderer has chosen to dominate the design, was the rarest and most valuable of them all. (1) £4,000 - £6,000

Provenance: Private collection. A beautiful example of an early 17th century embroidered reticule in exceptionally good condition. The term ‘sweete bag’ was used in inventories in the 16th and 17th centuries to describe such a receptacle, usually embroidered, which could be ﬁlled with dried ﬂowers, aromatic herbs, or scented powder, and thereby used to perfume clothing or stored linens, as well as deter moths and other insects. It is thought that such bags might also have been carried by ladies and used in the same way as a pomander, to ward off infection and unpleasant odours. These

183

559* Embroideries. A pair of embroideries on net lace, by Mary Mitchell, 1881, 2 large embroideries hand-stitched in polychrome threads, one in bright hues on black net lace, the other in pastel colours on cream net lace, each similarly worked with central circular floral motif, and large cornerpieces of flowers in a vase, with flowers between, and a chevron border (second item with small hole in border), each with stitched lettering incorporated ‘Mary Mitchell in her 79 year 1881’, recently mounted on red and blue card respectively (i.e. with edges wrapped over the card and secured on verso with adhesive tape), each approximately 45 x 61 cm (17.75 x 24 ins)

561 Ephemera. Invoice book belonging to Bryan & Thomas J. Reynolds, Farringdon [Berkshire], 1822/3, 200+ manuscript bills on headed paper engraved with copperplate script, a few with armorial or other vignette, all with vertical line in brown ink through centre (indicating payment of bill), generally toned or foxed, some soiling, fraying, and creasing, mounted (several to a page) on rectos and versos of album leaves (a number of bills detached), a few blank leaves at rear, original blue paper-covered card covers, worn, and most of blue paper missing, front cover with large inscription in contemporary black ink ‘1822’, 58.5 x 23.5 cm (23 x 9.25 ins)

Each with manuscript label on backboard remaining from when previously framed: ‘Mary Mitchell was born in 1802 and a Nottingham lace maker. This work was done on lace that she made in approx 1822. This was veriﬁed by family records and by me her great great grandaughter Hilary Binns.’ (2) £100 - £150

A fascinating piece of social ephemera revealing the wide variety of goods supplied to the firm of Bryan & Thomas J. Reynolds in Faringdon (then in Berkshire, now in Oxfordshire), from cloth of all kinds (linen, wool, silk, cotton) to ribbons, laces, needles, buttons, trimmings, slops, hats, parasols and umbrellas. Reynolds sourced their stock from both London and the English textile manufacturing towns and districts, such as Yorkshire, Wiltshire, Manchester, Redditch, Norwich, and Bristol. The majority of the bills detail purchases and costs, although some also include additional notes of goods sent on approval. We have been unable to find any other documentation concerning the Reynolds' enterprise in the busy market town of Faringdon, although the proprietors are mentioned in a lease and release document dated 1804 concerning The Five Alls (a public house at Filkins, Oxfordshire, still in existence), as two of the five parties listed: "Bryan Reynolds the younger of Great Faringdon, Berks., mercer" and "Thomas Reynolds of Highworth, Wilts., mercer". Another document, a release and assignment concerning deeds of land and property in the area of Clanfield, Oxfordshire, lists "Thomas Reynolds of Highworth, Wilts, linen draper and others" amongst the protagonists. Some of the supplying firms are: 'Gillman, Lucas, & Copling, 72, Newgate Street, Lacemen, Ribbon & Silk Manufacturers, Importers of French Cambrics'; 'Francis & Samuel Eveleigh, 58, Union Street, Southwark, Manufacturers of Light Water Proof Beaver Hats, On an entirely new principle, warranted to resist the effects of all kinds of damp, and the Nap to wear free to the last'; 'J.W. Robberds & Sons, St Saviour's, Norwich, Manufacturers of Bombazines, Plaids, Camblets &c. &c.; 'Adams & Son, Manufacturers of Umbrellas & Parasols, No. 207, High Holborn, nearly opposite Bloomsbury Square, Hat Covers, Bathing Caps, Black painted Cloth, Oil'd Silk & Linen'; and 'James Thomas, and Samuel Fossick, Flannel, Baize and Blanket Warehousemen, Mumford Court, Milk Street, A Large Assortment of Calamancoes and Bombazets'. The wealth of detail contained in these invoices gives an intriguing insight into the operation of a busy draper’s shop during the Regency period. (1) £250 - £350

560* Embroidery. A large portion of early embroidery, 17th century, comprising 3 horizontal rows arranged vertically of large scrolling ﬂower and foliate stems, including tulips, daffodils, and acanthus leaves, worked in coloured silks (greens, blues, yellow, pale pink), and padded metal threads, using long and short stitch and couching, on a linen ground, some fading and loss of threads, 56 x 32.5 cm (22 x 12.75 ins), mounted, framed and glazed, 75 x 52 cm (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £500

184

563* Fabric. A collection of 18th & 19th century silk brocades and damasks, comprising: a large fragment of brocade with substantial entwining flower stems in pink, yellow, blue, white, green, and gold metal threads, on a figured cream ground, narrow portion pieced along one edge, beginning to perish in places, and 1 or 2 small faint stains, irregularly shaped, 126 x 61.5 cm (49.4 x 24.25 ins) at largest extremities, one corner stapled to brown paper backing with ‘Warner Fabrics’ label attached; another large portion of silk brocade from the Warner collection (with several letter and numeral markings on verso, showing through to recto in one instance), with large entwining flower stems in shades of pink, yellow, green, brown and blue, on a cream ground, selvedges to both long sides, 1 or 2 small marks, 99 x 50.5 cm (39 x 20 ins); a pieced fragment of 18th century Chinese export silk imitating Spitalfields, with large polychrome flower sprays on a cream figured ground, trimmed along one edge with fly braid, some dustsoiling and marks, 123 x 40.5 cm (48.5 x 16 ins) at largest points, and 11 other small pieces similar

562 Fabric samples. A collection of trade catalogues, Bilbille & Co., 1937-1939, 12 catalogues, each with mounted cloth samples, titled ‘Woven Silks & Rayons’, ‘Rapports Couture’, ‘Nuances’, ‘Printed Silks’, and ‘Woolens’, occasional staining and marks to pages, some samples creased or missing, original printed wrappers, with ring-binder holes to left margins, date ink-stamped to upper covers, some wrappers soiled and slightly edge-frayed, slim 4to, together with 3 others similar (Société des Nouveautés Textiles, 1940; Textile Argus, 1939; Regency, 1940, with library label) (15)

(14)

£200 - £300

£100 - £150

564* Fabric. Four pieces of 18th century silk, comprising: a length of bizarre silk, circa 1710, with large motifs in blue, cream, green, and yellow, on a figured apricot ground, selvedges to long sides, faded, some marks and spotting, mostly at edges, 100 x 53 cm (39.5 x 21 ins); a length of silk brocade, woven with large flowering tendrils in pinks, blues, yellow, brown, grey, and white, on a cream ground, selvedge to one long side, some light foxing and staining, 94 x 48.5 cm (37 x 19.25 ins); a rear coat panel, with wide floral border to lower edge in pink, green, red, yellow, and gold metal threads, on a figured cream ground, some light foxing and toning, not affecting border, overall size 88 x 51 cm (34.5 x 20 ins), border 24 cm (9.5 ins) deep; and a length of pale blue silk with pink, yellow, white, and green posies, linked with foliate tendrils, selvedges to long sides, lightly faded and marked, perished at one end, 98 x 50.7 cm (38.5 x 20 ins) Lot 563

(4)

185

£200 - £300

565* Fabric. A length of silk with brocaded pattern, early 1730s, woven with a pattern of large pomegranates, flowers, and seedheads, in pink, blue, brown, and silver metal threads, incomplete width, with selvedge to one long side and irregularly shaped to the other, a little light foxing at one end and occasional minor edge-soiling, some edges with brown paper residues, 129.5 x 54.5 cm (51 x 21.5 ins) at largest extremities, together with: A length of silk with brocaded pattern, early 1730s, woven with a pattern of large pink and red chrysanthemum flowers, and stylised blue flowers and berries, with green leaves, and stamens, sinuous stems, and leaves of gold metal threads, on a cream silk ground, some overall light dust-soiling and staining, several splits (longest 10cm), selvedges to long sides, 99 x 53.5 cm (39 x 21 ins) Two rare and striking pieces of early brocaded silk. (2)

£500 - £800

566* Fabric. Two pieced panels of matching bright green silk damask, late 18th/early 19th century, with large flower and ogee pattern, loom width 53cm, both with mottled fading, largest piece slightly gathered to top edge and with machine-stitched fabric edging, one area perishing (with consequent 17 cm closed tear), a few small marks, 211 x 188 cm (83 x 74 ins), smaller piece with some light spotting in places, 264 x 104 cm (104 x 41 ins), together with a heavily padded door curtain of 18th century green silk damask, with large repeating pattern of stylised flower stems and acorns within a curved frame alternating with a similar large floral motif, metal rings hand-sewn to reverse of top edge, worn and with mottled fading, 206 x 112 cm (81 x 44 ins) (3)

£200 - £300

567* Fan. A George III folding fan, circa 1760, the recto with an oval printed portrait of King George III applied to pink paper printed with a repeating geometric design and silver sequins, foliate carved bone sticks, guardsticks with pierced design of a dog looking at a bird perched in a tree, repaired and some damage including one stick missing, 24.5 cm (9.75 ins)

Lot 565

A rare fan possibly made for the Coronation of King George III. (1) £80 - £120

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

186

568* Fan. A Regency folding fan, folding ivory gauze fan, the leaf decorated overall with silver spangles, and with a wide border at the top of varying shaped spangles (including stars and pointed ovals) arranged in swagged pelmet style, some small brown stains to lower portion of leaf, and 1 or 2 folds beginning to split, mounted on bone sticks, sticks with engraved and pierced decoration, and inlaid with polished steel dots (4 missing), 1 stick becoming detached, 32.5 cm (12.75 ins) (1)

£100 - £150

569* Fans. A large Brussels lace wedding fan, Duvelleroy, circa 1890, folding fan of cream hand-made Brussels Duchesse bobbin lace, mounted on ivory sticks, 37 cm (14.5 ins), housed in original cardboard box, with maker’s label inside lid, together with A monogrammed feather fan, circa 1900, folding fan of brown feathers ﬂecked with white (from a raptor, possibly an eagle), mounted on faux tortoiseshell sticks, upper guard stick with mounted metal monogram ‘CO’ surmounted by a coronet with 7 pearls on stalks, embellished with a brown tassel incorporating a plaited closure loop, 39 cm (15.25 ins), and a French folding fan with chromolithographed cream silk leaf depicting a young lady on a swing attended by 2 young gentlemen, signed ‘A. Laurence’, lightly foxed, mounted on pierced bone sticks, rear guard stick with horizontal break, 30 cm (11.75 ins) (3)

£150 - £200

Lot 569

187

570* [Margot Fonteyn, 1919-1991]. A tutu worn by Margot Fonteyn as Princess Aurora in the Vision Scene of Sleeping Beauty, Bonn & Mackenzie Ltd., 1959, turquoise and lilac tutu with overpainting, comprising a fitted boned bodice of grosgrain taffeta, with net detail to neckline, and sheer puffed sleeves, gathered skirt of layers of tulle overlaid with organza pleated at front (organza torn on left side), and decorated with sequins (some missing), rear fastening with metal hooks and eyes, and red printed label inside of Bonn & Mackenzie inscribed in dressmaker's pencil 'Margot Fonteyn, Aurora, Sleeping Beauty', some wear and discolouration, bust 72cm (29ins), waist 51cm (20ins), length 72cm (28.5ins), together with: A tutu worn by Antoinette Sibley as Fairy Crystal in Sleeping Beauty, Bonn & Mackenzie Ltd., 1959, comprising a fitted boned bodice of turquoise fabric woven with silver threads, the fabric continuing in 'rivulets' onto grey net skirt, neckline trimmed with net to match skirt, the bodice and skirt embellished with beads and sequins (some missing, with resulting rust marks), rear fastening with metal hooks and eyes, red printed label inside of Bonn & Mackenzie inscribed in dressmaker's pencil 'Antoinette Sibley, Fairy Crystal, Sleeping Beauty', bust 71cm (28ins), waist 48cm (19ins), length 65cm (25.5ins), and A tutu worn by Judith Sinclair as Fire Fairy in Sleeping Beauty, Bonn & Mackenzie Ltd., 1959, comprising a fitted boned bodice of orange taffeta onlaid with gold fabric and overpainted, the fabric continuing in 'flame' design onto burgundy net skirt, rear fastening with metal hooks and eyes, netting to neckline torn, red printed label inside of Bonn & Mackenzie inscribed in dressmaker's pencil 'Judith Sinclair, Fire Fairy, Sleeping Beauty', bust 82cm (32ins), waist 56cm (22ins), length 79cm (31ins) Provenance: These garments were given to the vendor in the 1960s when a costume hire business in Huddersfield closed. Just over two years before Margot Fonteyn and Rudolf Nureyev embarked on their remarkable partnership, on 20th December 1959 the BBC, in collaboration with The Royal Ballet, transmitted a live production of Tchaikovsky's Sleeping Beauty starring Margot Fonteyn and Michael Somes. It was shown only once, and received great acclaim. In 2014 edited highlights of the production were shown again, presented by Darcey Bussell, including footage, thought lost, which had been recently found. The rediscovered reel contained not only the famous Kiss Scene in which Princess Aurora is awakened by the Prince, but also the Vision Scene (Act II) in which the Princess is attired in this tutu. Throughout her long career Dame Margot Fonteyn, the only English prima ballerina assoluta, was particularly lauded for her interpretations of Aurora in Tchaikovsky's iconic ballet. As well as starring one of the greatest ballerinas of all time in one of her key roles, the BBC production also featured prima ballerina Antoinette Sibley, and Judith Sinclair, who became a soloist with The Royal Ballet. Sibley and Sinclair played two of the fairy godmothers, Fairy Crystal and Fire Fairy respectively (the latter name apparently chosen specifically for this production). The three tutus, designed by Jane Scrase Dickins, evidently found their way into a costume hire business shortly after the production, from where they were rescued by the present owner over 50 years ago. (3) £1,000 - £1,500

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

188

572* Commemorative handkerchief. The Census, 3 April 1881, satirical black-printed cotton handkerchief depicting a census form from 1881 as filled out by Irishman Terence O’Rourke to comic effect, incorporating a series of humorous vignettes, e.g. a wife beating her husband over the head with a 3-legged stool, and the occupants of a horse-drawn vehicle being shot at by 2 rogues behind a hedge, decorative border, selvedges to sides, raw edges top and bottom, foxed, 49.5 x 59.5 cm (19.5 x 23.5 ins) A rare printed handkerchief commemorating the census which was held on 3rd April 1881, just after the First Boer War had ended; the total population of England, Wales and Scotland was recorded as 29,707,207. The V&A holds an identical handkerchief (accession number T.105-1969). The fictional Terence O’Rourke cites his profession as “Shooting Landlords”, states “Ould Ireland” as his birthplace, and lists “laziness my only infirmity”. (1) £100 - £150

571* Handkerchief. A ﬂapper girl handkerchief, plus garter, 1920s, & other handkerchiefs, picot-edged cream silk handkerchief, one corner with hand-painted head & shoulders portrait of a young girl wearing a green dress and matching wide-brimmed hat, highlighted in gold, 23.5 x 23.5 cm (9.25 x 9.25 ins), together with a pale pink satin garter embellished with a white fur-edged ﬂapper girl button, lower edge of button with slight discolouration, diameter of garter 38 cm (15 ins), plus 19 other handkerchiefs various, including printed, lace, embroidered, some hand-worked, including a 1930s handkerchief depicting young people engaged in outdoor pursuits, with ‘Health and Beauty’ caption around edge, various sizes, mostly in good condition (21)

£70 - £100

573* Handkerchief. The Railways in Great Britain, also the Line of Navigation From the principal Sea Ports to both home and Foreign Stations, 1840s, cream cotton handkerchief, printed in red with map of England, Wales, and part of Scotland and Ireland, with railway lines and navigation routes picked out in black, titled top right, enclosing a vignette of a steam train on a viaduct, with factories in the background and a ‘Railway Despatch’ stagecoach in the foreground, ﬂoral border to edges, selvedges to sides, hems to top and bottom edges stitched by hand, some brown staining, several small holes (notably south of Exeter), 56 x 61 cm (22 x 24 ins), together with Map of Europe cotton handkerchief, 1914, 49 x 63 cm (19.25 x 24.75 ins) A rare commemorative handkerchief, produced around the time of Railway Mania, when investment in the railway network increased at a frenzied pace until the share price crashed and the bubble burst. (2) £150 - £200

Lot 572

189

Lot 575

574* Handkerchiefs. A large collection of printed handkerchiefs and scarves, 20th century, printed (and a few embroidered) on silk, cotton, rayon, etc., comprising: 13 map-related (mostly souvenirs), including a WWII Escape Map entitled Western Paciﬁc, circa 1940, a few small marks, but otherwise in very good condition; 9 with a military theme, including one with musical score for ‘It’s a long way to Tipperary’; 10 sporting, including ‘Brown Jack’ horse racing scarf, and a 1956 Melbourne Olympics commemorative scarf (a few faint marks and hem to one edge slightly frayed); 16 royalty or patriotic handkerchiefs and scarves, including London landmarks, Union Jacks, 1937 and 1953 coronations, 1951 Festival of Britain, and approximately 54 others including souvenir, animals, François Durieux, etc., various sizes, mostly in good condition, together with a 1930s pink velvet evening bag with metal clasp and chain handle, pink silk lining edged with gold metal lace, containing 2 handkerchiefs, one of ivory silk edged with hand-made lace, together with a folder of ephemera, including correspondence, pertaining to the collection Provenance: Residual items from the estate of Brenda Barnard, owner of ‘The Siddons Scarf Collection’ which was donated to Leicestershire County Museum Service. (approximately 100) £100 - £150

576* Hats. A tambour work silk bonnet, Sweden, 19th century, structured gold silk bonnet, hand-stitched in tambour work with floral sprays in pink, red, green, and white silks, the front terminating in a peak, and with cream hand-made short lace veil (becoming slightly unstitched in one place), and finished at the rear with large self bow, cream lining with printed label ‘Derbyshire Museum Service’ and manuscript label ‘Bonnet Sweden’, silk a trifle threadbare to extremities in places, and one leaf with loss of stitching, 11 x 22 x 14 cm (4.25 x 8.5 x 5.5 ins), together with a cream cotton hat with all-over lattice pattern finely hand-worked in eyelet and back stitches, some toning, diameter of crown 16 cm (6.25 ins)

575* Handkerchiefs. A printed nursery rhyme handkerchief, circa 1830s/40s, cream cotton handkerchief printed in sepia, with captioned vignettes illustrating ‘This Is the House That Jack Built’, showing countryfolk, rural buildings, animals, and a horse-drawn vehicle, decorative border to edges, selvedge to right-hand side, remaining sides hemmed by hand, one small brown mark, 29.5 x 35 cm (11.75 x 13.75 ins), together with 12 other children’s printed handkerchiefs of various pictorial designs, including animals, an alphabet, children at play, a multiplication table, etc., some with paper label stitched to one corner with a name and age in early manuscript (13)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

(2)

£150 - £200

577 No lot

190

£100 - £150

579* Lace. A cutwork linen coverlet, probably Italian, late 16th/early 17th century, hand-stitched white linen bedcover, ﬁnelyworked with short wide bands of cutwork and embroidery vertically to centre, featuring a geometric design including chevrons, pattern repeated in a similar wide border running horizontally to sides, fringed to each side, a few small brown marks and tiny holes, 1 or 2 breaks in lace, but overall in very good condition, dimensions excluding fringe 180 x 141 cm (71 x 55.5 ins)

578* Lace bobbins. A large collection of lace-making bobbins, English, 19th century, together 149 hand-carved or turned bobbins, comprising 84 bone, and 65 wood, a few stained green or red, a number metal wire bound (a few incorporating seed beads) and many highly decorated with coloured dots, bands, and other incised and applied ornamentation (including Bedfordshire tigers, leopards, and butterﬂies), most with spangles (3 incorporating threepenny bits), 14 with lettering, comprising 3 inscribed with sentiments: ‘Dear Sister’, ‘Be True’, ‘My Love Love Me’, and 11 with names: Sarah Bradshaw, Mary, Esther, Jesse, Nancy, Amey, Betsy, Joseph, John, Henry, George, some rubbed or with spangles missing, length approximately 14 cm (5.5 ins) and slightly shorter

An impressive piece of early lacework, in remarkably good condition. (1) £150 - £200

An attractive and varied large collection of bobbins, a number of which have names and inscriptions. (149) £400 - £600

580* Metalwork embroidery. A hand-worked cloth and border, Indo-Persian, 1920s/30s, black wool tablecloth, handstitched in gold metal threads with central circular panel composed of 4 leaf device surrounded by 8 large circles on a ground of sinuous leaf stems, enclosed by a border of stylised tulips, with the motifs repeated in a wide border terminating in points at corners and centre of each side, worked in couching, the large motifs padded (padding showing through in places), goldwork a little dulled, 2 closed tears (one 4 cm long, the other L-shaped measuring 9 x 15cm), edged with gold metal fringing, 155 x 161 cm (61 x 63 ins) excluding fringe, together with a border similarly hand-worked in gold metal threads on a black wool ground, with gold metal fringe to sides and lower edge, 30.5 x 256 cm (12 x 100.75 ins) excluding fringe (2)

Lot 579

191

£150 - £200

583* Pincushions. A layette pinwork trapunto pincushion, 1799, hand-stitched rectangular light beige quilted pincushion, front with pinwork initials and date ‘BHK 1799’ within a shield-shaped frame topped by a coronet, with pansy flower on stem in each corner, back with pinwork initials ‘CWH’ with sunbursts within a heart topped by a coronet, edged with lace over pink ribbon, several pins missing, and a few tiny holes, 13 x 15 x 5 cm (5 x 6 x 2 ins), together with: A layette embroidered pinwork pincushion, Victorian, large cream silk rectangular pincushion, front finely-worked in coloured silks and tiny faux pearls with central floral spray of roses, morning glory, lily of the valley, and jasmine flowers, with pinwork lettering above and below ‘Welcome Sweet Babe’, corners similarly embroidered with flowers, some light soiling, edged with cream fringing, 28 x 21.5 x 8 cm (11 x 8.5 x 3 ins)

581* Ottoman. A 19th century Turkish towel or runner, cream linen, with wide polychrome and metal thread hand-embroidered border at each end, depicting stylised ﬂower urns, one small brown mark and a few fox spots, 23.5 x 208 cm (9.25 x 82 ins), together with 2 other Ottoman Empire embroidered towels similar, one with short ends patterned with stylised trees and edged with gold metallic lace (short section of lace loose), 47 x 94 cm (18.5 x 37 ins), the other with repeated pattern of stylised fruit to each short end, some toning, 20.5 x 176 cm (8 x 69.5 ins) (3)

(2)

£150 - £200

£100 - £150

582* Persian. A large block-printed cloth, 19th century, fine cotton cloth, block-printed in reds and blues on a cream ground, with central lobed quatrefoil and all-over ogee lattice pattern incorporating floral and foliate motifs, within a multi-banded border, including chevrons, decorative Arabic script, and flowers, occasional light soiling, some fraying and minor loss to edges, several small holes or short splits, 294.5 x 136 cm (9.5 x 4.5ft) (1)

£150 - £200

584* Purses. A collection of beaded purses and reticules, mainly 19th century, 24 purses of various shapes, including a miser’s purse, a small envelope-style purse lined with kid leather with beaded design of a flower basket, and several with lettering incorporated into the beading: a fine netted finger ring purse lettered in tiny gold sead beads ‘Penses A Moi’, with faux pearl decorated opening bars and finger ring; a beaded and netted purse with date of 1862; a small purse with metal clasp lettered ‘jamais vide’; a small reticule lettered ‘God is my strength’ and with the initials ‘FF’; and another purse with metal clasp lettered ‘une amie’ on one side and ‘donné pay’ on the other, some with wear, including beads missing or rusted clasps, largest 16 x 19.5 cm (6.25 x 7.5 ins), smallest 4.5 x 4 cm (2 x 2.5 ins) (24)

Lot 583

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

192

£100 - £200

586* Purses. A large collection of miser’s purses, mainly 19th century, approximately 80 purses, mostly of netted construction, but also brocade, chamois leather, knitted, most embellished with beading, cut steel, tassels, spangles, metalwork, enamel, etc., many with their rings in place, various condition, longest 53 cm (21 ins), shortest 7 cm (2.75 ins) (approximately 80)

587* Purses. A woven purse, France, 17th century, & others, 4panelled purse woven with metal threads and patterned with scarlet silk threads, each panel with heart and crossed arrows motif topped by a coronet, enclosed by two foliate boughs tied with a bow at the bottom, remnants of pale blue silk lining visible, metallic binding to top edge missing or frayed in places, lacking drawstring, 11 x 12.5 cm (4.25 x 5 ins), together with: An embroidered purse, English, early 18th century, gusseted shield-shaped purse, front and back embroidered with stylised ﬂoral decoration in green, pink and yellow silks, and metal threads, in long and short stitch, bullion stitch, and couching, and incorporating spangles, one corner with tassell made of metal threads and silk ribbon, and another tassel detached, gussets of brocade woven with gold threads, cream silk lining (perishing in places), drawstring probably sometime replaced (broken), 11 x 9 cm (4.5 x 3.5 ins), and 28 other purses, various, including an 18th century gold brocade pouch purse with pink silk lining, and metal thread drawstring, 2 leather coin pouches with metal concertina opening and circular lid, a bivalve shell purse with 3 turquoise leather compartments, and a small square origami coin purse of red morocco gilt, various sizes and condition

585* Purses. A collection of purses and reticules, mainly 19th century, 48 purses of various shapes, mostly of woven, knitted/crochet, tapestry, or netted construction, including a large spider’s web purse constructed of woven metalwork roundels in alternating rows of silver and gold, attached to finely-knitted pink pouch, another spider’s web purse composed of scarlet and gold metal thread roundels, with yellow metal foliate mount and tassel, 2 small chain mail purses, a large finely-knitted green miser’s purse, a clasped metalwork purse woven through with green thread, and embellished with metalwork tassels at corners, with manuscript note inside ‘Purse probably Russian’, a small crocheted purse with wording ‘waste not want not’, and 5 finger ring purses, including one with coral decorated opening bars and finger ring, some tarnished or with wear/soiling, largest 46 x 10.5 cm (18 x 4.75 ins), smallest 3 x 5 cm (1.25 x 1.75 ins) (48)

£200 - £400

£200 - £300

(30)

Lot 586

193

£200 - £400

Lot 588

Lot 590 590* Quilts. A large appliquéd bedcover, made by Sarah Ann Oldﬁeld, 1844, white cotton bedcover, covered in appliqués of various printed cotton fabric and shapes, including hearts, crowns, circles, diamonds, hexagons, some appliqués perished, notably the large central circle and chevron border (both of the same red fabric), some faint spotting to cotton ground, maker’s name and date neatly worked along one edge in black cross-stitch, 241 x 269 cm (95 x 106 ins), together with 2 other quilts: an American squared quilt, composed of polychrome squares of patterned and unpatterned cotton hand-stitched together in diamond rows, backed with patterned red cotton, bound edges hand-stitched, some fading and discolouration to pale colours, 207 x 207 cm (81.5 x 81.5 ins); and a machine-stitched patchwork quilt, composed of squares and rectangles in a variety of printed cotton fabrics, with overlapping edge, some wear and marks, backed with cream fabric, 181.5 x 216 cm (71.5 x 85 ins) An unusual appliquéd bedcover. (3)

588* Quilt. A silk & velvet patchwork quilt, English, 1839, large star and hexagon patchwork quilt, in pinks, blues, brown, white, green, and black, with border of brown ﬁgured silk, lined with green cotton twill (mottled fading, some marks, and a small hole at one edge), and edged in black velvet (with 1 small hole), reverse with white cross-stitch initials and date ‘AB 1839’ to one corner, 244 x 291 cm (96 x 114.5 ins)

£200 - £400

A vibrant early quilt surviving in remarkably good condition, with maker’s initials and the date completed stitched onto the backing. (1) £600 - £800

589* Quilt. An early 20th century quilt, reversible quilt printed on both sides with peacock and pink roses pattern on a scarlet ground, hand-quilted overall in red thread, butted edges handsewn, 208 x 185.5 cm (82 x 73 ins) A striking quilt in excellent condition. (1)

£150 - £200

Lot 589

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

194

592* Quilts. Two Welsh quilts, circa 1910, the ﬁrst a double-sided quilt, with pattern of art nouveau stylised ﬂowers on each side, one side cream, yellow, and bright green on a deep pink ground, the other side pink, white, and yellow on a bright green ground, hand-quilted overall in pink thread, with circle, leaf, and diamond patterns, fabric perishing slightly in places, especially at edges, and mostly to green side, butted edges machine-stitched in black thread, 190.5 x 213 cm (75 x 84 ins); the second a double-sided quilt, one side with stylised dog roses and ribbon swags in pinks, mustard and white, on a pale yellow ground, a few small brown marks and a couple of related tiny holes, the other side with a pattern of roses in pinks, beige, white, and green, on a dark pink ground, hand-quilted overall in pale thread, with large central wheel surrounded by spirals, machine-stitched butted edges, 185.5 x 204.5 cm (73 x 80.5 ins) (2)

£200 - £300

591* Quilts. A sticks and crazy pattern patchwork quilt, late 19th century, hand-stitched patchwork quilt, composed of squares of rectangles with a border of irregular-shaped pieces, mostly silks and satins, some patterned, some wear, backed with white cotton (several small stains and marks), machined butted edges, 133 x 155 cm (52.5 x 61.5 ins), together with: A crazy pattern patchwork quilt, late 19th century, hand-stitched patchwork quilt, composed of a variety of polychrome irregularshaped pieces, mostly silk, satin, and velvet, including some patterned, and a number of plain patchwork pieces embroidered with illustrations (some truncated), e.g. a hot air balloon, tennis racket, flowers, acorns, butterflies, a teapot, spider and web, fish, horseshoe, kite, anchor, and sickle, joined with feather stitch worked in yellow, worn in places, backed with cream cotton, edges bound with yellow tape, 146 x 152 cm (57.5 x 59.75 ins), and another crazy pattern patchwork quilt similar, worn, 187 x 156 cm (73.5 x 61.5 ins) (3)

£100 - £200

593* Scarves. A collection of scarves by Liberty of London & Jacqmar, 20th century, 18 Liberty scarves, mostly silk, although one of wool, some with hand-rolled hems, all with Liberty stamp and/or label, including floral, paisley, figurative, Chinese motifs, geometric, Art Nouveau-style, and 4 Jacqmar scarves, including a pink silk stole with 2 large silver feathers woven at each end, various shapes and sizes, all in good condition, together with approximately 90 other patterned scarves printed on silk, cotton, rayon, etc., a number with hand-rolled hems, including floral and geometric designs, wheel motifs, Egyptian symbols, Rennie Mackintosh-style roses, compass patterns, etc., many named, including Zandra Rhodes, Timney Fowler, Christian Lacroix for Avon, Jaeger, R. Mantero for Cresta, Mondi, Georgina von Etzdorf, Marine Olivier, Diane von Furstenberg, Emilio Como, Bill Blass, Paul Parel, Deborah Brill, Mila Schön, and Jill France, various shapes and sizes, mostly in very good condition, together with 7 books related, including a shrink-wrapped copy of The Hermès Scarf by Nadine Coleno, and Scarves by Nicky Albrechtsen & Fola Solanke Provenance: Residual items from the estate of Brenda Barnard, owner of ‘The Siddons Scarf Collection’ which was donated to Leicestershire County Museum Service. (approximately 100) £200 - £300

Lot 592

195

Lot 595

594* Screen. A trompe l’œil screen, possibly Continental, circa 1880s, hinged wooden triptych screen, shaped and fabric-covered to give the appearance of part of a cottage, the 3 parts covered in textured fabric and painted brown fabric to simulate plaster within a timber frame, with velvet ‘bricks’ showing through in places, and lower part of each panel also with brick-effect velvet, central panel inset with a leaded stained glass window, and with appliquéd embroidered blossoms on velvet stems, pediment with flowers growing through and remains of a stitched cobweb, left-hand panel with appliquéd embroidered bunches of grapes, right-hand panel with embroidered goldfinch perching on a fabric hanging terracotta plant pot, with a fabric-covered cardboard cat lurking in the eaves above, somewhat worn, with fabric fraying in places, worming to right side of pediment, twill lining on verso largely perished, central panel 190 x 105.5 cm (74.75 x 41.5 ins), each side panel 151 x 21.25 cm (59.5 x 54 ins) A curious and most unusual folding screen, the like of which we have not encountered before. It may have been simply an entertaining room divider, perhaps for a nursery, or possibly made as a backdrop for the amateur dramatic productions of an affluent family in a large house. (1) £100 - £200

595* Screen. A mahogany room divider, late 19th century, a large 4-part hinged mahogany screen, front side of panels with modern patterned woven fabric, in red, blue, and gold, on a pale gold ground, the 2 outer panels depicting stylised ﬂower urns between coronets, the 2 inner panels with pairs of dogs in the style of Chinese Dogs of Fo between coronets, both designs linked with foliate volutes and arabesques, reverse side of panels with modern pale gold linen, each panel 183 x 75 cm (72 x 25.5 ins) (1)

596* Shawl. A fine embroidered kashmir Delhi stole, circa 1800, densely hand-embroidered in vivid polychrome silk threads on a fine scarlet wool ground, with floral and foliate motifs in a wide border at each end, incorporating 3 oval panels, each with boteh motif, narrow border along the sides, and inner corners of central blank panel with trefoil boteh motif, short ends with short fringe edging, 1 or 2 very small holes, some almost imperceptible expert darns and stitched repairs, and long sides neatly edged with matching red fabric tape, overall dimensions 236 x 50 cm (93 x 19.75 ins)

£200 - £400

These beautifully embroidered textiles were ﬁrst made as sashes for men, but became enormously popular in Europe as accessories for women. This particular example is in excellent condition. (1) £300 - £500

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

196

597* Shawl. A large Paisley shawl, mid 19th century, cream centred wool shawl with woven wide border of large botehs, ﬂanked by narrow borders of small botehs, in red, blue, green, and yellow, fringed at short ends, scattered small holes, mostly in centre, with stitched paper label stamped with number ‘427’ and inscribed in black ink ‘No. 25 in Catalogue Paisley Museum Exhibition, 12th June 1905’, 166 x 330 cm (65 x 130 ins) Paisley’s Free Public Library and Museum opened in 1871, with the aim of providing local people with the means of self-improvement inspired by the ideals of the Scottish enlightenment. In 1905, the Museum held its ﬁrst exhibition of Paisley shawls in recognition of the impact the textiles had had on the town’s fortunes, and with the hope of further donations of shawls to enhance the collections. The exhibition, showcasing 650 shawls, attracted around 16,000 visitors over a 3 week period and 3,000 catalogues were sold; it was so popular the closing date had to be extended. Many contributers gifted their shawls to the museum permanently when the exhibition concluded. Much of the organization of the event, along with the writing of a commemorative volume, was undertaken by Matthew Blair, a former weaver and local historian. He thanked the many ladies who had attended, but also suggested that they should be helping to uphold the industry by wearing their shawls more in public. Indeed, one elderly lady was praised for attending in her white centred Paisley shawl, thereby becoming a “walking exhibit”. (1) £150 - £250

598* Shawls. A Kashmir shawl, early 19th century, scarlet wool twill shawl with allover woven pattern of fleuron and leaf sprays in green, yellow, pink, and brown, with larger floral and foliate devices to border, some scattered small marks, scarlet knotted fringe edging, 162.5 x 155 cm (64 x 61 ins) excluding fringe, together with: A Kashmir shawl, late 18th/early 19th century, cream wool twill shawl with woven pattern to centre and border of small floral sprigs in pink, yellow, and green, scattered marks and small moth holes, cream knotted fringe edging, 114 x 112 cm (45 x 44 ins) excluding fringe, and a fine puce shawl with printed pattern of floral and foliate stripes, labelled ‘probably of Indian source’ and ‘Tyrian purple dyed shawl from Dell family’, occasional small holes and pulled threads, matching knotted fringe edging (a few tassells missing, but mostly intact), 117 x 117 cm (46 x 46 ins) excluding fringe

599* Shawls. An early 19th century changeable silk shawl, fine woven silk damask shawl, in shades of blue, pink, yellow, green, and orange, a few very small holes and some scattered marks, 9 cm along one edge frayed, short fringed edging (much of it missing), 144.5 x 137 cm (57 x 54 ins), together with 5 other earlymid 19th century shawls, comprising: a fine gold silk damask and chiffon stole, a few small holes and marks, including a 7 cm tear near one short edge, 70 x 250 cm (27.5 x 98.5 ins); a pink damask shawl with overall pattern in cream of repeated rose and hips motif, within a decorative border, short fringed edging (much of it missing), some small holes and marks, 39 x 3 cm portion at one edge missing, 143.5 x 137 cm (56.5 x 54 ins); a terracotta silk shawl with floral brocade border, twisted fringe edging, some scattered foxing, brocade border beginning to fray in places, 153.5 x 148.5 cm (60.5 x 58.5 ins); and 2 cream damask shawls

Provenance: Novelist Ethel M. Dell (1898-1939) and thence by descent. (3) £300 - £500

(6)

£300 - £500

601* Shawls. A large Paisley shawl, mid 19th century, polychrome woven wool shawl, with central red oval ﬂanked on either side by 3 large panels of vegetal forms and boteh motifs, enclosed by multi-banded border featuring palmettes and other motifs, decorative border and fringe along short ends, 1 or 2 very small holes, but generally in excellent condition, 166 x 353 cm (65.5 x 139 ins), together with 2 other large woven Paisley shawls similar: the ﬁrst with some toning and foxing to cream border, but overall in good condition, 160 x 338 cm (63 x 133 ins); the second with some patches of discolouration, and a few small holes near edges, labelled ‘source - Dell [family]’, 161 x 349 cm (63.5 x 137.5 ins)

600* Shawls. An embroidered burnous shawl, Chinese, 1870s, grey silk shawl, hand-embroidered in grey with border to sides and lower edges of flowers, leaves, and drawer handles, corners of shaped back and front with large floral and foliate motifs of entwined stems, edged all round with a wide knotted fringe, front with 2 pairs of corded tassel ties, rear with matching hanging tassel, a few very small holes and marks, but overall in good condition, width 65 cm (25.5 ins), overall length 277 cm (109 ins), not including fringe, together with: An embroidered capelet, Chinese, 1870/80s, crimson silk cape with wide turn-back collar, hand-embroidered in crimson with wide border to edges depicting flowers, strapwork motifs, leaf and berry sprays, and butterflies, edged all round with a wide knotted fringe, a couple of very small holes, length from nape to lower hem 69 cm (27.25 ins), and a similar large red silk Chinese shawl, hand-embroidered overall with flower and leaf sprays in red, wide knotted fringe edging, somewhat stained, dimensions not including fringe 167.5 x 160 cm (66 x 63 ins) The burnous shawl was shaped to accomodate the bustle which became the height of women’s fashion in the 1870s, making an appearance also for a time in the 1880s. (3) £200 - £300

Provenance: Novelist Ethel M. Dell (1898-1939) and thence by descent. (3) £200 - £300

602* Toile de Jouy. A bedcover made from early 19th century Toile de Jouy fabric, French, bedcover printed in raspberry on a white cotton ground, lined with linen and hand-quilted overall in pale thread, with machine stitching to hem, depicting a variety of scenes with figures in 16th century dress, including a horseman firing a flintlock pistol in the air, a group of figures beseeching a gentleman in a garden, and a mounted horseman with pillion rider and onlookers, some minor wear (mostly to piping), 2 small patches in Toile de Jouy of a different design (29.5 x 8.5 cm and 13 x 8cm), lining with holes and some stains, main panel to fit bed 221 x 132 cm (87 x 52 ins), side panels 46 cm (18 ins) deep (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

198

603* Wallpaper samples. A collection of early hand-blocked papers, early 19th century, 85 samples of decorative borders, wood-blocked on laid paper, most with stencilled colouring, 1 or 2 folding, mostly with repeated ﬂoral patterns, a few with boteh motifs, some annotated with numbers in ink or pencil, occasional tears and loss, 2 with burn damage, mounted on rectos of 29 leaves of an incomplete early printed theological volume, with text in German gothic script, 37 x 17 cm (14.5 x 6.75 ins) and smaller, contemporary vellum, worn, 4to, together with a large volume of approximately 300 20th century brightly coloured plaid silk samples, mounted on brown packing paper bound into early 20th century cloth, embellished with metal furniture, folio A curious volume of wallpaper samples, using an apparently little-appreciated antiquarian volume in place of an album. (2) £150 - £200

INFORMATION FOR BUYERS AFTER THE AUCTION Online Results: If you weren’t present or able to follow the auction live, you can ﬁnd results for the sale on our website shortly after the sale has ended. Payment: The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a percentage of the ﬁnal hammer price) and vat where applicable. You will be issued with an invoice made out to the name and address provided on your registration form. Please note successful bids made via live bidding cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + VAT (Dominic Winter / Invaluable) or 4.95% + VAT (the-saleroom) will be added to your invoice.

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ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty For the Portion of the Hammer Price (in Euros) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Please refer to the DACS website www.dacs.org.uk and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details.

CONDITIONS OF SALE AND BUSINESS 1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims. 2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice. (b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account. 3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 20% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 20% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 20% and assents to the Auctioneer receiving the said commission. 4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due. (b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately. (c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day. (d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared. 5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights: (i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller. (ii) Proceed for damages for breach of contract. (b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day. (c) Ownership of the lot purchased shall not pass to the buyer until he has paid to the Auctioneer the total sum due. 6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed. (b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot. (c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.

7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded. 8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer. 9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof. 10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to theAuctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions. 11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage. The value of the goods so covered will be the hammer price, or in the case of unsold lots the lower estimate, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods. (b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions. 12. The Auctioneer shall remit the proceeds of the sale to the seller thirty days after the day of the auction provided that the Auctioneer has received the total sum due from the buyer. In all other cases the Auctioneer will remit the proceeds of the sale to the seller within seven days of the receipt by the Auctioneer of the total sum due. The Auctioneer will not be deemed to have received the total sum due until after any cheque delivered by the buyer has been cleared. In the event of the Auctioneer exercising his right to rescind the sale his obligation to the seller hereunder lapses. 13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots. 14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein. 15. These conditions shall be governed by and construed in accordance with English Law.

PRINTED BOOKS & MAPS EARLY ENGLISH AND CONTINENTAL LITERATURE & SCIENCE AUTOGRAPHS, HISTORICAL DOCUMENTS & ARCHIVES 6 APRIL 2022

Blundeville (Thomas, fl. 1560-1602). A Briefe Description of Universal Mappes and Cardes, and of Their Use: and Also of the Use of Ptholemey his Tables. Necessarie for those that Delight in Reading of Histories: and also for Traveilers by Land or Sea, 1st edition, London: Printed by Roger Ward for Thomas Cadman, 1589, [22] leaves, folding plate at rear (ink stain to lower left margin) running heads shaved, small tear with loss to blank lower margin of B4, bound as the eighth work in a sammelband with 9 other contemporary surveying, cosmographical and astronomical works by Thomas Hill (1599), Edward Worsop (1582), Edward Wright (1613), Valentine Leigh (1592), Leonard Digges (2 works: 1592 & [?1596]), Thomas Hood (2 works: 1590), Thomas Oliver (1601), contemporary ownership signature of [Viscount] Campden to title of first work, contemporary plain calf, rubbed, 4to (178 x 135 mm) Estimate £20,000-30,000

For further information please contact Colin Meays or Chris Albury: colin@dominicwinter.co.uk chris@dominicwinter.co.uk