Dominic Winter by Jamm Design Ltd

BRITISH & CONTINENTAL PAINTINGS & WATERCOLOURS OLD MASTER & MODERN PRINTS WEDNESDAY 14 JULY 2010

DOMINIC WINTER BOOK AUCTIONS

Above: Lot 303 • Front cover image: Lot 394 • Back cover image: Lot 163

DOMINIC WINTER BOOK AUCTIONS SPECIALIST AUCTIONEERS AND VALUERS All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom. A buyer’s premium of 17.5% of the hammer price is payable by the buyers of all lots, except those lots asterisked, in which case the buyer’s premium is 20.56% Lots marked with a cross (+) are subject to VAT on the hammer price as well as the premium Please note: some lots by living artists are subject to Artists’ Resale Rights, and will incur an additional charge of 3%

BRITISH & CONTINENTAL PAINTINGS & WATERCOLOURS OLD MASTER & MODERN PRINTS Wednesday 14 July 2010 Lots 1-438 commencing at 11am Specialists: Nathan Winter nathan@dominicwinter.co.uk John Trevers john@dominicwinter.co.uk

On view in the Upstairs Gallery Viewing Tuesday 13 July, 9am-7pm and morning of sale from 9am

Payment may be made while the sale is in progress: please see the cashier in the auction office. Customers are asked to pay cash or establish a credit reference with the Auctioneers prior to the sale.

Please ensure that all commission bids reach us by 10am on the morning of sale. Telephone bids only accepted for lots with estimated value greater than £300 (or by arrangement) & to reach us by 9am on morning of sale Results will be posted onto our website immediately after the sale.

Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 www.dominicwinter.co.uk

Fax: 01285 862461 info@dominicwinter.co.uk

The nearest train station to the saleroom is Kemble (BR) which is on the London (Paddington) to Worcester Shrub Hill line. Train journey times from London are on average 90 minutes whether direct or with one change, and run at about one per hour from early until late. Several of the trains in each direction are direct and about half the services require a brief change at Swindon. Customers are advised to check train times and book as early as possible for the best range of ticket services and discounts.

National Rail Enquiries:

08457 484950

Telephone advance train ticket booking:

08457 000125 (First Great Western) 08709 002320 (Wessex Trains)

Online train timetables and online ticket bookings:

www.traintracker.co.uk

Taxis from Kemble Station (5 miles/10 minutes) Brian's Cabs Cirencester Radio Cars Cirencester Taxis

01285 655299 / 07980 579947 01285 650850 01285 642767

Taxis from Swindon Station (12 miles/25minutes) V-Cars

01793 701701

Catalogue Produced by Jamm Design â&#x20AC;&#x201C; 020 8901 7522 info@jammdesign.co.uk

Photography by Ben Cavanna â&#x20AC;&#x201C; 07968 342013 bencavanna@aol.com

CONTENTS British & Continental Watercolours

1-97

Marine Paintings & Watercolours

98-107

18th & 19th Century Oil Paintings

108-168

English & Continental Drawings

169-189

John Ruskin

191-195

Old Master Prints

196-200

Oriental Art

201-205

Etchings, Lithographs & Woodcuts

206-255

Modern & Contemporary Prints

256-290

Beryl Cook & Rolf Harris Limited Edition Prints

291-310

Modern & Contemporary Drawings

311-322

Modern & Contemporary Watercolours

323-356

Sculpture

357-365

Modern & Contemporary Paintings

366-438

DOMINIC WINTER BOOK AUCTIONS SPECIALIST AUCTIONEERS AND VALUERS

A selection of items to be included in our forthcoming sale of Antiques & Objets d'Art on Thursday 22nd July

FORTHCOMING SALES IN 2010 Wednesday 21 July

Printed Books & Maps including Ballooning

Thursday 22 July

Antiques & Objets d'Art

Wednesday 29 September

Printed Books & Maps including BritishTopography

Wednesday 6 October

Natural History & Sporting Books & Pictures

Thursday 7 October

Vintage & Contemporary Photography

Wednesday 10 November

Printed Books & Maps

Thursday 11 November

The Collector’s Sale including Aviation, Motoring & otherTransport

Wednesday 8 December

Medals & Militaria, Military History Books

Wednesday 15 December

Printed Books & Maps

Thursday 16 December

Children’s Books, Modern First Editions

BRITISH & CONTINENTAL WATERCOLOURS To commence at 11am

1* Allain (Pauline, 19th century). Floral bouquet of laburnum and wisteria, watercolour on vellum, signed ‘Pauline Allain’ lower right, laid onto linen, 58 x 44.5cm (22.75 x 17.5ins) The French artist Pauline Jamet, née Allain, was a pupil of Lesourd de Beauregard and Rosa Bonheur, and exhibited at the Salon de Paris under her maiden name between 1848 and 1880. (1) £2000-3000

2* Bell ( William Charles 1830-1904). Miniature portrait of a Gentleman, 1854, fine miniature portrait, water and body colour on enamelled copper, signed and dated on verso, near contemporary pressed glazed metal frame, presented in an American hinged cast resin case, image size 35 x 28mm Examples of Bell’s work are in the Royal collection. A fine example in very good condition. (1) £300-500

4* Benois (Alexandre, 1870-1960). Costume design for Swan Lake, 1945, pen, ink, watercolour and gouache, with pencil annotations, signed, 228 x 148mm (9 x 5.75ins), framed and glazed, with Charles Spencer Theatre Gallery label to verso A design for a female costume for the ballet Swan Lake, made for the Sol Hurok production in America in 1945. This work was exhibited at the Highgate Gallery in 1982. (1) £400-600

3* Bennett (Frank Moss, 1874-1953). Unannounced, 1928, watercolour, heightened with gouache, signed, titled and dated lower right, 34 x 24cm (13.5 x 9.5ins), gilt frame, glazed

5* Boot (William Henry James, 1848-1918). Sheep grazing beneath a canopy of trees, 1866, watercolour, heightened with white bodycolour, 36 x 27.5cm (14.25 x 10.5ins), framed and glazed

(1)

£150-250

£200-300

6 Botanical Studies. A group of three botanical watercolours of flowering plants, late 19th/early 20th c., pencil and watercolour on paper studies including crocus, cornflower and poppy, each 22.5 x 18cm (9 x 7ins), mounted, framed & glazed (3)

£70-100

7* Branwhite (Charles, 1817-80). The River Dee above Chester, watercolour, heightened with bodycolour, signed and dated 1876 lower right, 42 x 77cm (16.5 x 30.25ins), moulded gilt frame, glazed, with old auction stencil to verso RT 94 (1)

£300-500

8* Brittan (Charles Edward, 1870-1949). Sheep on the Moors, with sunlight and rain, watercolour, heightened with bodycolour, signed lower left, 45 x 66cm (17.75 x 26ins), gilt frame, glazed

Lot 6

(1)

Lot 7

£200-300

10* Broadway, Cotswolds. A late 19th or early 20th c. view of The Green, Broadway, Worcestershire, with The Swan Inn, gouache on paper, signed with monogram AV lower right, 11.5 x 17cm (4.5 x 6.75ins), framed and glazed

9* Brittan (Charles Edward, 1870-1949). Mist on the Moors, watercolour, heightened with bodycolour, signed lower left, 45 x 66cm (17.75 x 26ins), gilt frame, glazed (1)

ÂŁ200-300

(1)

Lot 11

ÂŁ70-100

11* Broom (Marion L., 1878-1962). Still life of roses in a bowl, watercolour, signed lower right, 38.5 x 49.3cm (15 1/8 x 19 3/8ins), framed and glazed (1)

£150-200

12* Broom (Marion L., 1878-1962). Still life of mixed flowers in a glass jug, signed lower right, 73.5 x 54cm (29 x 21 1/4ins), framed and glazed (1)

£200-300

13* Broom (Marion L., 1878-1962). Still life of Anemones in a glass bowl, oval watercolour, signed lower right, 33.5 x 43cm (13 1/8 x 17ins), together with another signed watercolour by Broom of flowers in a bowl, 21.5 x 28.5cm (8 1/2 x 11 1/4ins), both framed and glazed (2)

Lot 12

Lot 13

£150-200

Lot 14

Lot 16

14* Burnand (Victor Wyatt, 1868-1940). Alpine landscape with snow-covered mountain and rapids, watercolour, heightened with bodycolour, signed lower left, 33 x 24cm (13 x 9.5ins), framed and glazed

15* Burrell Smith (James 1822-97). Marksberg on the Rhine, watercolour, signed and dated in lower left corner, titled on mount, 21 x 50cms (8.25 x 19, 75ins), mounted, framed and glazed

16* Campbell Bennett (J.). Walton-onThames, 1918, watercolour, signed, dated and titled in lower right corner, 26 x 35.5cms (10.25 x 14ins), mounted, framed and glazed

(1)

ÂŁ100-150

ÂŁ300-500

Lot 15

ÂŁ120-180

17* Carpenter (William, 1819-1899). Portrait of Captain Eaton J. Travers, 32nd Bengal Native Infantry, March 1855, coloured chalks and black charcoal on grey paper, heightened with white chalk, signed Wm Carpenter, Kohat, March 1855, to lower right, 32 x 23.5cm (12.5 x 9.25ins), contemporary gilt frame, glazed, artist’s signature andinscription to verso ‘Captn Travers for Mrs James Leslie, no. 6 South Mall, Cork, dated Kohat, March 1855 Captain Eaton Travers saw action at the Siege of Mooltan, and afterwards was appointed to the first Punjab Infantry. He was engaged in frequent skirmishes with the Hill tribes of the region, for which he received the thanks of the GovernorGeneral. He was killed at the Siege of Delhi, in 1857. (1) £300-400

18* Company School. Indian Fort with figures and elephants in foreground, watercolour, unsigned, 21.7 x 28cm (8 1/2 x 11ins), framed and glazed (1)

Lot 17

Lot 18

£150-200

19* Copley Fielding (Anthony Vandyke, 1787-1855). Landscape with figures and cattle on a path, fine large-scale watercolour, possibly signed to lower margin on the path area, some overall fading, 38 x 51cm (15 x 20ins), 19th c. gilt moulded frame, glazed (1)

£300-500

20* Corbould (Edward Henry, 1815-1905). Embarkation of the Pilgrim Fathers, pen, ink & brown wash, heightened with white bodycolour, signed lower left, 119 x 183mm (4.75 x 7.25ins), framed and glazed

21* Daniell (William, 1769-1837, attrib.). Kinnaird Lighthouse, Aberdeenshire, c.1822, watercolour on card, heightened with body colour, pencil title and attribution on verso, 17 x 24cm (6.75 x 9.5ins)

The original design for an engraving published in Charles Mackay’s History of the United States of America, published by James S. Virtue, published in parts between 1861 and 1863. This illustration appears in the first part of the work (a copy of which is included with this lot). (1) £200-300

(1)

£150-200

23* De Biden Footner (Frances Amicia, 1874-1961). Three portraits of children, c.1910, three watercolours on board, signed in pencil below image, each approx. 30 x 25cm (12 x 10ins) (3)

24* Dighton (Richard, 1796-1880). Double portrait of Lord Admiral Rous and Mr. George Payne, watercolour, unsigned, 25 x 15cms (9.75 x 6ins), inscription and gallery labels on verso, framed and glazed

22* Davidson (Charles attrib.). Scottish Loch with Fisherman in Foreground, n.d., c.1880, watercolour, unsigned, attribution on mount, 23.5 x 35cms (9.25 x 13.75ins), mounted, framed and glazed, together with Leitch (W.L. attrib.), Continental Lake scene, n.d., c.1880, watercolour, unsigned, attribution on mount, 20 x 28.5cms (8 x 11.25ins), mounted, framed and glazed, with English school, Rural scene, n.d. c.1880, watercolour, unsigned, 17.5 x 25.5cms (7 x 10ins), mounted, framed and glazed (3)

£150-200

(1)

£200-300

25* Duffield (Mary Elizabeth, 1819-1914). Still life of flowers, watercolour, signed to lower right, 18 x 33.5cm (7 x 13 1/4ins), together with another watercolour of flowers in a vase signed by H.K. Tatton, 33 x 42cm (13 x 16 1/2ins), both framed and glazed

£150-200

(2)

£100-150

27* English school. Pair of River Scenes, c.1880, watercolours, unsigned, 28.5 x 45cms (11.25 x 17.75ins), framed and glazed (2)

£120-180

28* English school. Portrait of 17th century Cavalier with sword, early 20th c., full-length watercolour portrait, laid-down on board, 54.3 x 35cm (21.5 x 13.75ins), framed & glazed, backing paper inscribed ‘painted by W.H. Cobb, 1916’ (1)

£70-100

29* English school, early 20th centruy. Four watercolours of wild flowers, each initalled “M.U.C.”, each approx. 21 x 35cm (8 1/4 x 13 3/4ins), uniformly framed and glazed (4)

£70-100

30* English school, 19th century. Still life of dahlias in a bowl with antique books beyond, watercolour, signed and initialled “KS 39”, 39.5 x 60cm (15 1/2 x 2 5/8ins), framed and glazed (1)

26* Egginton (Wycliffe, 1875-1951). Near Thornhill, Perthshire, watercolour, signed lower-right, 25 x 35cm (9 7/8 x 13 3/4ins), framed and glazed Original artist’s label to verso of frame. (1)

£200-300

Lot 30

£100-150

32* English school. Cottage in a rural landscape, mid 19th century, watercolour, unsigned, 22 x 30cm (8.5 x 11.75ins), mounted framed and glazed, together with, Archer (John Wykeham, attrib.), Elysian landscape, mid 19th century, watercolour, unsigned, 21 x 30cm (8.25 x 12ins), mounted, framed and glazed, with, Payne (William. attrib.) Thatched cottage in a rural landscape, early 19th century, watercolour, unsigned, 29 x 42.5cm (11.5 x 16.75ins), mounted, framed and glazed

31* English school. Picturesque landscape of trees and outbuildings, later 18th c., watercolour on paper, 153 x 205mm (6 x 8ins), mounted (1)

£100-150

(3)

£150-200

33* English school. Nine watercolours of fishing scenes, c.1835, a group of nine watercolours, each with contemp. pen and pencil annotations to verso, with signs of adhesion indicating earlier inclusion in an album, occ. minor loss to corners where carlessly removed from album, each approx. 11 x 17cm (4.25 x 6.75ins) The watercolours are very reminiscent of the engraved plates in Thomas Medwin’s ‘Angler in Wales or Days and Nights of a Sportsman’. First published in 1834. It is quite possible that these are the original watercolour sketches for the book. (9) £200-300

Lot 34 34* English School. Harnham Mill, with distant view of Salisbury, c. 1830, 28 x 44cm (11 x 17.25ins), framed and glazed A fine watercolour view, apparently unsigned, but reminiscent of the work of Peter de Wint or David Cox 1783-1859). The work appears to be signed D Cox to the extreme margin, lower left. (1) £400-600

35* Evans (E. J. B., late 19th/early 20th c.). Four views of New York state, ‘Near Yonkers’, ‘On the Hudson’, Nr Irving’ & ‘Nr Nyne’, 1902, each approx. 19.5 x 13cm (7.5 x 5.25ins), mounted together, oblong frame, glazed (1)

£200-300

36* Fall (George 1848-1925). Ripon Cathedral from the river, watercolour, signed in pencil below image, 27 x 22cms (10.5 x 8.75ins), mounted, framed and glazed (1)

£200-300

37* Filliard (Ernest, 1868-1933). The Shaded Terrace, watercolour on paper, signed lower left, 22.5 x 27cm (8.75 x 10.5ins), gilt frame, glazed (1)

£200-300

Lot 36

40* Foster (Myles Birket, 1825-99). Fishing boats at sunset, gouache on card, signed with monogram lower right, 8 x 12.5cm (3.15 x 4.8ins), mounted (1)

£100-150

38* Flemish school. Pair of continental town views, n.d., c.1880, watercolours, monogrammed AE below image, each approx. 27 x 20.5cms (10.5 x 8ins), mounted, framed and glazed (2)

£150-200

39* Foster (Myles Birket, 1825-99, School of). Fishing village, mid 20th century, watercolour, initialed in lower right corner, 16.5 x 29.5cm (6.5 x 11.5ins), mounted (1)

£100-150

41* Fox (Henry Charles, 1880-1929). Droving sheep, 1911, watercolour, signed and dated in lower right corner, 50.5 x 74cms (20 x 29ins), mounted, framed and glazed (1)

£200-300

42* Gilderdale (John S., 19th-c.). The Campagna with the Alban Hills from the Baths of Caracalla, 1860, watercolour, with handwritten dated inscription and signature mounted below, 8 x 24cm (3.25 x 9.5ins), framed and glazed (1)

£70-100

44* Grace (James Edward, 1851-1908). Cottage in a North Wales landscape, c. 1870, watercolour on paper, signed lower left, 27 x 45cm (10.5 x 17.75ins), framed and glazed, frame chipped

43* Glover (John, 1767-1849, attrib.). Caernarvon Castle, miniature pen, ink & monochrome wash drawing, 60 x 93mm (2.3 x 3.6ins), framed and glazed (1)

(1)

£200-300

45* Gray (James, active 1917-1947). Still life of flowers and gypsophila in a Chinese vase, watercolour, heightened with white bodycolour, signed lower right, 50.5 x 72cm (20 x 28.25ins), framed and glazed (1)

£300-500

Lot 46

46* Greece. View of the Bay of Navarino, with fortress, pen, ink & grey-brown wash on paper, watermarked J Whatman 1830, 19.5 x 32cm (7.5 x 12.75ins), mounted Navarino was the site of an important Naval battle of 1827, between the Turkish and the combined forces of the British, French and Russian. The port was described as ‘one of the finest in the world’ by Sir William Gell in his Journey in the Morea. The present work could possibly have been executed on the spot by a British Naval Officer, circa 1830. (1) £200-300

47* Hanbury (Ada, Exh. 1880-87). Still life of summer flowers, watercolour, signed and dated 1869 lower right, 46.5 x 28.3cm (18 1/4 x 11 1/8ins), framed and glazed (1)

£150-200

Lot 47

48* Hill (Rowland Henry, 1873-1952). Street scene with figures and church, 1919, watercolour on paper, signed and dated lower left, 24.5 x 30.5cm (9.6 x 12ins), mounted Rowland Henry Hill specialised in landscape views in North Yorkshire, especially Staithes, Scarborough, Goathland Moor, Runswick Bay, and elsewhere. (1) £200-300

49* Hills (Robert, 1769-1844). Stag in a wooded landscape, watercolour and pencil on paper with scratching out, unsigned, 58 x 46cm (22 3/4 x 18ins), framed and glazed A founder member of the Old Society of Painters in Watercolours, Hills is best known for his paintings of animals being self taught and working from nature. Previously offered at Sotheby’s, London, 21 January 2004. (1) £1000-1500

50* Hopkins (Arthur, 1848-1930). ‘Anyone at Home’, watercolour, heightened with bodycolour, depicting a collie on the steps of a Cotswolds (or similar) manor house, signed lower left, 25 x 35cm (9.75 x 13.75ins), contemp. gilt frame, glazed, with old framer’s label of J. Davey & Sons, Liverpool to verso

Lot 48

Arthur Hopkins, the brother of the poet Gerald Manley Hopkins, was a member of the Royal Society of Painters in Watercolours. He entered the Royal Academy Schools in 1872 and exhibited at the R.W.S. and the R.A. from that year. He contributed to The Graphic, Punch and the Illustrated London News. (1) £300-500

Lot 50

Lot 49 21

51* Italian School. A group of four fine early 19th c. watercolours on paper of classical wall paintings, depicting the contest of Apollo and Marsyas, and other various deities, each with matching decorated ruled border, three numbered in Roman numerals XXI, XXII, XXIII, approx. 38 x 72cm (15 x 28.25ins) (4)

ÂŁ5000-8000

52* Italian School. “Bellagio, Lake Como”, early 20th c., watercolour, of buildings fronting the lake, and mountains in the background, indistinct signature to lower left corner (‘E. Boileau’ according to ms. note on reverse of frame), 193 x 275mm (7.5 x 10.75ins), mounted, framed and glazed, together with “Villa Pamfili a Roma”, early 20th c., watercolour, of a formal fountain and trees, with two figures, 240 x 183mm (9.5 x 7ins), mounted, framed and glazed (2)

£100-150

54* James (Francis Edward, 1849-1920). A Bowl of Zinnias, watercolour, unsigned, 30.5 x 41cm (12 x 16 1/8ins), framed and glazed (1)

£150-200

53* Italy. Monte Salvatore, Lugano, late 19th c. watercolour, titled, initialled CR, and dated 1892 to lower left, 24.5 x 40.5cm (9.5 x 16ins), framed and glazed (1)

£70-100

55* Lamplough (Augustus Osborne, 1877-1930). Early morn on the Upper Nile, watercolour on paper, figures and a camel on the near bank with boats, figures, a ruin and palm trees visible across the river, signed and titled in the lower margin, 23 x 58cm (9 x 23ins), modern gilt frame, glazed (1)

£300-500

Lot 55 56* Lamplough (Augustus Osborne, 1877-1930). Evening on the Upper Nile, watercolour on paper, figures on the near bank with boats, figures and palm trees visible across the river, signed and titled in the lower margin, 23 x 58cm (9 x 23ins), modern gilt frame, glazed (1)

Lot 56

£300-500

57* Lawson (Cecil C. P., 1881-1967). White Chrysanthemums, watercolour, signed lower left, 50.5 x 40cm (19.8 x 15 .75ins), framed and glazed (1)

ÂŁ200-300

58* Loutherbourg (Philip Jakob de, 1740-1812, Circle of). View of Harlech Castle, with figures coming ashore, pen, ink & watercolour on paper, watermarked Whatman Turkey Mill, laid down on card, one or two small closed tears repaired, 20.5 x 28.5cm (8 x 11.25ins), framed and glazed (1)

Lot 57

Lot 58

ÂŁ300-500

59* Macdonald (William Alister, 1861-1948). Sailing ships near Calvi, Corsica, watercolour, signed and dated 1909, 16.2 x 24.6cm (6 3/5 x 9 5/8ins), framed and glazed (1)

ÂŁ200-300

60* Mackay (James M., late 19th/early 20th c.). Calling home the ducks, Whappenburg, watercolour, heightened with bodycolour, signed and titled lower left, 15 x 26.5cm (5.8 x 10.5ins), mounted The Scottish artist James Millar Mackay was born in Kilmarnock in 1834 and was active as a photographer in the 1860s and 70s, and died in Edinburgh in 1917. His work was exhibited at the Royal Scottish Academy. (1) ÂŁ300-500

Lot 59

Lot 60

63* McKewan (David Hall, 1816-1873). Loch Etire, watercolour, titled on mount, 25 x 35cm (9.75 x 13.75ins), mounted, framed and glazed (1)

£100-150

61* Marks (Henry Stacy, 1829-1898). Exotic bird on perch, pencil and watercolour on paper, monogrammed lower right, 23.5 x 15cm (9 1/4 x 6ins), framed and glazed (1)

£100-150

62* Marny (Paul, 1829-1914). Angers, Loire Valley, France, watercolour, signed with initials lower left, 10.2 x 21.7cm (4 x 8.5ins), framed and glazed (1)

64* Mitchell (James Edgar, -1922). Estuary with fisherman pulling up his boat at dusk, watercolour, with traces of pencil, signed lower left, 22 x 29.5cm (8.6 x 11.7ins), mounted

£70-100

(1)

£100-150

65* Muller (William James, 1812-1845). “Near Shirehampton”, watercolour, of a pastoral scene with sheep and a seated couple in a wooded meadow, signed lower left, 190 x 180mm (7.5 x 7ins), mounted, framed and glazed, together with O’Connor (James Arthur, 1792-1841, School of), A wooded landscape, oil on board, 165 x 215mm (6.5 x 8.5ins), framed (2)

Lot 62

£70-100

66* Neapolitan school. View of a volcanic island in the Bay of Naples, mid 19th century, gouache on board, 26.5 x 40.5 (10.5 x 16ins) (1)

£200-300

68* Oyston (George, 1861-1937). Nr Guildford, Surrey, & Near Shepperton, together two watercolours, heightened with white bodycolour, each signed lower left, 36.5 x 51.5cm, some toning to the sky of the second work, matching frames, glazed

67* Nibbs (Richard Henry, 1816-1893). Church doorway with figures, watercolour, signed, 25.4 x 35.5cm (10 x 14ins), framed and glazed (1)

£70-100

(2)

£200-300

Lot 71

Lot 73

69* Oyston (George, 1861-1937). ‘Near Wanborough, Guildford, Surrey’, watercolour, signed and dated 1925 lower left, 26.5 x 37.5cm (10.5 x 14.75ins), framed and glazed, with original label of A. J. Mucklow & Son, London, to verso (1)

£150-200

70* Oyston (George, 1861-1937). Tavy Cleave, Devon, watercolour, signed and dated 1914 lower left, 23 x 46cm (9 x 18ins), framed and glazed (1)

£100-150

71* Oyston (George, 1861-1937). Guestling, East Sussex, watercolour, signed and dated 1915 lower right, 17 x 26cm (6.75 x 10.25ins), framed and glazed (1)

£150-200

72* Oyston (George, 1861-1937). ‘A Surrey Lane’, watercolour, signed and dated 1929 lower left, 26 x 18cm (10.25 x 7ins), painted gilt wood frame, glazed (1)

£150-200

73* Patten (Alfred Fowler, 1829-1888, attrib.). Valley of the Bir from Droor Tal, 1868, watercolour, monogram and date in lower right corner, 32.5 x 46cms (12.75 x 18ins), mounted, framed and glazed (1)

Lot 72

£100-150

Lot 74 74* Payne (William, 1755/60-c.1830, attrib.). Moonlit coastal landscape with church, ruined tower, and thatched forge, watercolour heightened with pastel, 31.5 x 41.5cm (12.5 x 16.5ins), framed and glazed See Derek Clifford, Collecting Watercolours (1970), no. 161 for a similar moonlight scene by William Payne. (1) ÂŁ300-500

75* Pinotti (G., Italian 19th century, ). Italian lakeside view, watercolour, signed, 23.3 x 34cm (9 1/4 x 13 3/8ins), framed and glazed (1)

ÂŁ70-100

Lot 75

76* Prout (Samuel, style of). View of an Italian Alpine town, mid 19th c., watercolour on paper with some body colour highlights, some spotting, 30 x 42cm (12 x 16.5ins), together with an unrelated river view with the spires of Oxford in the distance, watercolour on paper, indistinctly signed lower right (W. Martinu?), 12 x 28cm (4.75 x 11ins), both framed and glazed (2)

ÂŁ150-200

77* Raphael Sanzio (da Urbino, 1483-1520). Madonna and Child, with the infant Saint John, fine mid-19th c. circular watercolour, 25cm diameter (9.75ins), period gilt frame, glazed (1)

Lot 76

Lot 77

ÂŁ300-500

Lot 78 78* Richardson (Thomas Miles, 1813-1890). View on the Rhine, fine oval watercolour on paper, signed with monogram, and dated 1876 lower left, 17 x 22.2cm (6.75 x 8.75ins), contemp. gilt frame, glazed, with exhibition label for the Borough of Accrington Mayor’s Picture Exhibition 1908, to verso, giving the owner’s name of Edward Osbaldeston (1)

79* Richardson (Edward Martindale, 1810-1863). Castle of Rhinefels, 1857, watercolour, heightened with bodycolour, signed, dated and titled lower right, 15.5 x 46cm (6 x 18ins), gilt frame, glazed (1)

£300-500

Lot 79

£200-300

81 Sketchbook. A sketchbook produced by Henry Lewis of Crouch Street, Colchester, dated 1 September, 1830, including approx. 20 pen and wash drawings, two watercolours, approx. 20 pencil drawings and approx. 24 ink drawings, subjects mostly include views local to Colchester mostly with ink or pencil captions including East Mill, Middle Mill, The King’s Head pub at Lexden, Colchester from Mile End, etc., also some drawings of cattle, contemp. full sheep with brass clasp, cracking to joints, 10.2 x 16.2cm

80* Seddon (Fanny, 19th-c.). Cowdray Ruins, Midhurst, Kent, watercolour, heightened with bodycolour, 15.2 x 21.5cm (6 x 8.5ins), framed and glazed, with old handwritten label to verso, together with another similar watercolour by the same artist, 20 x 25cm (8 x 10ins), framed and glazed Fanny Seddon was the sister of the artist Thomas Seddon (1821-1856), an artist associated with the Pre-Raphaelite Brotherhood, and who accompanied William Holman Hunt on a painting expedition in Cairo and Giza in 1854. (2) £200-300

(1)

£150-200

82* Sketchbook. A fine Peninsula War sketchbook produced by Major Douglas Mercer, 3rd Foot Guards, containing well-executed views mostly in Portugal, although some within Spain, dated 1811, comprising 58 pages of watercolour drawings interspersed with some pencil sketches, some views spanning two pages, most bearing captions, views include Cascais, Almada, Sintra, Sabugal, Leyria, Pena Maior, Houses in Santa Combadas, banks of the Mondego River, a view entitled ‘Acores’ [Azores?] showing a small group of red-coated soldiers, Ponte de Faga, Ponte de Cinqo Villas, Campello, Pinhel, etc., the album full with no blank leaves and bound in orig. sheep, cracked to joints with some fraying to extrems., 11.6 x 22.7cm (1)

£700-1000

Lot 83 83 Sketchbooks. Five sketchbooks produced by A. Wilson of Seacroft Hall, Yorkshire, dated 1870s, containing in total approx. 150 pen and ink or watercolour drawings of views in Scotland including Seacroft, Valleyfield, Firth of Forth, Culross, Abbey Craig, Ben More, The Bay of Oban, Sound of Mull, Cromarty Firth, etc., plus a view of Paris and the exhibition grounds in 1879, other views in France including Boulogne, views in England including Torquay and Dartmoor, Clifton in Bristol, York Minster, Dover Castle, etc., all in original bindings Seacroft Hall was built in the 17th century and came into the possession of the Wilson family in the 19th century. The last member of the family died in 1936 and the house was demolished in the 1950s. (5) £400-600

84* Southworth (M. Esther, late 19th/ early 20th c.). Portrait of a young Romany woman, 1871, head & shoulders watercolour portrait, signed & dated to lower right corner, small oval blind stamp ‘E.S.W.’, scratch to background, 47 x 31.5cm (18.5 x 12.5ins), mounted, wooden backing board with Manchester Royal Institute exhibition label dated 1872 and National Bronze Medal printed paper label (1)

£200-300

Lot 84

Lot 85

Lot 86

85* Soyer (Paul Constant, 1823-1903). Les Forgerons, pen, ink & watercolour, heightened with gouache, signed lower left, 15.5 x 24.5cm (6 x 9.5ins), framed and glazed A sketch for the oil painting bearing the same title by Soyer. (1)

£300-400

86* St. John (Edwin, fl. 1880s-90s). Italian lake scene, watercolour, heightened with bodycolour, signed lower right, 30 x 50cm (11.75 x 19.75ins), 19th c. gilt frame (chipped), glazed (1)

£300-400

87* Stephanoff (James, O.W.S., 1788-1874). A Middle Eastern delegation being received at a European court, possibly a scene from ‘The Merchant of Venice’, watercolour on board, unsigned, but annotated and described on verso, 22.5 x 30cms, (8.75 x 12ins), unframed Lot 88

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. Page 322. (1) £200-300

88* Ten Kate (Herman Frederick Carel, 1822-1891). Encampment of American Indians, watercolour, heightened with white bodycolour, signed, one or two light surface scratches (generally in good condition), framed and glazed (1)

£300-500

89* Terris (John, RI RSW, 1865-1914). Bridge of Stirling, watercolour, of Stirling Bridge, some fading, signed in lower right-hand corner, 480 x 720mm (19 x 28.5ins), mounted, framed and glazed John Terris studied at the Birmingham School of Art, and is represented in Leeds City Art Gallery. He painted mainly in watercolour, and exhibited at the principal London galleries such as the Royal Academy and the Royal Institute of Painters in Watercolours. He lived in Stirling for a time, and also exhibited with the Stirling Fine Art Association between 1894 and 1913. (1) £200-300

Lot 89

90* Tyndale (Thomas Nicholson, 1860-1930). Cottage near Lympne, Kent, watercolour, signed lower right, 23 x 33.5cm (9 x 13.25ins), framed and glazed (1)

£150-200

91* Utterson (Edward Vernon, 1776-1852). Church of St Leu, Amiens, France, watercolour, titled to lower right, 17 x 11.5cm (6 3/4 x 4 1/2ins), together with a similar watercolour by Utterson of the town gate in Regensburg, Germany, dated 1827 and measuring 18.5 x 13.5cm (7 1/4 x 5 1/4ins), uniformly framed and glazed (2)

£70-100

Lot 90

92* Varley (Charles Smith, 1811-1888). Figures by a river at dusk, watercolour, heightened with white bodycolour and gum arabic, signed and dated 1880, 9 x 15cm (3.5 x 6ins), framed and glazed (1)

£200-300

93* Varley (John, 1778-1842, Circle of). Cottage by a rustic bridge, with Yr Eifl beyond, North Wales, early 19th c. watercolour on paper, unsigned, 11.5 x 21.5cm (4.5 x 8.5ins), framed and glazed

Lot 92

(1)

£150-200

94* Varley (John, 1778-1842). Landscape with fortified building on an estuary, with cows in foreground, watercolour on paper, signed lower right, small area of loss at lower margin, 13.5 x 22.5cm (5.25 x 8.8ins), framed and glazed (1)

£200-300

Lot 93

95 Venice. View of St. Mark’s Square, with the Doges Palace and Campanile, early-mid. 20th c., continental watercolour, indistinctly signed to lower left, 163 x 213mm (6.5 x 8.5ins), mounted, framed and glazed (1)

Lot 94

£70-100

Lot 96

96* Wainewright (Thomas Francis, 1794-1883). Family of sheep in a landscape, watercolour, with traces of gouache heightening, signed lower left, 24.5 x 48cm (9.5 x 19ins) (1)

£300-400

97* Wasset (Julie-Ange, 1802-1842). Sweetpea, Carnation and Daisies, pencil and watercolour on vellum, signed and dated 1833, 17.5 x 12.5cms (7 x 5ins), framed and glazed Julie-Ange Picart (née Wasset) was born in Paris, and exhibited at the Salons of 1831, 1833, 1836, 1838 and 1840. She was a verified pupil of Redouté (see Elizabeth Hardouin-Fugier, The Pupils of Redouté (1981). (1) £200-300

Lot 97

MARINE ART

Lot 98

98* Atkins (Samuel, c.1787-1808). Seascape with English Brig backing to await a pilot cutter, 1790, watercolour, signed and dated in lower left corner, 17 x 26cms (6.75 x 10.25ins), mounted, framed and glazed (1)

£200-300

99* De Simone (Antonio). S.Y. Surf, 1909, watercolour and gouache, titled, signed and dated at base of image, 42 x 64cm (16. 6 x 25ins), framed and glazed

100* De Simone (Antonio). S.Y. Surf, 1909, watercolour and gouache, titled, signed and dated at base of image, 41.5 x 64cm (16.25 x 25ins), framed and glazed

A fine painting of the steam yacht ‘Surf’, which was built by Romage & Ferguson in Leeds, Scotland in 1898 for F. D. Lambert of New York. This luxurious example of the ultimate in personal transport was owned by a succession of wealthy Americans, before ending her days in the service of the Margeree Steamship Company of Cape Breton in Nova Scotia. (1) £800-1200

(1)

£700-1000

Lot 99

Lot 100

101* Dixon (Charles Edward, 1872-1934). Britannia sailing through Cowes Roads, with many yachts and other vessels dressed overall, 1933, monochrome watercolour, signed and dated in lower left-hand corner, 184 x 216mm (7.25 x 7.5ins), mounted, framed and glazed With an interesting provenance described in a faint manuscript note on headed paper (browned and laid down): ‘At the close of the 1933 season, Sir Phillip Hunloke, the King’s Sailing Master, desired to present H.M. King George V with a large picture of Britannia sailing through Cowes Roads and commissioned Charles Dixon RA in the matter. The arrangement made was that Dixon should in the first instance paint a black and white sketch of the proposed picture on approval for His Majesty. This is the sketch in question and the interesting point is that it has been handled by H.M. King George V, Sir Phillip Hunloke and Charles Dixon, all of whom are now dead, purchased the sketch from Dixon, who was a great friend of mine, in 1934. Ainsworth Gilbert’. J. A. Gilbert, OBE, was Honorary Secretary of the Island Sailing Club from 1927-1934. Charles Dixon is recognised as one of the world’s most gifted maritime artists. He exhibited at the New Watercolour Society and the Royal Academy of Arts from 1889, and had works shown there most years until his death. His work is highly sought after today and can be found in many national museums, galleries, and private and corporate collections in the UK, North America and Australia. (1) £700-1000

102* Hardy (Thomas Bush, 1842-1897). Fishing boats landing on the sea shore, watercolour, unsigned, 15 x 23.5cm (6 x 9.25ins), mounted, framed and glazed (1)

£150-200

103* Hardy (Thomas Bush, 1842-1897). Fishing boats and steamer, off the South Coast, watercolour, heightened with bodycolour, some scratching out, signed and dated 1892 lower left, 47 x 91.5cm (18.5 x 36ins), framed and glazed (1)

£400-600

104* Hardy (Thomas Bush, 1842-1897). Shipping off Dover, watercolour on paper, backed on linen, heightened with bodycolour, signed and dated 1889 lower right, additionally signed and titled on the reverse, 59 x 119.5cm (23.25 x 47ins), framed and glazed This lot was previously sold at Christie’s, London, 31 October 1989, lot 34. (1) £400-600

Lot 102

Lot 103

Lot 104

106* Osment (Philip fl.1900-1930, ). Sailing yachts, watercolour, signed in lower right corner, 34 x 77.5cms (13.5 x 30.5ins), mounted, framed and glazed Jeremy Wood, Hidden Talents, A Dictionary of Neglected Artists Working 1880-1950, p.116. (1) £100-150

105* Landells (Ebenezer, 1808-1860). A group of five sketches of boats and shipping in pencil, together five pencil sketches on paper, including paddle steamers, a gaff-rigged sailing ship, the Dublin Boat, a Thames Lighterman, and an early steamship, several with pencilinscription, 11.5 x 16.5cm (4.5 x 6.5ins), and smaller, mounted as one, framed and glazed

107* Tomkin (William Stephen, 1861-1940). Off Grays on the Thames, 1914, watercolour, signed and dated in lower right corner, 15 x 29cm (6 x 11.5ins), mounted, framed and glazed, together with, Beatty (R.), Ship beached at low tide, 1875, watercolour, signed and dated in lower left corner, 15.5 x 27.5cm (6 x 10.5ins), mounted, framed and glazed

Ebenezer Landells (1808-1860), artist and illustrator, was a founder of Punch in 1841, whose work was published in the Illustrated London News and other illustrated magazines of the 19th century. (1) £100-150

(2)

£150-200

18TH & 19TH CENTURY OIL PAINTINGS

108* Bartels (O., late 19th/early 20th c.). Old man smoking a pipe, oil on canvas, signed upper right, 28 x 22cm (11 x 8.5ins), ebonised frame (1)

£100-150

109* Baxter (Charles, 1809-1879). Miniature portrait sketch of a young man seated, oil on panel, 12.5 x 7.5cm (5 x 3ins), black and gilt frame, glazed, with contemporaryinscription to verso ‘Sketch by C. Baxter. To Fanny Julia Drury by L. N. Penrys (?) Dec. 1856’ (1)

£150-200

Lot 109

Lot 110

110* Blinks (Thomas, 1853-1910). The Final Furlong, oil on board, signed ‘T Blinks’ lower right, 29 x 49cm (11.5 x 19.25ins), old gilt frame (1)

£1500-2000

111* Bryce (E., 20th c., ). “Doo Lough - Co. Mayo”; “Rosses Point - Co. Sligo”, a pair of Irish landscapes in oil, each showing a lake and mountain scene, the former signed in lower right-hand corner (and with some small spots of flaking to image), each with pencilled title on mount, framed and glazed, 190 x 240mm (7.5 x 9.5ins) and 150 x 200mm (6 x 8ins) respectively (2)

£100-150

112* Cammidge (George). Near Stainton Dale looking to Hack Fall, oil on canvas, signed lower right, and indistinctly dated 1892, inscribed with title to verso of stretcher in an old hand, 51 x 76.5cm (20 x 30ins), gilt frame (1)

£500-800

113* Churchyard (Thomas, 1798-1865, attrib.). Landscape with water mill and fishermen, oil on canvas, 35 x 50.5cm (13.75 x 20ins), framed (1)

Lot 111

£300-500

Lot 112

Lot 113

Lot 116

114* Continental School. St. Jerome in his Cell, oil on board, 68 x 53cm (26.75 x 20.75ins), framed St Jerome, who is the patron saint of Librarians, is shown as an anchorite in his cell, with his only possessions being the bible, a cross and a skull. The rich red cloak denotes his rank of cardinal within the Catholic church. The lion lying at his feet illustrates the medieval story in which he removed a thorn fron a lion’s paw. (1) £150-200

115* Continental School. Still life of flowers, fine 18th c. oil on canvas, 76 x 63.5cm (30 x 25ins), framed (1)

£700-1000

116* Continental School. Head of an oriental gentleman, late 18th/early 19th c., oil on canvas, profile head and shoulders portrait of a gentleman wearing a feathered and jewelled turban, relined, 540 x 435mm (21.25 x 17ins), framed (1)

£300-500

117* Cooke (Isaac, 1846-1922). “Cottages at Trefriw”, Conwy, North Wales, oil on board, of cottages set below wooded hills, with chickens in the garden, signed in lower right-hand corner, 340 x 240mm (13.5 x 9.5ins), framed, verso with ms. title label and printed label of The Boydell Galleries, Liverpool Isaac Cooke was a landscape painter and watercolourist who is particularly noted for his views in Wales and the Lake District. He exhibited at the Royal Academy, the Royal Society of British Artists, Suffolk Street, and the New Watercolour Society. (1) £200-300

Lot 117

Lot 115

118* Cox (David, 1783-1859, manner of). The Travelling Farm Labourer and his Family, oil on board, 23.5 x 30cm (9.5 x 11.75ins), framed (1)

£200-300

119* Creswick (Thomas, 1811-1869). “A Stream from the Hills”, oil on canvas, of a rugged stream and mountain scene in North Wales, contemp.inscription to verso of stretcher with exhibition number: “4. A Stream from the Hills, T. Creswick”, 92 x 71.6cm (36 x 28ins), contemp. gilt frame Thomas Creswick was a landscape painter who chiefly painted scenes in Wales and the north of England, usually with streams or water. He studied under John Vincent Barber in Birmingham before moving to London in 1828, where he exhibited at the Royal Academy and the British Institute, amongst other places. His work was a great success - Creswick counted Ruskin among his admirers - and a memorial exhibition was held after his death. At the London International Exhibition of 1873, 109 of his works were collected together, with a catalogue by T.O. Barlow, RA. (1) £1500-2000

120* Delawarr (Valentine, active 1880-1900). The Kanimbula Valley, & Katoomba Waterfall, a pair of oils on board, each signed, a few marks to edges, each titled in pencil to verso in an early hand, 27.5 x 20.2cm (10.75 x 8ins) The Kanimbula (or Kanimbla) Valley and Katoomba Waterfall are located in the Blue Mountains of New South Wales, Australia. (2) £400-600

Lot 120

Lot 119

121* Dutch School. Winter landscape with ice skaters, 19th c. oil on copper, a little flaking to lower right, 31.5 x 43cm (12.5 x 17ins), gilt frame (1)

ÂŁ150-200

122* Elmer (Stephen, 1717-1796, Circle of). Pheasants and woodcock in a landscape, later 18th c. oil on canvas, relined, 30.5 x 36cm (12 x 14ins), framed (1)

Lot 121

Lot 122

ÂŁ700-1000

Lot 123

123* Elmer (Stephen, 1717-1796, Style of). Pair of mallard ducks on the water, oil on board, probably early-mid 19th c., 20 x 25.5cm (8 x 10ins), framed (1)

ÂŁ300-500

124* English school. Boys with rabbit, c.1870, oil on canvas, indistinctly signed, 59.5 x 44cms (23.5 x 17.25ins), framed (1)

ÂŁ300-500

Lot 124

125* English school. Horse and Dog in a Stable, c.1830, oil on copper, 17 x 20.5cm (6.75 x 8ins) (1)

£200-300

126* English School. A young woman on a rustic garden seat holding a music score, c. 1820, oil on wood panel, bevelled edge to verso, 24 x 19cm (9.5 x 7.5ins) (1)

£200-300

127* English school. Portrait of a Gentleman, 1806, original halflength oval portrait in chalk & pastels on board, showing a white haired gentleman wearing a black coat, dated to lower right edge, framed & glazed, back board with ‘lot 242, 25.2.82’ written in white chalk to verso, approx. 590 x 500mm

128* English school. Portrait of Archbishop Whitgift, early 19th c., half-length oil on copper portrait, captioned in gold, 9 x 7cm (3.5 x 2.75ins), together with Portrait of an Elizabethan lady with monkey and apple, early 19th c., half-length oil on copper portrait, captioned ‘Hunsdon’ in gold, 9 x 7cm (3.5 x 2.75ins), both in matching moulded gilt frames

(1)

(2)

£150-200

129* English school. Portrait of Edward Wodehouse, 1917, half-length oil on canvas portrait, captioned ‘Edward Wodehouse. Aetratis Suae XIX’ and with artist’s monogram HR or AR(?) and dated 1917, 76 x 63.5cm (30 x 25ins), gilt moulded framed 2nd Lieut Hon Edward Wodehouse MC (b.12 Apr 1898-30 Mar 1918). The third son of John Wodehouse, 2nd Earl of Kimberley and Isabel Geraldine Stracey, Countess of Kimberley, of Kimberley House, Wymondham, Norfolk. He was educated at Eaton and served with the 16th (The Queen’s) Lancers. During the First World War the Regiment served continuously in France and Flanders in the 3rd Cavalry Brigade with the 5th Lancers. Brigadier (later General) Gough, a 16th Lancer, commanded the Brigade. The First World War did not provide any great scope for cavalry warfare; as a result there were few incidents where the cavalry came into its own. Of particular note was the charge of Lord Strathcona’s Horse at Moreuil Wood on the 30th March 1918. In this action the Strathcona’s counter attack on the advancing Germans, prevented them breaking through the thin British line. The 3rd Cavalry Brigade supported the Strathcona’s and the 16th Lancers played a leading part protecting the Canadian right flank. The 16th were positioned outside the wood and prevented German reinforcements reaching the positions that the Strathcona’s were trying to clear. Lord Strathcona’s Horse is today one of the allied regiments of The Queen’s Royal Lancers. Edward Wodehouse was killed in action on 30 March 1918 at the age of 19. (1) £300-500

130* English school. Portrait of a boy in Blue Coat School uniform, early to mid 19th c., full-length oil on canvas portrait, 57 x 46cm (22.5 x 18ins), framed and glazed (1)

£200-300

Lot 130

131* English (Grace, 1891-1956). “Flowers and Currants”, 1943, oil on canvas, of a vase of flowers, including scabious, fuchsias, rudbeckia, gladioli, and delphiniums, aganst a background of patterned wallpaper, with a plate of redcurrants and whitecurrants in the foreground, signed and dated in lower right-hand corner, 605 x 505mm (24 x 20ins), framed, with ms. title label on verso stating that the work was exhibited at Royal Academy in 1943 Born in London, Grace English was a painter and etcher. She studied at the Slade School between 1912 and 1914, where she won a painting prize, then learned etching under Sir Frank Short at the Royal College of Art in 1921. As well as exhibiting at the Royal Academy, she also exhibited at the Royal Society of Portrait Painters and the Royal Society of British Artists, amongst other places. (1) £400-600

Lot 131

132* Flowers. Vase of flowers and grapes on a ledge, early-mid 19th c. circular oil on copper, initialled F. D., 14cm diameter (5.5ins), framed (1)

£100-150

133* Haddon (Arthur Trevor, 1864-1941). “A Bargain”, 1883, oil on board, of a rural scene with two countrymen and a dog beside a haywain, signed and dated in lower right-hand corner, 220 x 330mm (8.5 x 13ins), contemp. gilt moulded frame, glazed, with exhibition label on verso with title, artist’s name and address, and price of 3.13, all in the artist’s hand British artist Trevor Haddon (as he signed himself) was both an oil painter and watercolourist who specialised in landscapes, seascapes and the country genre. He was also a skilled portraitist and painter of figures. In 1883, at the age of 19, he won a three year art scholarship to the Slade School and later studied painting in Rome and Madrid. Haddon was extremely well travelled, painting views in Europe and on both American continents as well as in the South Pacific. He lived chiefly in London, but also resided in Cambridge and, for a time, Rome. During his career he wrote several books on travel and art. A member of the Royal Society of British artists from 1896 until his death in 1941, the artist exhibited extensively and won prizes at prestigious venues such as the Suffok Street Galleries, the Royal Academy, and the New Watercolor Society. (1) £300-500

Lot 132

Lot 133

134* Harding (James Duffield, 17971863). Convent of Il Santo Cosimato, near Tivoli, c. 1832, oil on canvas, initialled J. H. to lower right corner, 35.5 x 25.5cm (14 x 10ins), framed The original painting by J. D. Harding, which was used to illustrate Thomas Roscoeâ&#x20AC;&#x2122;s Tourist in Italy, published by Jennings and Chaplin in 1833. The engraved illustration by J. C. Varrall, facing page 145, is given a publication date at the foot of October 28th 1832, although the title page is dated 1833. James Duffield Harding was born in Deptford in 1798, and studied in London under Samuel Prout and John Pye. He exhibited at The Royal Academy from 1811, at the Society of Arts, and The Royal Watercolour Society, of which he became a member in 1822. (1) ÂŁ700-1000

135* Jacomb-Hood (George Percy, 1857-1929). Portrait of The Reverend Theobald E. Rowe M.A., Head Master of Tonbridge, 1876-90, oil on canvas, signed and dated 1890 lower right, small area of repair near side table, 127 x 96.5cm (50 x 38ins), period gilt frame Tonbridge School in Tonbridge, Kent, was founded in 1553 by Sir Andrew Judde, and today retains its status as one of the most prestigious public schools in Britain. The Rev. Theophilus Barton Rowe (1833-1905) succeeded Dr Welldon as head master in January 1876, remaining there until 1890. Rowe was born at Croydon, educated at the School for the Sons of Wesleyan Ministers, Woodhouse Grove, near Leeds, and then as King’s Scholar of Durham Cathedral School. He proceeded as Sizar to St John’s College, Cambridge, graduating in 1856 as 3rd in Class in the Classical Tripos, 31st Wrangler and Chancellor’s Medallist. He was elected Fellow in 1858, ordained Deacon in 1859 and Priest in 1879. From 1861 until he went to Tonbridge he was one of the House Masters at Uppingham School under Thring. Rowe’s tenure as head master at Tonbridge saw a great many changes in the school’s educational plan. Natural Science, German, Political Economy, Drawing, Vocal Music and Gymnastics were all introduced, and a laboratory was fitted. When Rowe retired in 1890 an address signed by 140 Old Boys was presented to him with the portrait offered here. A replica of the painting hangs in the School. George Percy Jacomb-Hood RBA, RE (1857-1929) was born in Esher, Surrey, studied at the Slade School and subsequently worked in Paris under J.P. Laurens. As well as painting and illustration Jacomb-Hood made etchings and bronzes. Besides working in Paris he travelled to Greece in 1896 (for the Graphic) and India (including tours with the Prince and Princess of Wales in 1905 and King George V in 1911). Examples of his paintings are to be found at the Victoria Art Gallery, Bath, Bristol Art Gallery, Manchester Art Gallery, Walker Art Gallery and the Lady Lever Gallery. (1) £1000-1500

Lot 136

136* Klever (Julius Sergius, 1850-1924). At Riga, 1901, oil on canvas, signed, titled and dated to reverse, 18 x 49cm (7 x 19.25ins), framed (1)

137* Le Lorrain (Claude, 1600-1682, after). Landscape with the marriage of Isaac and Rebekah, an early nineteenth century largescale oil study after Claude’s landscape with the marriage of Isaac and Rebekah of 1648, in the collection of the National Gallery, London

£300-500

Another version of this work, entitled The Mill is in the Palazzo Doria Pamphilij, Rome. The London version arrived in England in 1803, and was amongst the first paintings exhibited when the National Gallery opened in 1824. (1) £700-1000

Lot 137

138* Linton (William Evans, b.1878). Feeding cattle, oil on board, initalled lower right, 23 x 30.8cm (9 x 12 1/8ins)

139* Linton (William Evans, b.1878). Girl feeding calves, oil on board, unsigned, 23 x 30.8cm (9 x 12 1/8ins)

(1)

£200-300

140* Malta. Valletta Harbour, late 19th/early 20th c., oil on board, 345 x 540mm (13.5 x 21.25ins) (1)

Lot 140

£400-600

141* Meadows (James Edwin, 1828-1888, attrib.). Fishing Boats off the south coast, c.1860, oil on canvas, signed with monogram JM in the lower right corner, 21.5 x 32cm (8.5 x 12.5ins), framed (1)

ÂŁ400-600

142* Milne (Joseph, 1857/61-1911). View on the River Tay, with sailing boat and fishermen on a path, 1884, oil on board, signed and dated 1884 lower left, 25 x 35.5cm (9.75 x 13.75ins), framed The Scottish artist Joe Milne was born into an artistic family in 1857, the elder brother of William Watt Milne (1869-1949), and the father of John Maclauchlan Milne (1886-1957). He exhibited regularly at the Royal Scottish Academy from 1877 to 1902, and the Glasgow Institute from 1880 to 1902, his favourite subjects being the coasts of Scotland and working rivers, particularly the Silvery Tay. (1) ÂŁ500-800

Lot 141

Lot 142

Lot 143

143* Morland (George, 1763-1804, attrib.). Farmyard scene with ploughman and horse before a stable, and maid with a litter of piglets, oil on canvas, relined, 44 x 58cm (17.25 x 22.75ins), framed (1)

£1200-1500

144* Muller (William J., 1812-45, attrib.). Head of a young woman, oil on card, showing a young maid, gazing downwards, wearing a white cap with purple sash tie, 20.3 x 15.3cm (8 x 6ins) (1)

£150-200

145* Naive School. Head of a Tiger, 19th-c, oil on canvas, signed W. Black in capitals, approx. 550 x 400mm (22 x 16ins) (1)

£150-200

Lot 144

Lot 146

146* Neapolitan School. S.S. Elmsgarth c.1900, gouache on paper, titled to centre of lower margin, generally in good condition, 44.5 x 63cm (17.5 x 24.75ins), near contemporary maplewood veneer frame, glazed

147* Owen (Joel, act. 1892-1931). Landscape with gypsy encampment, oil on canvas, signed, hole in canvas with some subsequent flaking of paint surface, 29.5 x 44cm (11 5/8 x 17 3/8ins), framed and glazed

The S.S.Elmsgarth was built in 1896 as a 3503 tonnes cargo steamer by Short Brothers Ltd. of Sunderland and was owned by G.E. Macarthy of Newcastle-upon-Tyne. She met her end in 1917 when en route from Kingston, Jamaica to Liverpool. She was torpedoed by the German submarine, U-61, and sank in the Western Approaches, fifty miles north west of County Donegal. (1) £400-600

(1)

£100-150

148* Picture frames. Two large picture frames, 19th century, one large late Victorian stained oak frame withinset gold slip, overall size 107 x 112cm (42 x 44.25ins), and one early 19th century, oval topped gilt gesso frame with pierced acanthus leaf decoration, some damage to gesso decoration, overall size 132 x 112cm (52 x 44ins) (2)

£100-150

Lot 149

149* Pinwell (George John, 1842-1875). Rural landscape with woodland cottage, oil on oak panel, unsigned, 13 x 29cm (5 x 11.5ins), period moulded gilt frame (1)

£150-200

150* Portrait Miniatures. A pair of portrait miniatures of a young gentleman and a young lady, early 19th c., both head and shoulders in profile facing to dexter (brother and sister?), watercolour on thin ivory with wooden backing, matching oval gilt metal mounts set into black stained wood with oak gilt metal picture hooks with oak leaves, both images approx. 65mm (2.5ins tall), wooden mounts both with minor chips (2)

151* Raphael Sanzio (da Urbino, 1483-1520, after). Madonna and Child, early 19th century oval oil on thin wood panel, 21 x 16cm (8.25 x 6.25ins), contemp. hand carved gilt frame (1)

£100-150

152* Raphael Sanzio da Urbino, 1483-1520, after, Madonna and Child, 19th century, oil on canvas, 21 x 16cm (8 1/4 x 6 1/4ins), gilt frame

£300-500

(1)

£100-150

153* Reid (Robert Payton, 1859-1945, attrib.). Head of a Gypsy Woman, oil on canvas, 41 x 33cm (16 x 13ins), gilt frame (1)

ÂŁ300-500

154* Richards (William Trost, 1833-1905). Coastal view with Stack, near Newquay, oil on board, signed lower left, 22.5 x 40cm (9 x 15.75ins), gilt frame Provenance: From the estate of the artist. (1)

Lot 153

Lot 154

ÂŁ3000-5000

155* Rousseau (Theodore, 1812-1867). Landscape with Clearing Sky, oil on wood panel, signed lower left, 15 x 32cm (6 x 12.5ins), old gilt frame A fine example of the Barbizon School of landscape painting, in which atmospheric effects are keenly observed (1) £3000-4000

156* Sadler (R., 19th c.). Monk at devotions in cell, 1852, oil on canvas, signed and dated, inscribed to stretcher ‘Ralph from R. Sadler, 1852’, canvas repaired to verso, 24 x 8.5cm (9.5 x 7.5ins), moulded gilt frame (1)

£150-200

Lot 156

Lot 157 159* Shaw (George, 1843-1915). On the Dart, Dartmoor, oil on canvas, signed lower left, 30.5 x 51cm (12 x 20ins), framed and glazed, with handwritten title, artist’s name and address to reverse, together with Southey (Rubens, 1881-1933), Moorland Landscape (probably Dartmoor), watercolour, signed lower left, 11 x 28.5cm (4.25 x 11.25ins), framed and glazed, with old label of G. Widger, Plymouth to verso (2)

£100-150

160* Spear (Ruskin, CBE RA, 1911-1990, ). Tigeress and cubs, oil on board, of a caged tigress and two cubs, unsigned, 244 x 346mm (9.5 x 13.5ins), framed Provenance: painted by Ruskin Spear for his long-term model and partner, Claire Stafford, who was at one time keeper of tigers at London Zoo. Born in Hammersmith, Spear attended the local art school before going on to the Royal College of Art in 1930. He began his teaching career at Croydon School of Art, and taught at the Royal College of Art from 1948 to 1975. Initially influenced by Sickert and the Camden Town Group, and the portraiture of the Euston Road School, his work often has a narrative quality, with elements of humour and respectful satire. Because he used a wheelchair due to childhood polio, much of his work focused on his immediate surroundings, and he is especially known for his quirky studies of domestic cats. A retrospective of Spear’s work was held at the Royal Academy in 1980. His work is represented in the Tate Gallery Collection. (1) £3000-5000

161* Stark (James, 1794-1859). Landscape with children in a cornfield, oil on canvas, signed with initials, 27 x 40cm (10.5 x 16ins), gilt frame

157* Scholl (Johann Baptist, 1818-1881). View of Nazareth, oil on canvas, showing a distant view of Nazareth, with figures in the foreground by a well, 29.5 x 60cm (11.5 x 23.5ins), framed with artist details printed to lower edge (1)

(1)

162* Thornton (R., late 19th/early 20th c.). Portrait of a gentlemen in Bavarian costume, late 19th or early 20th c. oval oil on card, 21.5 x 16.5cm (8.5 x 6.5ins), in later 19th c. velvet-lined frame, with moulded gilt decorative border of acorns and leaves, glazed, together with another similar oil on wood panel of a Bavarian gentleman smoking a pipe, 21.5 x 16.5cm (8.5 x 6.5ins), gilt frame

158* Seligmann (Georg Sophus, 1866-1924). A pair of portraits of a lady and a gentleman, 1917, oil on canvas, head and shoulders portraits of a gentleman and a lady, both signed, the latter dated, 480 x 390mm (19 x 15.25ins), matching gilt frames (with some damage), with ms. label in Danish on verso, dated February 1919 Georg Seligmann was born in Copenhagen. (2)

£1000-1500

£300-500

(2) £300-500

£200-300

Lot 160

Lot 161

Lot 162

163* Tissot (James Jacques Joseph, 1836-1902). The Departure (The Prodigal Son in Modern Life), oil on canvas (stamped with manufacturer’s name W. Badger, 97 Boundary Road, St. John’s Wood & 49 Dorset Street, Portman Square to verso), later gilt frame, with acorn and leaf decoration in gilt, 68 x 91.5cm (26.75 x 36ins) James Tissot’s famous series of paintings under the title The Prodigal Son in Modern Life were painted around 1881, and exhibited at the artist’s one-man exhibition at The Dudley Gallery in May 1882. Tissot's mixture of biblical reference and modern subject matter, was enthusiastically received by the public. The present work is a preparatory oil study, and displays significant differences in the detail of the composition (such as the position of the figure gazing out of the window and the steam tug beyond). The final version is now in the collection of the National Gallery of Art, Washington D.C. The woman on the left of the composition is modelled on the artist’s mistress, Kathleen Newton, who died soon afterwards of consumption on 9th November 1882. Provenance: Collection of the artist; J. J. Tissot Studio Sale, Hotel Drouot, Paris, July 1903, purchased by Alfred Stroelin; Henry Brendle, Zurich; Fine Art Society, whence purchased by the present owner, along with the companion work entitled The Return. See Michael Wentworth, James Tissot (1984) pp. 148-150. (1) £40000-60000

Lot 164

164* Van Emmerik (Govert 1805-82). Coastal maritime scene, oil on canvas, signed in lower right corner, 60 x 93cms (23.5 x 36.5ins), framed (1)

£700-1000

165* Van Huysum (Jacob, c. 1686-c.1740, Style of). Still Life of Roses in front of classical statuary, oil on canvas, relined, 96.5 x 76.5cm (38 x 30ins), gilt frame (1)

£800-1200

166* Veronese (Paolo, 1528-1588, after). The Pope receiving a kneeling saint, probably mid-late 18th century, oil on canvas, of the Pope with a kneeling bearded figure in white garb, surrounded by cardinals and retinue, small indentation and sl. flaking in places, 505 x 480mm (20 x 19ins), oak frame, with contemp. ms. ‘Paul Veronees’ and old Christie’s stencil on reverse (1)

£200-300

Lot 166

Lot 165

Lot 167 167* Victorian School. A pair of studies of children in a rural wooded scene, mid 19th c., oil on board, one with artist’s initials ‘C.F.D.’, each approx. 190 x 140mm (7.5 x 5.5ins), framed & glazed (2)

168* No lot

£250-350

DRAWINGS 169* Barker (John Joseph of Bath, 1824-1904). Countryman seated reading a newspaper, sepia wash, pen & ink, signed lower right, 17.2 x 12.7cm (6.75 x 5ins), framed and glazed (1)

£150-200

170* Barker (Thomas, of Bath, 1769-1847). A lithographic stone with original study of a man in rustic costume with walking stick and basket, for ‘Impressions of Rustic Figures After Nature’, early 19th c., orig. drawing on lithographic stone, monogram present, image slightly rubbed, image dimensions 22 x 14cm (8.75 x 5.5ins), stone 24.5 x 16.5cm (9.75 x 6.5ins) There are thirty-one known examples of Thomas Barker’s lithographic stones, all of which are in the collection at the Victoria Art Gallery in Bath. Eighteen of the stones are for ‘Forty Lithographic Impressions from Drawings by Thomas Barker Selected from his Studies After Nature’ published in 1813. A further eight in the collection were drawn for ‘Thirty Two lithographic Impressions from Pen Drawings of Landscape Scenery’, published in 1814. It is very unusual for lithographic stones to have survived preserving an original illustration. The stones were highly expensive to produce and were usually reground and reused. Stones were hired out to artists by the printer for approximately a week at atime, but Barker appears to have owned his own lithographic stones. His stones are likely to be white lias limestone quarried from the Bath area. Unlike those for ‘Landscape Scenery’ the stones for ‘Rustic Figures’ have similar dimensions. In 1803 Barker was asked to contribute to the first major publication of English lithographs, Specimens of Polyautography, for Alois Senefelder’s agent in London. In 1813, the printer D.J.Redman moved to Bath at Barker’s invitation and set up a lithographic press, making Bath the centre of artistic lithography for a while. The success of the press in Bath arose partly from the plentiful supply of good quality local limestone. That same year, Redman published Barker’s Impressions of Rustic Figures After Nature, a set of forty figure studies. The following year Redman published a companion set of Barker’s landscape studies. To Barker’s disappointment, neither group was a financial success: in 1815 Redman returned to London, and Barker stopped producing lithographs. Barker’s ‘Impressions of Rustic Figures After Nature’, was the first single-artist collection of lithographs ever printed in England. (1) £300-500

Lot 169

171* Beaton (Cecil, 1904-80, attr.) A portrait of a man reposing on a chair, c. 1950’s, pencil drawing on paper (possibly self-portrait), unsigned, 43 x 26.5cm (17 x 9.25ins), mounted, framed and glazed (1)

£100-150

172* Blackley (Alexander, 19th c.). A pair of wedding portraits of a gentleman and lady, coloured chalks, the male portrait signed and dated 1840, 51 x 37cm (20 x 14.5ins), matching gilt frames, glazed (2)

Lot 170

£150-200

173* Blampied (Edmund, 1886-1966). ‘The dinner has gone down very well’, pen and brown ink on paper, signed and titled, sheet size 35 x 23.5cm (13.75 x 9.25ins), with Selective Eye Gallery of Jersey label and certificate of authenticity to verso, together with ‘Once in a Blue Moon’, pen & black ink on paper, titled in pencil to lower margin, sheet size 22 x 21cm (8.75 x 8.25ins), with Selective Eye Gallery of Jersey label and certificate of authenticity to verso, framed and glazed (2)

£250-350

174* Bonnor (Rose D., Exh. 1895-1916). An original sketchbook belonging to Rose D. Bonnor, dated 1908, containing 104 pages and comprising pencil or ink sketches of life studies, rural views, portraits, cattle, dogs, etc., many drawings dated, bearing Bonner’s name and address to upper pastedown, inner hinges cracked, orig. cloth binding, marked with paint and art materials, 36.2 x 23.5cm Bonnor exhibited at the RA and is known as a painter of dogs and portraits. (1) £200-300

Lot 173

Lot 174 74

Lot 175 175* Browne (Hablot Knight, ‘Phiz’, 1815-1882). A collection of twenty drawings illustrating Venus and Adonis by William Shakespeare, together twenty mounted drawings in sepia ink, pencil, and charcoal, on paper, with bistre and grisaille washes and traces of bodycolour, each comprising five drawings: a central circular design, 175mm (7ins) diameter; and four cornerpieces, overall image size 200 x 300mm (8 x 12ins), gilt-edged mounts toned, and with adhesive tape stains on verso, with title and verse from Shakespeare’s Venus and Adonis hand-written in pencil and ink respectively in the artist’s hand to lower edge, mount size 345 x 460mm (13.5 x 18ins), housed in contemp. green cloth portfolio, worn A suite of apparently unpublished drawings by Hablot K. Browne, the prolific Victorian artist famed for his collaboration with Charles Dickens. Provenance: By descent from Hablot K. Browne to Valerie Browne Lester, Phiz’s descendant and biographer. (20) £2000-3000

176* Canziani (Louise Starr, 1845-1909). Young woman in a long dress, holding a letter, beside a tea table, & Young woman in long dress and ribboned hat, together two pen & ink drawings, eachinscribed by the artist to reverse ‘Madame Louisa Starr Canziani, 3 Palace Green, Kensington’, sheet size 25 x 17.5cm (9.75 x 7ins), and sl. smaller, mounted

177* Cox (David, 1783-1859). Four pen and ink sketches, n.d., showing a fishing group on a river with a castle, bridge and windmill in the background, one of coastal flats showing a boat, figures and animals, the third very sketchy showing figures, horses in a landscape, and the fourth of a boat on a river with a bridge in the background, each initialled ‘D.C.’ to lower corner, all sl. spotted and all but the third browned, each approx. 9 x 14cm (3.5 x 5.5ins), window mounted as a group, framed and glazed

Louisa Starr Canziani (1845-1909) was the first woman to study at the Royal Academy where she won a gold medal in 1867. Principally a portrait and figure painter, she exhibited at The Royal Academy, The Society of British Artists, New Watercolour Society and elsewhere. (1) £150-200

(1)

£300-500

Lot 178 178* Duncan (Edward 1803-82). Album of Sketches, twentyeight pencil and watercolour drawings on eleven sheets, mounted in an album, several pages and individual drawings excised, contemporary half morocco gilt, rubbed and worn, folio (1)

£100-150

Lot 181

179* English school. Maritime scene, c.1800, pen, ink and wash drawing of warships firing salutes, two figures in early Georgian dress to forground. 18 x 23.5cm (7 x 9.25ins), mounted, framed and glazed (1)

£100-150

180* Ferdinandus (Alexandre, -1888). Study of a young woman in theatrical costume, pencil on paper, signed, 245 x 150mm (9.75 x 6ins), framed and glazed (1)

£70-100

181* French School. Pastorale landscape with animals, shepherd playing a flute, and a young maid spinning wool, early 18th c. pen, ink and wash drawing, on laid paper, 138 x 140mm (5.5 x 5.5ins), together with two other early 18th c. drawings of similar size, probably English School, including one scene of a gamblers in a tavern, in the manner of Thomas Rowlandson, and another of a huntsman in a landscape berating his dog (3)

182* Gherardi (Giuseppe 1788-1884). The Pitti Palce from the Boboli Gardens, pen and wash drawing, signed in lower left corner, surface a little spotted, some staining largely confined to margins, 23 x 33cm (9 x 13ins), mounted and framed

£100-150

(1)

£150-200

184* Sandys (Frederick Augustus, 1829-1904). Pencil studies for a prostrate female figure used in the engraved illustration for Christina Rossetti’s ‘Amor Mundi’, c. 1865, four full-length pencil studies on paper with one further garment detail, two of the figures finished with full facial details (including one with face-down reflection), three of the studies with full clothing details, some white bodycolour to paper extremities, 165 x 245mm (6.5 x 9.75ins), framed and glazed with a copy of the finished wood engraving laid under the glass Provenance: Family of Anthony Crane, grandson of Walter Crane and son of Lionel Crane and Winifred Sandys. Winifred was the daughter of (Anthony) Frederick Sandys, the English painter and draughtsman. Frederick Sandys, son of the portrait painter Anthony Sandys, was born and trained at Norwich. Working in a Pre-Raphaelite vein Millais thought highly of him and Rossetti, with whom he lived briefly in Cheyne Walk, Chelsea, considered him to be ‘the greatest of living draughtsmen’. He contributed numerous drawings for periodicals of the day including Cornhill Magazine and Good Words. In the 1860s he began to exhibit paintings, the best known being ‘Vivien’ (1863), ‘Morgan le Fay’ (1864), ‘Cassandra’ and ‘Medea’. He also made a number of chalk drawings of men of letters, including Tennyson, Browning and Matthew Arnold. ‘Sandys’s own favourite among his wood engravings was the ‘Amor Mundi’, which appeared in The Shilling Magazine (1865) as an illustration for Christina Rossetti’s poem. The ‘Amor Mundi’ [a reversed image of the example included in this lot] is a beautiful, slightly unpleasant, and extraordinarily suggestive drawing, depicting two lovers strolling down the easy part of sensuality to the hidden hollow where death lies waiting. Not Death as he is usually symbolized, but the dead and corrupted body of this very woman, now hanging in foolish soulless laughter on her lover’s arm. A rat gnaws at the tattered wrist of the corpse, whose flesh Christina describes as ‘pale’, but to which Sandys has given the terrible hues of putrefaction, ’ (Forrest Reid, ‘Illustrators of the Eighteen Sixties’ (1928), p. 60. (1) £1000-1500

183* Roussel (Rene, late 19th/early 20th c.). View of the River Seine, Paris, with fishermen on a pier, c. 1891, pen, ink and wash on the verso of a handwritten bill, with traces of pencil, signed lower right, 21 x 15cm (8.25 x 6ins), framed and glazed (1)

£150-200

Lot 184

Lot 186

Lot 188

185* Sandys (Frederick Augustus, 1829-1904). Matthew Arnold [and] Joseph Henry Shorthouse, c. 1880s, a pair of head and shoulders collotypes after drawings undertaken for the publishers Macmillan in the 1880s, a little spotting, both captioned in the image to upper margins, 31.5 x 22.5cm (12.5 x 9ins), framed and glazed Provenance: Family of Anthony Crane - see preceding lot. (2)

£80-120

186* Shaw (John Byam, 1872-1919). Young ladies ice skating before an on-looking crowd, with Mr Punch in the fore-ground, pen, ink on paper, with traces of white bodycolour, signed with initials lower left, image size 11.6 x 17.8cm (4.5 x 7ins) (1)

£100-150

187* Thornhill (James, 1675-1734, attrib.). Design for a ceiling panel, pen and brown and black ink, with traces of wash, ruled border in brown ink, 95 x 175mm (3.75 x 6.8ins) (1)

£100-150

188* Turner (William, of Oxford, 1789-1862, attrib.). Landscape with figures on a country lane, pencil on paper, watermark J Whatman 1822, 20.5 x 29cm (8 x 11.5ins), mounted (1)

£150-200

189* Uwins (Thomas, 1782-1857). Scene from Gismonda da Mendrisio, pen, ink & sepia wash, with traces of pencil, signed andinscribed, 450 x 320mm (17.75 x 12.5ins) (1)

£100-150

Lot 189

190 No lot

RUSKIN (JOHN, 1819-1900) The items in this section were purchased by the current owner from Mr. T. Telford of Grasmere, who bought them in 1931 at the Sotheby’s sale of Ruskin’s effects held at his beloved home of Brantwood on the shores of Lake Coniston in the Lake District.

Lot 191

Lot 192

191* Ruskin (John, 1819-1900). Study of Pine Trees, pencil drawing, heightened with bodycolour, on cream paper, 342 x 248mm (13.5 x 9.75ins), mounted, framed and glazed

192* Ruskin (John, 1819-1900). Caricature studies, pen & ink title-page for an album, with ‘Album 1836 Baden’ lettered on an open book in the centre, within an oval of vigns. of muses, putti, St. John the Baptist, a jester and donkey, etc., lettered in manuscript on mount ‘“Baden, 17th. December 1836 One o‘clock (Morning)”‘, framed and glazed

Manuscript label on the verso of the frame reads: ‘Bought Aug. 1956 from Mr Telford of Grasmere who bought it at the sale of John Ruskin’s effects at Brantwood, Keswick’. (1) £700-1000

As a boy and then a young man Ruskin was taken on numerous tours of Europe by his parents, travelling extensively in Switzerland, France, and Italy, as well as Germany, a custom which he was to repeat throughout his life. (1) £500-800

Lot 193

Lot 194

193* La Touche (Rose, 1848-1875, attrib.). “Pussy Willow”, watercolour drawing of a stem of pussy willow, 77 x 178mm (3 x 7ins), mounted, framed and glazed A faint and difficult to decipher pencil inscription below the image in Ruskin’s hand appears to read: ‘Rosie’s cup - is served with the water of the woods... ‘ followed by one or two additional indistinct words in the same hand. Rose La Touche was the love of John Ruskin’s life. He first met Rose as her drawing teacher, when she was a mere ten years old and he was forty. Ruskin very quickly fell in love with her. Rose was his ‘Rosie pet’ and ‘Rosie puss’ and her pet name for him was ‘St. Crumpet’. She was a high-spirited child, yet also deeply religious, almost to the point of mania. Ruskin’s first impression of her was that she “walked like a little white statue through the twilight woods, talking solemnly”. Ruskin was a frequent visitor to her home; he was in the habit of collecting wild flowers and leaves for Rose and her sister to paint, and at times in their somewhat tortured relationship she is known to have given him flowers as emblems. He proposed marriage to Rose at seventeen, when he was fifty. She did not refuse, but her pious Protestant parents opposed the marriage, regarding Ruskin as a socialist and an atheist. They were also concerned because of the failure of Ruskin’s first marriage to Effie Gray, which had ended with an annulment on the grounds of his ‘incurable impotency’, a diagnosis Ruskin later disputed. Ruskin repeated his marriage proposal after Rose became legally free to decide for herself, but she still refused to commit to marriage because of religious differences. Rose died in 1875 at the age of twenty-seven, in a Dublin nursing home, where she had been placed by her parents. The cause of her death has been ascribed variously to madness, anorexia, a broken heart, religious mania and hysteria, or a combination of these. Whatever the reason, her death was tragic and it is generally credited with causing the bouts of insanity which afflicted Ruskin from around 1877. (1) £500-800

194* Ruskin (John, 1819-1900, circle of). The Matterhorn from near Zermatt, pastel, black charcoal, and pencil, heightened with bodycolour, of the Matterhorn, with a cottage and figures in the foreground, including a peasant woman collecting water from a stream, indistinct pencilled initials to lower right-hand corner, 357 x 507mm (14 x 20ins), mounted, framed and glazed

195* Ruskin (John). Notes by Mr. Ruskin. Part I. On his Drawings by the Late J.M.W. Turner, R.A. Part II. On His Own Handiwork Illustrative of Turner. The above being exhibited at The Fine Art Society’s Galleries, 148, New Bond Street. 1878, 11th thousand, revised edition, [1878], Ruskin’s own copy, with his ms. ink and pencil annotations, orig. printed wrappers, dusty and a little marked, front cover detached and frayed (at one time attached with brown tape still present at gutter of title), upper margin of front cover with ms. note in Ruskin’s hand ‘Mine - with Guardian reviewinside’ (review no longer present), ‘With the Author’s Compliments’ slip tipped-in oninside front cover, 8vo, together with Ruskin’s own green morocco-backed blank drawing book, approx. forty blank leaves of coloured paper, upper hinge broken, folio, plus a large cloth portfolio containing fifteen blank sheets of drawing paper which belonged to Ruskin, plus an armorial seal, possibly Italian, the ivory seal in engraved silver setting, with carved agate handle, length 70mm (2.75ins), plus an amethyst and gold watch key, the stone engraved with a flower and ‘To You’ (in reverse), length 20mm (.75ins), and a small amethyst and gold drop earring, both of which belonged to Ruskin’s mother, plus a small quantity of related catalogues and ephemera

Inscribed in manuscript on the verso of the frame: ‘Bought July 1956 of Mr. Telford of Grasmere who bought at the sale of effects at Brantwood pictures and sketches some by John Ruskin. J.A. Holland’. Ruskin’s affinity with Alpine scenery in general, and the Matterhorn in particular, is well documented. In one respect he was an Alpine pioneer, not as a climber, but as one who encouraged a widespread love and understanding of Alpine scenery. He was the first to draw the Matterhorn accurately, and apparently the first to photograph it too. When, in 1844, Ruskin made his first sketch of the majestic mountain which he then supposed to be the Matterhorn, it was some thirteen years before the founding of the Alpine Club in London, around thirteen years before any serious attempt was made to climb the Matterhorn, and twenty-one years before its summit was gained by Edward Whymper. Ruskin’s painstakingly precise, yet romantically atmospheric, images of the Matterhorn were to spawn a host of paintings of the great mountain amongst his circle, students and followers. (1) £1000-1500

(6)

£500-800

OLD MASTER PRINTS

Lot 196

Lot 198

Lot 199

196* Bolswert (Schelte Adams, 1586-1659). S. Jacobus Minor, S. Bartholomaeus & S. Philippus, together three copper engravings after Peter Paul Rubens, pub. Cornelis Galle, each trimmed to margins, plate size 25.5 x 13.5cm (10 x 5.3ins), mounted on old paper (3)

198* Cort (Cornelis, 1533-1578). St. Francis Penitent in the wilderness, 1575, engraving by Cornelis Cort after Girolamo Muziano, pub. Bonifazio Breggi, Rome, trimmed to ruled border, some surface marks, 510 x 370mm (20 x 14.5ins), together with Galle (Cornelius II, 1615-1678), Landscape with Tobias and The Angel, etching, [pub. Suzanna Verburggen], trimmed to image, 290 x 415mm (11.5 x 16ins), framed and glazed

£100-150

Hollstein 114. (2)

£150-200

199* Hollar (Wenceslaus, 1607-1677). Generosissima Dna. Elisabetha Haruey Filia Dni Haruey Baronis Kedbroock, 1646, eng. portrait after Van Dyck, approx. 25.5 x 18cm (10.25 x 7in), tippedonto line & wash backing paper, together with engraved title-page to ‘Philosophia Universa Serenissimo Principi, Maximiliano Com. Pal. Rheni, Utriusq; Bau. Duci, S.R.I. Archidapifero Electori Dicata, Auctore R.P. Thoma Comptono Carleton..., Antwerp, 1649, approx. 34 x 21cm (13.5 x 8.25in), tipped onto card, plus two other prints by Hollar (4)

197* Claude (Le Lorrain, [i.e. Claude Gelee]). Le Bouvier (The Cowherd), 1636 [but later, 5th state], etching on 18th c. laid paper, close-trimmed to image (with slight loss at edges), 13 x 19.7cm (5 x 7.75ins), mounted, together with Le Troupeau a l’abreuvoir (The herd at the watering-place), 1635, etching on paper, trimmed to image with loss of borders, 10 x 16.5cm (4 x 6.5ins), mounted, and Le Depart pour les champs (Departure for the fields), c.1638-41, etching on paper, trimmed to image with loss, some dampstaining, 12.5 x 17.2cm (5 x 6.75ins), mounted, plus two others

£150-200

200* Rembrandt (Harmensz van Rijn, 1606-1669). Christ before Pilate: larger plate, etching, with drypoint, 1636 [but later, probably early 18th c.], on wove paper, without watermark, margins trimmed, some light surface soiling and a few small nicks to extreme edges, plate size 56 x 45.5cm (22 x 18ins) Bartsch 77. A good strong impression. (1)

Mannoci (Lino), The Etchings of Claude Lorrain, pub. Yale University Press, 1988, no. 18v (p.146), no. 16 (p.122) and no. 34 (p.204). (5) £200-300

£100-150

ORIENTAL ART

201* Chinese silk panels. A pair of Chinese silk panels depicting allegorical scenes, late 18th c. hand-painted silk panels, one showing figures holding a scroll with ying yang symbol, within a wooded & mountainous scene, the other with figures (one riding a deer), with temple in background, both panels faded, frayed, repaired & relined, 193 x 55.5cm (76 x 22ins), framed & glazed (2)

ÂŁ1000-1500

202* Hiroshige (Ando, 1797-1858). Suruga Street, Edo, [1858], original colour woodblock print showing two Manzai dancers passing the drapery store accompanied by two girls playing the samisen, with Mount Fuji seen at the end of the street, central horizontal fold with small split to left margin and small nick to right margin, 34 x 23cm (13.5 x 9ins), tipped in to window mount

204* [Kunisada, Utagawa, 1786-1865, attrib.] Two ladies, one holding an open book, c. 1840, Japanese coloured woodblock print, tissue-hinged at head to white card mount, 36 x 24.5cm (14 x 9.5ins)

Number 2 from ‘Thirty-six Views of Fuji’. (1)

205* Nishijima (Katsuyuki, b.1945). Private Houses at Yasu in Shiga-ken, colour woodblock, signed and numbered 188/500 in pencil, 28.5 x 40.5cm (11 1/4 x 16ins), together with a similar print by Nishijima entitled ‘Rooftop at Muromachi, Kyoto’, matching frames

(1)

£150-200

203* Japanese woodblock prints. A collection of nine Japanese prints, late 19th & 20th c., coloured woodblock prints depicting various scenes, the largest 35 x 22cm (13.75 x 8.75ins), framed ang glazed (9)

(2)

£100-150

£150-200

£70-100

ETCHINGS, LITHOGRAPHS & WOODCUTS

Lot 207 206* Abbe (Solomon van, 1883-1955). Barrister at Work, etching with drypoint, signed and numbered 18/50, plate size 26 x 26cm (10.25 x 10.25ins), framed and glazed, together with Short (Sir Frank, 1857-1945), A South Coast Road, etching, signed in pencil, plate size 147 x 267mm (5.75 x 10.5ins), framed and glazed, plus Bradshaw (Brian, 1923-), Revolutionaire, drypoint etching, signed and titled in pencil to lower margin, 24.5 x 36cm (9.5 x 14ins), framed and glazed (3)

£100-150

207* Anderson (Alfred Charles Stanley, 1884-1966). Good Companions, copper engraving, signed in pencil to lower margin, andinscribed Ed:65, plate size 181 x 264mm (7.2 x 10.4ins), framed and glazed (1)

£200-300

208* Austen (Winifred Marie Louise, 1876-1964). Whitethroat, etching, signed and titled in pencil, plate size 14 x 19cm (5.5 x 7.5ins), framed and glazed (1)

£70-100

209* Austen (Winifred Marie Louise, 1876-1964). Lesser-spotted Woodpecker, etching, signed and titled in pencil, plate size 12.7 x 15cm (5 x 6ins), framed and glazed (1)

Lot 209

£70-100

Lot 210

Lot 212

210* Austin (Robert Sargent, 1895-1973). [Daisies], etching, signed and limited 66/75 in pencil below image, 10.5 x 13.5cms (4 x 5.25ins), together with, untitled image of a female wood cutter, etching, etched initials of, R S A below image, signed in pencil in lower margin, 16 x 11.5cms (6.25 x 4.5ins) Robert Sargent Austin taught engraving at the Royal College of Art from 1927 to 1944 and was a member of the Royal Watercolour Society, The Royal Society of Etchers and The Royal Academy. (3) £250-300

211* Brangwyn (Frank, 1867-1956 ). Busy street scene before an Abbey, lithograph, heightened with watercolour, apparently unsigned, 41 x 31cm (16 x 12.25ins), framed and glazed (1)

£100-150

212* Brangwyn (Frank, 1867-1956 ). Figures Constructing a Bridge in Paris, large etching on wove, good margins, signed and dedicated by artist in pencil below image, 51 x 60cm (20 x 23.75ins), framed and glazed (1)

£300-500

Lot 214

213* Brangwyn (Frank, 1867-1956 ). View in Istanbul, colour lithograph, signed in pencil below image, 17.5 x 21.5cm (7 x 8.5ins), mounted, framed and glazed (1)

£100-150

214* Brockhurst (Gerald Leslie, 1890-1978). Nadia, etching, signed in pencil to lower margin, some light overall toning, plate size 137 x 112mm (5.5 x 4.4ins), framed and glazed, with label of the Royal Exchange Art Gallery, London to verso (1)

£200-300

215* Brockhurst (Gerald Leslie, 1890-1978). Pepita, etching, signed in pencil to lower margin, plate size 112 x 108mm (4.4 x 4.25ins), framed and glazed, with label of the Royal Exchange Art Gallery, London to verso (1)

£200-300

Lot 215

216* Brockhurst (Gerald Leslie, 1890-1978). Una [also called ‘The Young Creole’], 1929, etching, signed in pencil below image, plate size 21.5 x 15.5cm (8.5 x 6ins), mounted framed and glazed The sixth state of ten. (1)

220* Hubbard (Eric Hesketh, 1892-1957). The Fair Gound, etching, signed , titled and numbered 57/100 below image, 20 x 29.5cm (8 x 11.5ins), together with a signed woodcut by the same artist, plus The Mower, etching, signed, titled and numbered 33/50 below image, 20 x 15cm (8 x 6ins), and Short (Frank), The New Inn, Poole, etching, signed in pencil below image, 25 x 17.5cm (9.75 x 7ins), plus Osborne (Malcolm), Female portrait, etching, signed below image by artist, 23 x 17.5cm (9 x 7ins), and Blaylock (Thomas Todd), The Ebbing Tide, woodcut printed in colours, signed and titled below image, 17 x 25cm (6.75 x 9.75ins), and, Woollard (Dorothy C.)Ye Old Lattice Inn, etching, signed in pencil below artist, 19.5 x 27cm (7.75 x 10.75ins)

£200-300

(7)

£150-200

217* Brockhurst (Gerald Leslie, 1890-1978). Fabian [1921], etching, signed in pencil below image, plate size 17.5 x 12.5cm (7 x 5ins), mounted, framed and glazed (1)

£150-200

218* Brunovsky (Albin, 1935-1997). Fantasy landscape, etching, signed andinscribed ‘pour Alister 1987’, plate size 10.2 x 7.5cm (4 x 3ins), with full margins, together with Albin Brunovsky, by Ludmila Peterajova, pub. Bratislava, 1985, withinscription by the artist to title for Alistair Crawford, dated November 1986 (2)

221* Freedman (Barnett, 1901-1958). Nude in a landscape, b&w lithograph, signed and dated ‘52 in the image, additionally inscribed in pencil to ‘Harry Barrett Jan 9, 1954’, 21 x 15.7cm (8.25 x 6.25ins) mount aperture, framed and glazed

£70-100

(1)

219* Darley (Cherry, 20th century). Srinagar - Kashmir, etching, signed, titled and dated 1935 in pencil to lower margin, plate size 18.3 x 24.5cm (7.25 x 9.6ins), framed and glazed (1)

£100-150

222* Hassall (Joan, 1906-1988). The Red Squirrel, wood engraving, signed, titled, from an edition of thirty, image size 9 x 6.4cm (3.5 x 2.5ins), framed and glazed, with handwritten label by the artist to verso

£50-80

(1)

£70-100

223* Hawthorne (M. C.). Gethsemane, c.1927, wood block print on india, signed and numbered by the artist in lower right corner, Bond street gallery label on verso, 18.5 x 10.5cm (7.25 x 4ins), mounted Limited edition of 4/50. (1)

ÂŁ50-80

224* Hermes (Gertrude, 1901-). Stonehenge, 1963, woodcut, signed, dated, titled and numbered 27/75, image size 25.3 x 35.5cm (10 x 14ins), sheet size 46 x 62cm (18 x 24.5ins) (1)

ÂŁ100-150

Lot 223

Lot 224

Lot 225 225* Langmaid (Rowland, 1897-1956). Hay’s Wharf, looking towards London Bridge, drypoint etching, signed in pencil, plate size 12.7 x 25.3cm (5 x 10ins), framed and glazed

226* Langmaid (Rowland, 1897-1956). The Royal Yacht Victoria and Albert, drypoint etching, signed in pencil, plate size 15.8 x 30.8cm (6.25 x 12ins), framed and glazed

(1)

£150-200

Lot 226

£150-200

Lot 227 227* Macleod (William Douglas, 1892-1963). Figures on the sands at low tide, with fishing boats, etching, signed in ink and numbered XV to lower margin, plate size 212 x 381mm (8.25 x 15ins), framed and glazed (1)

ÂŁ100-150

228* McBey (James, 18831959). The Passing Gondola, 1926, etching, signed and numbered LVI in ink to lower margin, (from the British edition of 60 numbered in Roman numerals), 21.4 x 26.6cm (8.5 x 10.5ins), framed and glazed Wofsy, Etchings & Dry-points of James McBey (1997) 230. A further twenty prints were published for America, numbered AI-AXX. (1) ÂŁ300-400

Lot 228

229* Menpes (Mortimer L., 1860-1938). Bazaar, drypoint, signed, plate size 23 x 27cm (9 x 10.7ins), framed and glazed (1)

£70-100

231* Pellew (Claughton, 1890-1966). The Pine Forest, 1925, b&w woodcut, signed, dated, and numbered IMP.10/20, together with The Cow, 1925, b&w woodcut, signed, dated, and numbered State 2, no. 9/20, image size 48 x 72mm (2)

£150-200

232* Petts (John). Huw Scurd, Rabbit Catcher, 1937, b&w woodcut, signed, dated, and titled, image size 115 x 100mm (4.5 x 4ins), mounted, together with two etchings by other artists, including Fir Tree in the Dukeries, by J. W. Barnes (3)

233* Pluckebaum (Metam, 1876-1945). Kittens, etching, heightened with pale red watercolour, signed lower right, plate size 24 x 27cm (9.5 x 10.5ins), framed and glazed, with old label of Richard Haworth, print seller, Blackburn, to verso

230* Menpes (Mortimer L., 1860-1938). Four etchings of Stratford-upon-Avon, four untitled etchings, each signed by the artist in the lower right corner, various sizes, mounted (4)

£50-80

(1)

£200-300

£150-200

234* Raverat (Gwen, 1885-1957). The Visitation, b&w woodcut, signed in pencil, 114 x 82mm (4.5 x 3.25ins) mount aperture, framed and glazed (1)

ÂŁ100-150

235* Raverat (Gwen, 1885-1957). Creation of Light, b&w woodcut, signed and titled in pencil, image size 62 x 103mm (2.5 x 4ins), framed and glazed (1)

Lot 234

Lot 235

ÂŁ100-150

237* Sickert (Walter, 1860-1942). Little Sally Waters (The American Sailor’s Hat), [1907], b&w lithograph on smooth cream wove paper, pub. The Neolith, no. 3, May 1908, full margins, image size 32.7 x 22cm (13 x 8.75ins), together with other lithographs by Frank Brangwyn, George Clausen, Spencer Pryse, Charles Shannon, etc., all contained in The Neolith, nos. 1-4 (complete), lacking only the print entitled ‘Old Darkie’, by Edmund J. Sullivan, at front of the first issue, orig. printed wrappers, stitched as issued, some fraying to wrappers, slim folio

236* Rosenberg (Louis Conrad, 1890-1983). Greek cafe, etching, signed below image in pencil, 13.5 x 19cms (5.5 x 7.5ins), mounted, framed and glazed, together with, Hallward (Reginald, 18581948), Angel and Old man, 1939, soft ground etching, signed, dated and limited 1/25 below image, 21.5 x 27.5cms (8.5 x 10.75ins), mounted, framed and glazed, with, Buchanan (Birtram), Seascape from the cliffs, late 20th. century, etching, signed in pencil below image, 11 x 22cms (4.25 x 8.75ins), mounted, framed and glazed, with another two similar, plus a folder containing twenty-two etchings, engravings and gravures, various sizes and condition (27)

Bromberg 126. (4)

£100-150

£200-300

Lot 238

238* Soper (Eileen Alice, 1905-1990). Piano practice, drypoint etching, signed, plate size 9 x 17cm (3.5 x 6.75ins), framed and glazed (1)

ÂŁ100-150

239* Soper (Eileen Alice, 1905-1990). Prisoners, etching, signed in pencil, plate size 19 x 13.8cm (7.5 x 5.5ins), framed and glazed Wootton 124. From the Estate of Eileen Soper (see label to verso). Illustrated on page 61 of the Art of George and Eileen Soper, by David Wootton (1995). (1) ÂŁ100-150

Lot 239

240* Soper (Eileen Alice, 1905-1990). November 5th (Bonfire Night), etching, signed in pencil, plate size 15 x 20cm (6 x 8ins), framed and glazed

241* Soper (Eileen Alice, 1905-1990). The Scooter, 1922, etching, signed in pencil, plate size 12.3 x 18.5cm (4.75 x 7.5ins), framed and glazed

Wootton, Catalogue Raisonne of the Etchings of George & Eileen Soper (1995) 121. (1) £100-150

(1)

£100-150

242* Spilsby (Wilson, 1883-1952). “Along Los Angeles Harbour San Pedro, Calif.”, soft ground and dry-point etching, lower margin with pencilled signature of the artist, and later pencilledinscription, 16 x 29.2cm (6.25 x 8ins), mounted, framed and glazed (1)

£50-80

243* Synge (Edward Millington, 1860-1913). Five etchings, ‘St. Germain Paris’, ‘Wheelwright’s Shop’, ‘Poplars and Stream, Langostiere’, ‘Amiens Cathedral’ and ‘Old Courtyard, Venice’, etchings, two signed in pencil below image, one with W.M.Synge studio stamp, various sizes, all mounted, framed and glazed, together with a watercolour of an English river scene by Edward Millington Synge?, unsigned, 21 x 30cm (8.25 x 11.75ins), mouned, framed and glazed (6)

Lot 243

£150-200

245* Synge (Edward Millington, 1860-1913). Six etchings, ‘Trinti de Monte’, ‘Venice from the Public Gardens’, ‘Pont Molle, Rome’, ‘Olive trees near Tourrettes’, ‘Ponte di Rialto, Venice’, ‘Path through the Olives’, etchings, four signed in pencil below image, each approx. 25 x 17.5cm (9.75 x 7ins), mounted, framed and glazed (6)

£150-200

244* Synge (Edward Millington, 1860-1913). Six etchings, ‘Villa Medici Rome’, ‘St. Gervais, Paris’, ‘Gondolas, Venice’, ‘Steps of San Giorgio Maggiore’ ‘Scene in Venice’ and ‘Sienna from the Observatory’, etchings, all signed in pencil below image, each approx. 23 x 15cm (9 x 6ins), mounted, framed and glazed (6)

£150-200

246* Synge (Edward Millington, 1860-1913). Five etchings, ‘Ponte Molle, Rome’, Quai St. Sebastien Martigues, Venice’, ‘Sisteron’, ‘The Old Mill Pont Aven’ and ‘Study of Poplars, Pont Aven’, etchings, signed below image by artist, various sizes and condition, together with, Molony (F.), ‘The Salute from the Guidecca’, c.1900etching, signed in pencil below image, 20 x 15cm (8 x 6ins), mounted, framed and glazed (6)

£120-180

247* Vondrous (Jan C., 1884-1974). Prague, 1921, etching, signed and dated in pencil, no. 38/100, and marked 1st state, plate size 20.2 x 35.5cm (8 x 14ins), framed and glazed (1)

Lot 245

£40-60

Lot 248 248* Walcot (William, 1874-1943). Two city scenes, two etchings, both signed in pencil below image, one with a personalinscription to Malcolm Salaman, one image laid on near contemp. card, 13 x 12cms (5 x 4.75ins), the other 18 x 25cms (7 x 10ins)

250* Whistler (James Abbott MacNeill, 1834-1903). A collection of eleven lithographs by Thomas Robert Way, after Whistler, pub. The Studio, September 1903-April 1905, mostly colour lithographs, by T. R. Way after Whistler, each 285 x 200mm (11.25 x 8ins), with printed tissue-guard, bound in seven volumes of The Studio, vols. 29-34, July 1903-July 1905, mixed bindings (4 vols. bound in contemp. dark blue half morocco), folio

Malcolm Salaman was an English author, journalist and critic, particularly on prints, who frequently contributed to the art magazines of the day. He also wrote the introductions to the 33 volume series ‘Modern Masters of Etching’ published between 1925-32 by ‘The Studio’. (2) £150-200

The lithographs are: Portrait Study in Pastel, Baby Leyland, Sunset: Venice, The Blue Girl (2), A Venetian Canal (2), Bead-stringers, Venice, The Old Marble Hall, Venice, The Purple Cap & An Early Study. The volumes also contain several articles on Whistler by A. L. Baldry, Mortimer Menpes, Oswold Sickert, and Octave Maus. (11) £300-500

249* Whishaw (Anthony, 1930-). Memory Store, 1997, etching with watercolour and crayon, signed and titled in pencil to lower margin, plate size 145 x 288mm (5.75 x 11.25ins), framed and glazed, together with another etching with drypoint, indistinctly signed, and dated 1981, plate size 445 x 555mm (17.5 x 21.75ins), framed and glazed (2)

£100-150

Lot 250

251* Whiting (Frederic, 1874-1962). Jockeys, 1923, etching, signed in pencil to lower margin, additionally inscribed ‘To my friend D. Jones’, some pale toning, plate size 194 x 185mm (7.75 x 7.25ins), framed and glazed, with label of the Royal Exchange Art Gallery, London to verso (1)

£200-300

252* Wilkinson (Norman, 1878-1971). The Landfall, uncoloured etching signed in penceil below image in lower margin, 20 x 30cm (8 x 12ins), mounted with title on mount in manuscript, framed and glazed (1)

Lot 251

Lot 252

£120-180

253 Wilkinson (Henry, b.1921). Six engravings of Sporting Dogs, Flat coat Retriever and Duck, German Short-haired Pointer, Border Terrier, Black Labrador, Springer Spaniel with Duck and Gordon Setters, six engravings with hand colouring, each signed by the artist in the lower left corner and limited to 150 & 250, image size 17.5 x 22.5cm (7 x 9ins), mounted Trained by Robert Austin and Malcolm Osborne at the Royal College of Art, Wilkinson went on to study in Heidelberg, France and Italy. Whilst at the Royal College he met George Vernon Stokes, the famous canine etcher, and Wilkinson helped Stokes print his editions until the latter’s death in 1954. For many years Wilkinson was Professor of the Engraving School at the City and Guilds of London. Today, now well into his eighties, Wilkinson works alone in his studio in Kent producing his prints entirely single-handed; from origination, engraving, printing and colouring, right down to making his own printing inks. Wilkinson’s output has slowed with the advancing years, and it is doubtful if many of his editions will ever be fully printed. His etchings, engravings and dry points are a fine reflection of the artists deep understanding of the countryside, rural pursuits and well bred dogs. (6) £150-200

254 Wood (George H.). Twenty Woodcuts, With a Foreword by John F. Greenwood, Manchester, Sherratt & Hughes, 1927, twenty woodcuts on tissue paper, orig. printed wrappers, rubbed and some marks, 4to

Lot 253

(1)

£70-100

255* Wyllie (William Lionel, R.A. 1851-1931). Entering Naples harbour, etching, signed in pencil below image, plate size 16.5 x 37.5cms (6.5 x 14.75ins), mounted, framed and glazed (1)

Lot 255

100

£200-300

MODERN & CONTEMPORARY PRINTS

Lot 259

256* Ackroyd (Norman, 1938- ). St. John’s Head, 1975, colour etching with aquatint, signed, dated, titled and marked ‘Artist’s Proof’, plate size 18 x 19.2cm (7 x 7.5ins), sheet size 41 x 32.5cm (16 x 12.75ins), framed and glazed (1)

£150-200

257* Bargheer (Eduard, 1901-1979). Three views of Italian towns, 1965-72, colour lithographs, signed, dated and numbered below image, each approx. 29 x 41.5cms (11.5 x 16.25ins) (3)

£100-150

258* Brandt (Anthony, 20th century). ‘Ecstasy’, photolithograph on green paper, signed and numbered 44 (from an unspecified edition), 57 x 106cm (22.5 x 41.75ins), with margins, together with two other similar signed photolithographs by Anthony Brandt of nudes, both printed on green paper (3)

£70-100

259 Chagall (Marc, 1887-1985). Antilopa Passengers, 1969, colour lithograph, 31 x 24cm (12.25 x 9.5ins), contained in Homage to Marc Chagall, pub. XXe Siecle/Tudor Publishing Co., [1969], orig. cloth in frayed d.j., 4to, together with another double-page colour lithograph, 31 x 47.5cm (12.25 x 18.75ins), by Chagall, published in Chagall Monumental, pub. XXe Siecle, 1973, orig. cloth in sl. torn d.j., both 4to (2)

£100-150

260* Chagall (Marc, 1887-1985). ‘Sarah and the Angels’ and ‘Balam’s Ass’, c.1955, two colour lithographs, each approx. 35 x 26cms (13.75 x 10.25ins), framed and glazed, together with, Dufy (Raoul, 1877-1953), French Village scene, colour lithograph, 40.5 x 42cms (16 x 16.5ins)

261* Chimot (Edouard Jules, 1880-1959). Femme nu allongé, aquatint etching printed in colour and finished by hand, with etched signature to lower left corner, 19 x 14cm (7.5 x 5.5ins), framed and glazed

(3)

(1)

£100-150

101

£150-200

Lot 262 262* Clough (Prunella, 1919-1999). Shadow Play 12, 1993, etching with aquatint, signed and numbered 3/12, sheet size 42 x 34.5cm (16.5 x 12.75ins), framed and glazed (1)

£400-600

263* Daglish (Peter William, b.1930). Cote d’Or & Jug, a pair of monochrome linucuts, signed and titled in pencil, both marked as artist’s proofs, 31.6 x 45.3cm (12 1/2 x 17 7/8ins), framed and glazed (2)

£70-100

264* Davies (Ogwyn, 20th century). Capel Rhydygwin, Felinfach, 1992, mixed method print with watercolour and white bodycolour, signed and dated towards centre of lower margin, 25.5 x 39.5cm (10 x 15.5ins), framed and glazed (1)

£70-100

265* Erni (Hans, 1909-). Europa and the Bull, colour lithograph, printed in pale brown, cream, grey and black, signed and numbered 87/150, image size 49 x 60cm (19.25 x 23.5ins), framed and glazed (1)

£100-150

Lot 265

102

Lot 266

266* Fedden (Mary, 1915-). Shells and pebbles, 1971, lithograph, printed in light blue and black, by Curwen Press, or Waddington Galleries, signed and numbered 64/70, image size 54.5 x 74.5cm (21.5 x 29.5ins), framed and glazed (1)

ÂŁ300-400

267* Hicks (Nicola, 1960-). Cat, 1994, etching, signed, dated, titled, and numbered 3/50, sheet size 38 x 28.5cm (15 x 11.25ins), framed and glazed with Flowers Graphics label to verso (1)

ÂŁ200-300

Lot 267

103

268* Hockney (David, 1937-). Zeichnungen 1954-1994, a drawing retrospective, Hamburger Kunsthalle, 1995, colour reproduction poster, boldly signed by the artist to lower right, 84 x 59cm (33 x 23.25ins), framed and glazed (1)

£200-300

269* Jacklin (Bill, 1943-). Table top with lemons, colour lithograph, signed, titled, dated ‘82, and numbered 7/60, sheet size 71 x 87cm (28 x 34.25ins), framed and glazed (1)

£150-200

Lot 268

Lot 269

104

270* Kokoschka (Oskar, 1886-1980). Golda Meir, published for The Jerusalem Foundation by Marlborough Graphics/Weidenfeld & Nicolson, 1973, lithograph, printed in light brown on hand-made paper, signed in pencil, and numbered 4/150, approx. 650 x 500mm, contained in orig. pubs. cardboard tube and box (1)

273 Miro (Joan, 1893-1983). Joan Miro Lithografo I-II, Barcelona, Ediciones Poligrafa, 1972/75, twenty-two orig. col. lithographs by Miro, num. colour illusts. throughout, both orig. cloth in d.j.s (with original colour lithograph design to upper cover of each vol. by Miro), with glassine overwrappers, very sl. rubbed to extremities, with stain to head of spine of first vol., 4to (330 x 260mm)

£100-150

(2)

£500-700

271 Kokoschka (Oskar, 1886-1980). The Flute Player, & Nude, 1948, two lithographs, each signed in pencil, [contained in Oskar Kokoschka, ed. James S. Plaut, 1948], 24.5 x 18.5cm (9.75 x 7.25ins), orig. cloth, rubbed and marked, ex-library copy, with stamps to endpapers and title verso, small 4to (1)

£200-300

272* La Dell (Edwin, 1914-1970). Clifton College, colour lithograph, signed, titled, and numbered 13/100, 41 x 51.5cm (16 x 20 1/4ins), together with Armfield (Diana M.), St. Marks’s Square, Venice, lithograph, signed and numbered 78/100 in pencil, 22 x 16cm (8 3/4 x 6 1/4ins), framed and glazed (2)

£70-100

274* Moore (Henry, 1898-1986). Untitled, 1973, b&w etching, signed and dated, and numbered 16/75, plate size 15 x 15cm (6 x 6ins), framed and glazed (1)

105

£300-500

Lot 277

Lot 278

106

275* Mynott (Derek, 1926-1994). The Thames Embankment with Houses of Parliament, colour lithograph, signed and numbered 213/250, sheet size 56 x 68cm (22 x 26.75ins), framed and glazed (1)

279* Piper (John, 1903-1992). Travel Notes: Devil’s Bridge Waterfalls, 1967, colour screenprint, printed by Kelpra Studio, pub. Marlborough Fine Art, 1967, signed in pencil, and numbered 10/70, image size 747 x 509mm (29.5 x 20ins), sheet size 775 x 575mm (30.5 x 22.5ins), framed and glazed

£70-100

Levinson 179. (1)

276* Paolozzi (Eduardo, 1924-2005). Theory of Relativity, 1967, colour screen print, pub. Editions Alecto, signed and numbered 74/75, the full sheet in good condition, 101 x 68cm (39.75 x 26.75ins), framed and glazed (1)

280* Piper (John, 1903-1992). Chateau de Taillebourg, 1958, colour lithograph, printed by Harley Brothers, pub. Curt Valentin Gallery, 1958, signed in pencil, and numbered 70/70, image size 440 x 575mm (17.25 x 22.75ins), sheet size 530 x 675mm (21 x 26.75ins), framed and glazed, with original Zwemmer Gallery label to verso

£200-300

277* Pasmore (Victor, 1908-1998). Linear Motif 5, 1975, etching and sepia aquatint, signed, dated, and numbered XXIII/XXV, plate size 25 x 37.5cm (9.75 x 14.75ins), framed and glazed (1)

£300-400

Levinson 111. (1)

£300-500

£400-600

278* Pasmore (Victor, 1908-1998). Linear Symphony, 1977, etching with aquatint, signed, dated, and numbered 16/60, plate size 45 x 65cm (17.75 x 25.5ins), framed and glazed (1)

£400-600

Lot 279

Lot 280

107

281* Posters. Six masters of the Poster of the Eighteen-Nineties, Jules Cheret, H. De Toulouse-Lautrec, Dudley Hardy, Theophile Steinlen, J. & W. Beggarstaff (James Pryde & William Nicholson) and Louis Anquetin, pub. The Sunday Times, six lithographs, blind stamped and numbered 1949/2000, each approx. 67 x 46cms (26.5 x 18ins), original paper wrappers, together with, Various Artists, Kunstplakate Affiches Artistiques, Art Posters, Kunstplakate fur die Spiele der XX Olympiade, Munchen 1972, twenty-eight colour printed posters, each approx. 102 x 63cms (40 x24.75ins), original printed cloth folio with linen ties (2)

£150-200

282* Posters. A collection of ten posters by European artists, including Heimrad Prem, Helmut Sturm, Gisela Schinzel, Gunter Fruhtrunk, Herbert Schneider, etc., 1971, ten giclee prints, each signed by artist and numbered 144/150, each approx. 59 x 41cms (23.25 x 16ins) (10)

£100-150

283* Rothenstein (Michael, 1908-1994). Rush, Rush, colour screenprint, signed and numbered VI/XXV, 48 x 65cm (19 x 25.5ins) mount aperture, framed and glazed (1)

Lot 283

£150-200

284* Trevelyan (Julian, 1910-1988). LK927, colour etching, signed, titled and numbered 10/150, pubs. blindstamp to lower right, plate size 35 x 47.5cm (13.75 x 18.75ins), framed and glazed (1)

£300-400

Lot 284

108

Lot 285 285* Trevelyan (Julian, 1910-1988). Birds, etching with aquatint, signed, titled and numbered 27/75, plate size 22 x 47.2cm (8.6 x 18.5ins), framed and glazed (1)

286* Trevelyan (Julian, 1910-1988). Flood Tide, etching with aquatint, heightened with blue bodycolour, signed, titled and numbered 16/50, plate size 34.5 x 47.7cm (13.6 x 18.75ins), sheet size 56 x 69cm (22 x 27ins), framed and glazed

ÂŁ300-400

(1)

Lot 286

109

ÂŁ200-300

Lot 287 287* Underwood (Leon, 1890-1975). Cupid in the Park, brush lithograph in colours, signed, dated ‘44, titled and numbered 3/25, image size 45.5 x 61cm (18 x 24ins), framed and glazed, with label of the Rowley Gallery, London to verso (1)

289* Williams (Kyffin, 1918-2006). A collection of fourteen Christmas cards from Kyffin Williams, each with colour reproduction of a drawing by the artist to front cover, including sheepdogs, landscapes, children’s heads, horses, shepherds, etc., each inscribed within ‘Happy Christmas, Kyffin’, 22 x 18cm (8.5 x 7ins), and similar, contained in modern plastic display album

£200-300

288* Various artists. A Melinex and foil stamping promotional booklet, pub. ICI Plastics Division, c. 1972, introductory printed booklet, and seven original foil-stamped colour prints on melinex, by Jean-Michel Folon, Dieter Rot, Pieter Brattinga, Norman Ives, Enzo Mari, Alan Fletcher and Armin Hofmann, five with printed wrapper, 24.7 x 24.7cm (9.75 x 9.75ins), all loosely contained, with orig. letter from the ICI Publicity Department, dated 11th May 1972, in cardboard packaging, together with Miro (Joan, 1893-1983), Figure, colour lithograph, for Ediciones Poligrafa at Redfern Gallery, London exhibition, December 1979 - January 1980, 25 x 19cm (9.75 x 7.5ins), plus a signed colour screenprint by Bruce McLean, numbered 674/700, 27 x 19.5cm (10.5 x 7.75ins), and a Michael Rothenstein monochrome screenprint entitled A Last Salute to the Ghost of Darling Marilyn, 29.5 x 21cm (11.5 x 8.25ins) (4)

(14)

£100-150

110

£100-150

290* World Wildlife Fund. The World Wildlife Fund Twenty-Fifth Anniversary Portfolio, pub. Camberwell Press, [1986], title, preface leaf, signed by David Attenborough, and single leaf of artistsâ&#x20AC;&#x2122; biographies and twelve (of twenty) offset lithograph prints only, each signed and numbered 40/50 by the artist, mostly printed in colour, sheet size 59 x 41.5cm (23.25 x 16.25ins), loosely contained in orig. clear perspex box Limited edition of fifty copies. The artists included are Elisabeth Frink, Peter Blake, Rory Matthews, Tom Phillips, Elizabeth Blackadder, David Price, Liz Butler, John Lawrence, Amanda Wood, Eileen Hogan, Alan Cox, and Justin Hindley. (1) ÂŁ100-150

111

SIGNED LIMITED EDITION PRINTS BY BERYL COOK & ROLF HARRIS

291* Cook (Beryl, 1926-2008). Clubbing in the Rain, lithograph printed in colours, pub. Alexander Gallery, signed in pencil, and numbered 316/650, image size 50.5 x 36cm (20 x 14.25ins), gilt frame, glazed (1)

ÂŁ400-600

112

292* Cook (Beryl, 1926-2008). ‘Cruising’, colour screenprint, colour screenprint printed in colours, signed, titled and numbered 245/395, image size 48 x 49cm (19 x 19.25ins), mounted

294* Cook (Beryl, 1926-2008). Twins, original colour print, signed, titled and numbered 282/300 in pencil, image size 60.5 x 60.5cm, sheet size 79 x 68cm (31 x 26 3/4ins), mounted

(1)

£400-600

£300-500

293* Cook (Beryl, 1926-2008). Nathan or Adam & Eve, original colour print, signed and numbered 10/60 in pencil, marked artists proof, image size 81 x 64cm (32 x 25 1/4ins), sheet size 92 x 70cm (36 x 27 1/2ins), mounted

295* Cook (Beryl, 1926-2008). Bird in the Hand, original colour print, signed and numbered 34/60, marked artist’s proof, image size 53.5 x 65cm (21 x 15 1/2ins), sheet size 82 x 60.5cm (32 1/4 x 23 3/4ins), mounted

(1)

£300-500

113

£300-500

298* Cook (Beryl, 1926-2008). Girls Night Out, original colour print, signed, titled and numbered 217/350 in pencil, image size 60.5 x 55cm (23 3/4 x 21 5/8ins), framed and glazed

296* Cook (Beryl, 1926-2008). Lady of Marseilles, original colour print, signed titled and numbered 134/395 in pencil, image size 51 x 43.5cm (20 x 17 1/8ins), framed and glazed (1)

(1)

£300-500

£300-400

297* Cook (Beryl, 1926-2008). Dining in Paris, original colour print, signed and numbered 557/650, image size 45.5 x 41cm (17 7/8 x 16 1/8ins), framed and glazed

299* Cook (Beryl, 1926-2008). Lingerie Shop, original colour print, signed and numbered 92/650 in pencil, image size 46 x 41cm (18 x 16ins), framed and glazed

(1)

£250-350

114

£250-350

302* Cook (Beryl, 1926-2008). A Full House, original colour print, signed and numbered 90/650 in pencil, image size 40.5 x 45.5cm (16 x 17 7/8ins), mounted (1)

£250-350

300* Cook (Beryl, 1926-2008). The Birthday Cake, original colour print, signed and numbered 274/650, image size 50.5 x 37cm (19 7/8 x 14 1/2ins), mounted (1)

£250-350

303* Cook (Beryl, 1926-2008). Tango Busking, original colour print, signed, titled and numbered 146/395, image 48 x 49cm (19 x 19 1/4ins), framed and glazed (1)

301* Cook (Beryl, 1926-2008). In the Snug, original colour print, titled and numbered 262/650, image size 40.5 x 43cm (16 x 17ins), mounted (1)

£250-350

115

£300-400

304* Cook (Beryl, 1926-2008). Tea in the Garden, original colour print, signed and numbered 242/650, 42 x 39cm (16 1/2 x 15 1/4ins), framed and glazed

305* Cook (Beryl, 1926-2008). Sabotage, original colour print, signed, titled and numbered 78/595 in pencil, image size 31 x 31cm (12 x 12ins), mounted

(1)

ÂŁ250-350

ÂŁ300-400

306* Cook (Beryl, 1926-2008). Line Dancing, colour print, signed, titled, and numbered 57/395, image size 45.7 x 69.8cm (18 x 27.5ins), sheet size 65 x 89cm (25.5 x 35ins), mounted (1)

Lot 306

116

ÂŁ300-500

307* Harris (Rolf 1920 -). The Boxer, 2003, colour giclee print, signed and numbered 495/695, image size 30.5 x 30.5cms (12 x 12ins), mounted, framed and glazed with Washington Green certificate of authenticity attached on verso (1)

£100-150

308* Harris (Rolf 1920 -). All You Need is Love, 2003, colour giclee print, signed and numbered 17/695, 25 x 40cms (10 x 15.75ins), mounted, framed and glazed (1)

£100-150

309* Harris (Rolf 1920 -). As Time Goes By, 2003, colour giclee print, signed and numbered 495/695, 42 x 63.5cms (16.5 x 25ins), mounted, framed and glazed with Washington Green certificate of authenticity attached to verso (1)

£100-150

310* Harris (Rolf 1920 -). Snow scene, colour giclee print, signed and numbered 133/695, 34 x 50cms (13.5 x 19.75ins), mounted, framed and glazed (1)

Lot 307

Lot 309

117

£100-150

MODERN & CONTEMPORARY DRAWINGS

Lot 311

311* Bosshard (Rodolphe Theophile, 1889-1960). Reclining nude, 1929, charcoal on card, signed with initials, and dated ‘29, 22.5 x 29.5cm (8.75 x 11.6ins) (1)

£1000-1500

312* Bratby (Jean, b.1927). Self portrait, crayon on paper, inscribed by Bratby, dated 1962 to verso, 21 x 13.5cm (8 1/4 x 5 1/4ins), framed and glazed (1)

£70-100

313* Charlton (George, 1899-1979). A collection of twenty-five drawings and sketches, mostly pen & ink on paper, including some black or red charcoal, pencil, etc., including nude and figure studies, landscapes, harbour scenes and preparatory sketches (for Brighton Beach, a strike, etc.), including one on the verso of a Redfern Gallery invitation card for 1928 (stained), sheet size 37 x 30cm (12.5 x 11.75ins), and smaller (25)

Lot 313

118

£200-300

314* French School. Femme nue, fine drawing in red chalk on paper, late 19th or early 20th c., in the manner of Aristide Maillol (1861-1944), 32.5 x 18cm (12.75 x 7ins), laid down on card (1)

ÂŁ1000-1500

119

Lot 315

315* Hoare (Tessanna, 20th c.). Achill Island, Ireland, 1992, black charcoal on paper, signed and dated August 1992 lower right, 63 x 89cm (24.75 x 35ins), framed and glazed Purchased by the current owner at the Royal Academy Summer Show circa 1990. (1) £200-300

316* Monnington (Sir Thomas, 1902-1976). Study of olive leaves and branches for The Allegory, pencil on tracing paper, 53.5 x 41cm (21 x 16ins), framed and glazed, with Paul Liss gallery label to verso Provenance: The artist’s estate. (1)

£150-200

Lot 316

120

317* Monnington (Sir Thomas, 1902-1976). Study of olive leaves and branches for The Allegory, brown ink and pencil on tracing paper, 46 x 34cm (18 x 13.5ins), framed and glazed, with Paul Liss gallery label to verso Provenance: The artist’s estate. (1)

318* Nelson (Harold, 1871-1948). “Memories”, oval pen & ink drawing, of a Pre-Raphaelitesque lady with flowing locks, sitting amongst tree roots beside a stream, with initial ‘N’ in lower righthand corner, trimmed to image and oval mounted, framed and glazed, with old ms. title label on verso, 201 x 125mm (8 x 5ins)

£150-200

Harold Nelson was an artist, illustrator, designer of bookplates, etcher, and lecturer. He studied at both the Lambeth School of Art and the Central School of Arts and Design. Nelson was strongly influenced by Albrecht Durer and William Morris, and was prolific as a ‘black and white artist’ specialising in medieval illustrations in a Pre-Raphaelite, Arts and Crafts and Art Nouveau style. (1) £300-500

121

Lot 319

122

319* Searle (Ronald, 1920- ). “Blood Sports at St. Trinian’s”, 1954, pen & ink drawing, of two St. Trinian’s girls brandishing hockey sticks, with the school in the background, signed in ink to lower lefthand corner, and dated beneath in pencil, 240 x 215mm (9.5 x 8.5.ins), mounted, framed and glazed, together with a copy of The St. Trinian’s Story, 1st ed., 1959, orig. cloth in torn and price-clipped d.j., in which a version of this work appears (p.39) Influential English artist and cartoonist Ronald Searle is best known as the creator of St Trinian’s School, the subject of several books and seven fulllength films. He was born in Cambridge, started drawing at the age of five, and left school at the age of fourteen, whereupon he took night classes at the Cambridge School of Art. At the age of fifteen he became the resident cartoonist on the Cambridge Daily News, and at sixteen he also began contributing to the student magazine, The Granta. In September 1938, at the age of eighteen, he was granted a year’s scholarship by the local Education Committee which allowed him to study full-time at the School of Art, although he continued to work for the CDN, as it was known locally. In 1939 Searle was called up into the army, and after a few weeks training was stationed in Norfolk, and then Kirkcudbright in Scotland. It was here that he made a number of visits to the home of the Johnston family, and where he one day made a drawing to please the two schoolgirl daughters. Cécilé and Pat attended a school called St. Trinnean’s in Edinburgh, where the emphasis was on self- rather than school-imposed discipline. Searle’s drawing depicted a number of schoolgirls gathered round a noticeboard, bare flesh showing between the tops of their stockings and their gym slips. The family was delighted with Searle’s drawing, and he was encouraged to include it with a small number of cartoons he was submitting to a monthly magazine called Lilliput. Lilliput accepted the cartoon, and it was published in October 1941. Searle, however, had been posted abroad before publication, arriving in Singapore in January 1942. It wasn’t until he returned to England in 1945, after a harrowing period as a prisoner of war, that Searle’s second and third St. Trinian’s cartoons were published - one of which had been drawn in Changi Gaol - to widespread acclaim. In the five years which separated the first and second drawings, the content had undergone a fundamental change, and taken on the now-familiar flavour of violence; it was, perhaps, inevitable that the cruelty of war which Searle had experienced should permeate his work. (1) £5000-7000

Lot 320

320* Watts (Arthur G., 1883-1935). Oops!, pen and ink humorous drawing, laid on contemporary card, signed in lower left corner, 40 x 32cms (15.75 x 12.5ins) (1)

£150-200

321* Webb (Clifford Cyril, 1895-1972). Five original illustrations, c. 1950’s gouache on paper, mostly depicting scenes from More Animals From Everywhere (1959), the largest 23.5 x 20.5cm (9.25 x 8ins), one or two small rubbed or stained areas, mounted (5)

£200-300

Lot 321

123

322* Wood (Christopher, 19011930). Nude with arms raised, c. 1921, red chalk on paper, 41 x 23cm (16 x 9ins), framed and glazed Provenance: Formerly in the collection of the artistâ&#x20AC;&#x2122;s sister. Purchased by the current owner from Stanhope Shelton Pictures of Monks Eleigh, Suffolk, in 1979. (1) ÂŁ600-900

124

MODERN & CONTEMPORARY WATERCOLOURS

323* Arbuthnot (Malcolm, 1874-1967). Landscape with path leading to a house, Jersey, watercolour, signed lower right, 28 x 38cm (11 x 15ins), framed and glazed (1)

£200-300

Lot 323 324* Arbuthnot (Malcolm, 1874-1967). Landscape with windswept trees, Jersey, watercolour, signed lower left, 28 x 38cm (11 x 15ins), framed and glazed (1)

£200-300

Lot 324

125

325* Arbuthnot (Malcolm, 1874-1967). Landscape with buildings and paths leading to a beach, watercolour, with pencil and black charcoal outline, signed lower right (indistinct), 27.5 x 37.5cm (10.75 x 14.75ins), framed and glazed (1)

ÂŁ200-300

Lot 325

326* Arbuthnot (Malcolm, 1874-1967). Landscape with windswept tree and tarpaulin, Jersey, watercolour, apparently unsigned, 28.5 x 38.5cm (11.25 x 16.25ins), framed and glazed (1)

Lot 326

126

ÂŁ200-300

329* Blathwayt (Benedict, 1951-). Pulteney Bridge, Bath, pen, ink & watercolour, signed with initials JB and dated 1980, 36.5 x 47.5cm (14.5 x 18.75ins), framed and glazed

327* Arbuthnot (Malcolm, 1874-1967). Rocks in the Sea, watercolour and pencil, signed lower right, 14.5 x 20.3cm (5.75 x 8ins), framed and glazed, together with another watercolour landscape by the same artist, signed lower right, 17.5 x 23cm (6.75 x 9ins) (2)

Provenance: From the Terry Brodie-Smith collection, sold by Aitken Dott, Edinburgh. (1) £150-200

£200-300

328* Blampied (Edmund, 1886-1966). Hunting scene, pen and ink sketch with traces of pencil, unsigned, 28.5 x 23.5cm (11 1/4 x 9 1/4ins), framed and glazed (1)

£150-200

330* Bream (Anthony, 1943-). Standing nude, black charcoal on paper, signed lower right, 54.5 x 37cm (21.5 x 14.5ins), framed and glazed, with Frost & Reed label to verso (1)

£150-200

331* Chalmers (Elizabeth 20th century). Kingham, two watercolours, signed and titled by artist, each approx. 21.5 x 46cm (8.5 x 18ins), mounted, framed and glazed. together with, Church Cottage, Cold Aston, watercolour, signed and titled by artist, 25 x 35cm (9.75 x 13.75ins), mounted, framed and glazed, with, Ayers (L. A., 20th century), Winter Sunshine, watercolour, signed by artist, 19.5 x 30.5cm (7.75 x 12ins), mounted, framed and glazed (4)

Lot 329

127

£100-150

333* Frederick (Waveney, 1921-). Downland landscape, coloured pastels on paper, signed with monogram lower left, 42 x 57.5cm (16.5 x 22.5ins), framed and glazed Waveney Frederick studied under Cedric Morris, and specialised in works in pastel. He exhibited at the Pastel Society, the RBSA and elsewhere. Provenance: Purchased by the current owner from the Hambledon Gallery circa 1990. (1) £100-150

332* Forster (Howard, 20th c.). October Time, pen, ink and watercolour, signed lower right, 24.5 x 33.5cm (9.75 x 13.25ins), framed and glazed, together with Davies (John A.), View on The Thames, watercolour, signed and dated ‘67 lower right, 34 x 48cm (13.5 x 19ins), framed and glazed (2)

£100-150

334* Freeth (Hubert Andrew, 1912-1986). Les Sables Blancs Lesconil, Brittany, watercolour, signed lower right, 27.5 x 43cm (10 3/4 x 17ins), framed and glazed (1)

Lot 333

128

£50-80

335* Hammond (Arthur Henry Knighton, 1875-1970). Procession entering the church, watercolour and bodycolour on paper, 26 x 32cm (10 x 12.75ins), laid down on card (1)

£150-200

337* Hilder (Rowland, OBE, PPRI, RSMA, 1905-1993). Windmill by a quayside, with a Fokke Friendship flying overhead, watercolour, faded signature to lower right margin,, 51 x 35cms (20 x 13.75ins), mounted, framed and glazed (1)

336* Haybrook (Rudolph, 1898-). Abdul-al-Hassan, pen, ink & watercolour, signed, 18.5 x 15.5cm (7.25 x 6ins), framed and glazed, with orig. label of Mucklows’ Gallery, Leicester Square, to verso (1)

£100-150

129

£200-300

Lot 338

338* Hilder (Rowland, 1905-1993). Downland landscape with houses nestled amongst trees, watercolour with pen & ink, signed lower right, 36 x 54cm (14.25 x 21.25ins), framed and glazed (1)

ÂŁ250-350

339* Hill (Adrian, 1895/96-1977). Trees, pen, ink and watercolour, signed in pencil lower right, 69 x 47.5cm (27 x 18.75ins), framed and glazed (1)

ÂŁ100-150

Lot 339

130

342* Innes (William Henry, 1905-1999). Arriving at The Theatre, 1929, coloured pastels on paper, signed and dated, 295 x 345mm (11.5 x 13.5ins), art-deco style gilt and marble-effect frame, glazed, with gallery label of Charles Spencer, London to verso (1)

£100-150

340* Holiday (Gilbert, 1879-1937). The Flower Seller, coloured chalks on paper, signed to right margin, some paper discolouration, 50 x 35cm (19.75 x 14ins), framed and glazed (1)

£70-100

343* Knight (Dame Laura, 1877-1970, Style of). Ballerina, pencil and watercolour on paper, 29 x 40cm (11 1/2 x 15 3/4ins), framed and glazed (1)

£200-300

344* Knight (Dame Laura, 1877-1970). Ringmaster and Clowns, pencil drawing, signed, 217 x 150mm (8.5 x 6ins), mounted, framed and glazed (1)

341* Hughes (Donald, 1881-1970). Race Meeting, coloured chalk on paper, unsigned, 21.5 x 28cm (8.5 x 11ins), mounted, together with Flight, watercolour on paper, signed to lower right corner, 26.2 x 36.4cm (10.25 x 14.25ins), mounted, with Country Lane, watercolour on paper (laid on board), signed to lower right corner, 35.8 x 47cm (14 x 18.75ins), plus seven others by Donald Hughes Donald Hughes was a member of the ‘Bristol Savages’ art society and President in 1934, 1944, 1954 and 1963. (10) £150-200

131

£250-350

Lot 345

Lot 346

132

345* Littleford (Robert, 1940-). ‘Panoramic Beach Scene with Pier’, watercolour and coloured inks, signed lower right, 32 x 52.5cm (12.5 x 20.75ins), framed and glazed

347* McLaren (Sally, 1936-). Undulations, 1991, watercolour on paper, signed and dated lower right, 51.5 x 64cm (20.25 x 25.25ins), framed and glazed, with Oliver Swann Gallery’s label to verso

(1)

£400-600

346* McEwen (Rory, 1932-1982). Mushroom, 1972, watercolour on vellum, signed and dated Feb 23-26, 1972, and additionallyinscribed ‘For Marina with kind regards - 20/7/74’, 175 x 240mm (7 x 9.5ins), unexamined out of frame, framed and glazed, with exhibition label to verso Botanical Paintings by Rory McEwen held at the Royal Botanic Garden, Edinburgh, and subsequently the Aberdeen Art Gallery and Serpentine Gallery, London in 1988-89 (1)

348 No lot.

£800-1200

Lot 347

133

£200-300

349* Pierse (Simon, 20th/21st c.). Earth Witness, 1997, watercolour, 49.5 x 56cm (19.5 x 22ins), framed and glazed, with printed label to verso (1)

£100-150

351* Seago (Edward, 1910-1974). An Irish Clown, 1937, sketch in pen & coloured ink, signed and dated January 1937, drawn on the front endpaper of Sons of Sawdust, With Paddy O’Flynn’s Circus in Western Ireland, written and illustrated by Edward Seago, reprinted, 1935, with numerous b&w plates and illusts., some foxing to prelims., original cloth, a little rubbed, 8vo, sheet size approx. 215 x 135mm (8.5 x 5.25ins) (1)

350* Rainbird (Victor Noble, 1888-1936). Seaweed gatherers, watercolour on paper, signed lower left, 29 x 23cm (11 1/2 x 9ins), framed and glazed (1)

£100-150

134

£300-500

353* Stockton (Zenobia, 20th c.). Dunes on Sullivan’s Island, South Carolina, watercolour, signed, 340 x 470mm (13.5 x 18.5ins), framed and glazed, with label of Laurence Oxley Gallery to verso, together with four other similar watercolour views in South Carolina by the same artist, each signed, 345 x 480mm (13.5 x 19ins), and sl. smaller, all framed and glazed

352* Stamp (Edward, 20th-c.). Passenham Mill, near Stoney Stratford, Buckinghamshire, watercolour and gouache, signed and dated 1981 lower right, 36 x 54cm (14.25 x 21.25ins), framed & glazed (1)

£100-150

Zenobia Stockton is a contemporary American artist of the American South. (5) £150-200

354* Vale (Sydney, 20th c.). Port of London, with Power Station, early evening, watercolour, signed to lower left margin, 32.5 x 49.5cm (12.75 x 19.5ins), framed and glazed (1)

Lot 354

135

£150-200

Lot 355 355* Wesson (Edward, 1910-1983). Near Guildford, Surrey, watercolour, signed in lower left corner, 30 x 46cms (12 x 18ins), mounted, framed and glazed

356* Wesson (Edward, 1910-1983). Portland, watercolour, signed in lower right corner, 31 x 46cms (12 x 18ins), mounted, framed and glazed

(1)

ÂŁ300-500

Lot 356

136

ÂŁ300-500

SCULPTURE

357* Davies (Ogwyn, 20th century). Icthus, 1991, carved relief sculpture, 12 x 13.5cm (4.75 x 5.25ins), framed, with signature, title and dedication to verso (1)

359* Merchant (William Moelwyn, 1913-1997). ‘Torso’, n.d., pink alabaster on alabaster plinth, initials mm to plinth, height 23cm (9ins) Merchant was an academic, novelist, sculptor, poet and Anglican priest. Besides his work as a sculptor, he is best known as Professor of English Literature at Exeter, Canon of Salisbury Cathedral and had many connections with artists including Barbara Hepworth, Ted Hughes, et al. (1) £150-200

£150-200

358* Hooker (Charlie, 20th c.). Shooting stars, 1996, mixed media including a book with two meteor-shaped piercings, two mixed media meteor stars to be placed on the slate base in front of the standing book, base signed and dated in chalk by the artist and with Contemporary Art Society label, approx. 30 x 30 x 30cm (12 x 12 x 12ins), preserved on a white wooden base with a perspex cube lid The book is titled ‘The Golden Picture Book of our Sun and the Worlds Around it’. Originally glued along the lower book edge, the adhesive has now broken but the book stands open perfectly well. (1) £100-150

360* Merchant (William Moelwyn, 1913-1997). ‘Torso II’, n.d., bronze on black plinth, signed and numbered paper label to base 3/5, height 21.5cm (8.5ins) (1)

137

£100-150

364* Tapley (Peter, 20th c.). Abstract sculpture, c. 1970s, stained and carved wood, height 50cm (20ins), artist’s label, together with a second abstract sculpture by Tapley, stained wood and brass, c. 1970s, height 24cm (9.5ins) Peter G. Tapley, a former aircraft engineer in Derby before commencing training for a career in art. His abstract sculptures in wood and metal show influences of his previous experiences in a technological environment. His sculptures are held in private collections and those of the West Wales Arts Association and Trinity College, Carmarthen. (2) £150-200

361* Merchant (William Moelwyn, 1913-1997). ‘Elruria II’, n.d., bronze on alabaster plinth, scratch signed, titled and numbered on base of plinth, 2/5, height 14cm (5.5ins) (1)

£100-150

362* Nude. Naked male nude, 1944, carved wood, full length figure in an athletic position, some restoration, title and date to plinth, ‘Laho, 1944’, height 43cm (17ins) (1)

£100-150

363* Sciola (Pinuccio, 1942-). Two vulvic forms, c. 1990, both stone carved basalt, lengths approx. 23 & 12cm (9ins and 5ins), together with a folder of books, exhibition catalogues and articles relating to the artist, mostly in Italian Sciola was born in San Sperate, Sardinia. Much of his civil architecture is megalithic in scope and intent with archaeological and geological resonances. He is well travelled and he has exhibited at the Venice Biennale (1976), at the Besana in Milan (1984) and his works are held in numerous European art museums and private collections. He has never exhibited in the UK. (-) £150-200

365* Tapley (Peter, 20th c.). Abstract sculpture, c. 1970s, stained wood and white-painted wood, height 105cm (41.5ins), artist’s label to base (1)

138

£100-150

MODERN & CONTEMPORARY PAINTINGS

Lot 366

366* Allinson (Adrian Paul, 1890-1959). Harbour at Rangoon, Burma, signed and dated 1947, 24.5 x 34.2cm (9 5/8 x 13 1/2ins), framed and glazed (1)

£200-300

367* Arbuthnot (Malcolm, 1874-1967). Landscape with rocks and wheelbarrow, Jersey, oil on canvas, signed lower left, 46 x 35.5cm (18 x 14ins), framed (1)

£300-500

Lot 367

139

Lot 368

368* Armour (Mary Nicol Neil, 1902-2000). A Royal Marine and four sailors carousing on shore leave, with a sailing ship in the background, oil on artistâ&#x20AC;&#x2122;s board, signed and indistinctly dated, 90 x 120cm (35.5 x 47.25ins) Apparently one of a pair of murals painted for Rosyth docks, Dunfermline, Fife. Mary Nicol Neill Armour studied at Glasgow School of Art, where her tutor was Maurice Greiffenhagen. Her reputation grew during the 1930s, at which time she exhibited at the Royal Scottish Academy (winning the Guthrie Prize in 1937), the Royal Scottish Society of Painters in Watercolour, and the Royal Glasgow Institute of the Fine Arts. She was elected an Associate of the Royal Scottish Acadmey in 1941, and later taught still life painting at Glasgow School of Art. (1) ÂŁ3000-5000

140

369* Askew (Victor, 1909-1974). Landscape with wooded lake, oil on canvas, signed lower right, 76 x 89cm (30 x 35ins) (1)

£150-200

Lot 369 370* Brundage (Margaret, 1900-1976). Nude with Veil, acrylic on Favor Ruhl board, signed lower right, 50.5 x 40.5cm (20 x 16ins) (1)

£2000-3000

Lot 370

141

371* Burliuk (David, 1882-1967, attrib.). American Country House on an Island, oil on board, unsigned, 28.5 x 38.5cm (11.25 x 15.25ins), framed, with typewritten label to verso ‘David Burliuk Long Island N.Y.’ (1)

£400-600

Lot 371 372* Church (Katherine, 1910-1999). Jug of Flowers in front of a window, 1987, oil on card, signed and dated lower right, additionally inscribed to reverse with title, 56.5 x 46cm (22.25 x 18ins), framed (1)

£400-600

373* Continental School. Italianate landscape with three priests walking, 1928, oil on canvas, signed with mongram HL, and dated lower left, 80 x 58cm (31.5 x 22.75ins), framed (1)

Lot 372

142

£100-200

374* Corbellini (Luigi (1901-1968)). Boat moored at quayside, oil on canvas (backed on board), signed to lower left corner, 36 x 48.5cm (14.25 x 19.25ins), framed (1)

£200-300

375* D’Erlanger (Robin, c. 1896-1934). Garden of Eden, 1929, gouache with pen & ink on paper, signed and dated lower right, 25.5 x 23cm (10 x 9ins), framed and glazed (1)

£300-400

Lot 375

376* D’Erlanger (Robin, c. 1896-1934). Illustration for The Arabian Nights, 1921, gouache on paper, signed and dated lower right, 41.5 x 41.5cm (16.25 x 16.25ins), framed and glazed (1)

£400-600

Lot 376

143

377* David (Allen, 1926-). The Black Desert, oil on board, 61 x 91.5cm (24 x 36ins), framed Allen David was born in India in 1926, and moved to Melbourne, Australia, where he spent his childhood and early life, and established the first gallery devoted to abstract art in Australia at 43 Dalgety Street, Melbourne. He has lived in London, Tel Aviv, and is now a resident of New York City, where he continues to paint and design sculptures and tapestries. (1) ÂŁ200-300

Lot 377

378* David (Allen, 1926-). Hot landscape, acrylic on paper, 35.5 x 48.5cm (14 x 19ins), framed and glazed, with a poster design for an exhibition of his work at the Greenwich Gallery, New York, pasted to verso, together with another smaller oil on board by the same artist, signed and dated June 1965, 29.5 x 39cm (11.5 x 15.25ins), framed (2)

Lot 378

144

ÂŁ150-200

Lot 379 379* Davies (Ogwyn, 20th century). Liverpool Wall (Yosser Hughes Gi’us a job), 1983, mixed media on panel, signed and dated upper left, 25.5 x 36.5cm (10 x 14.5ins), framed, additionally inscribed to reverse Welsh artist Ogwyn Davies, who was born in 1925 and lived in Tregaron, studied at Swansea School of Art, where his fellow students included Aneurin Jones, George Little, Peter Markey and Tom Nash. He is widely regarded as one of the most significant and distinguished artists in Wales. See Ogwyn Davies, A Retrospective, Aberystwyth, 1994. (1) £300-400

380* Davies (Ogwyn, 20th century). Gwyngoed mountain snow & ravens, 1992/93, watercolour, pencil & acrylic on panel, signed and dated lower right, 24.5 x 29cm (9.75 x 11.5ins), framed and glazed (1)

£300-400

Lot 380

145

381* Davies (Ogwyn, 20th century). Barbican Visit ‘97 (Homage to Hans Coper), 1997, acrylic and reinforced sand on panel, signed and dated upper right, 34 x 38cm (13.5 x 15ins), framed and glazed, and additionallyinscribed to verso (1)

£300-400

Lot 381 382* Davies (Ogwyn, 20th century). Long barn on the edge of Tregaron Bog, 2003, acrylic on card, signed and dated ‘03 lower left, 16.2 x 15.7cm (6.3 x 6.2ins), framed and glazed (1)

Lot 382

146

£200-300

383* Dyf (Marcel Dreyfus, 1899-1985). Le Moustoir, oil on canvas, signed lower right, 46 x 54.5cm (18 x 21.5ins), framed, with remains of gallery label to verso Marcel Dyf lived in Paris, but spent his childhood holidays in Normandy at Ault, Deauville and Trouville. He moved to Arles in 1922 where he kept a studio until the early years of the Second World War. He also took up residence from 1955 onwards in the old studio of the painter Maximilien Luce on the Avenue du Maine, Paris. After the war, he divided his time between Paris and Saint Paul-de-Vence. In 1955, the eminent London gallery Frost & Reed purchased a selection of his works, marking the beginning of a long and fruitful relationship between the gallery and artist. Following his marriage to Claudine Godat, 36 years his junior in 1956 the artist and his young wife made many visits to Brittany, and particularly the Golfe du Morbihan, where Dyf found inspiration for his landscape paintings. The present work depicts a summer scene at Le Moustoir near Carnac, Brittany. Provenance: From the estate of John Wodehouse, 4th Earl of Kimberley. (1) ÂŁ4000-6000

147

384* Evans (Handel, 1932-1999). Rome XV, from The Employees Monochrome Series No. 15, 1985, tempera on paper, signed and dated lower left, 25.5 x 35cm (10 x 13.75ins), framed and glazed The Welsh artist Handel Evans was born in Pontypridd in 1932 and studied at Cardiff College of Art from 1949 to 1954. He travelled extensively in the West Indies, America and Europe. His work is held in private and public collections in the USA, Great Britain, Germany and elsewhere, including the Ashmolean Museum, Oxford, and the National Gallery of Jamaica. See Handel Evans, Paintings and Drawings of Three Decades, Galerie Christel Fahrenhorst, 1989, for reproductions of other paintings in this series. (1) ÂŁ200-300

Lot 384

385* Evans (Handel, 1932-1999). The Fallen City, gouache on paper, 27.5 x 37cm (10.75 x 14.5ins), framed and glazed (1)

Lot 385

148

ÂŁ200-300

386* Farthing (Stephen, 1950-). Untitled (Brazil; Uruguay; Mexico), 1990, mixed media on card, 90 x 65cm (35.5 x 25.5ins), framed and glazed, with typewritten label to verso (1)

£150-200

387* Garland (Clive, 20th c.). Sono nel Vento, 1990, mixed media on paper, 33 x 41cm (13 x 16ins), framed and glazed, with Contemporary Art Society label to verso Clive Garland studied at Camberwell College of Art from 1969 to 1973, and Goldsmith’s College in 1974/75. He was awarded the Mark Rothko Fellowship in 1992. (1) £100-150

Lot 386

Lot 387

149

388* Gear (William, 1915-1997 ). Spring Structure, oil on canvas, signed and dated 1962 lower right, additionally signed, dated April â&#x20AC;&#x2DC;62, and titled to reverse, 101.5 x 72cm (40 x 28ins), framed A similar work entitled Feature in Landscape, dated 1960 is in the Tate Gallery collection. See John McEwen, William Gear (2003). (1) ÂŁ3000-5000

150

389* Gear (William, 1915-1997 ). Garden Structure, March 1979, acrylic on paper, signed and dated lower right, 72.5 x 54cm (28.5 x 21.25ins), framed and glazed, with artistâ&#x20AC;&#x2122;s handwritten label to verso (1)

ÂŁ2000-3000

151

390* German School. View of Kursthaus, c. 1930, oil on board, 51 x 38cm (20 x 15ins), framed (1)

£100-200

391* Ghilchik (David Louis, 1892-1974). The Embankment, London, with Scott’s Discovery, and Houses of Parliament beyond, oil on canvas, signed lower right, 50.5 x 76cm (20 x 30ins), framed (1)

Lot 390

Lot 391

152

£200-300

392* Gibbon (James, Exh. 1905-24). Swedish summerhouse, near Stockholm, oil on canvas, titled and dated 1911 on verso, 24.3 x 32cm (9 1/2 x 12 5/8ins) (1)

ÂŁ100-150

Lot 392 393* Glamour. Young woman admiring her shoes, c. 1950s, gouache on Whatman drawing board, with printed stamp of American Artist Inc., 67 West 44th St., New York, 49 x 36.5cm (19.25 x 14.5ins), framed and glazed This attractive work is reminiscent of the publicity artwork of Kurt Ard, who designed covers for the Saturday Evening Post, along with Norman Rockwell. This particular image may have been an advertisement design for a stockings manufacturer, such as Kayser Bondor. (1) ÂŁ1000-1500

Lot 393

153

394* Gregoriev (Nikolay Mikhailovich, 1880-1943). At the Beach, Maloyaroslavets, 1937, oil on canvas, signed lower left, additionally signed, titled and dated 1937 to reverse, 50 x 50cm (19.5 x 19.5ins), framed The Russian town of Maloyaroslavets is located on the River Luzha, South West of Moscow. (1) £300-500

Lot 394 395* Hiles (Bartram, 1872-1927). Street Scene, possibly Venice, watercolour and gouache on paper, signed, 37 x 26.5cm (14 1/2 x 10 1/2ins), framed and glazed (1)

£100-150

396* Hill (Robert, 20th c.). West Country Harbour, & Houses and Church, a pair of oils on board, the latter signed to upper left corner, 61 x 122cm (24 x 48ins) (2)

Lot 395

154

£300-400

Lot 398

397* Holland (George H. Buckingham, 1901-86). Portrait of a seated young lady in green dress, 1937, three-quarter length oil on canvas portrait, signed and dated to upper right corner, small tear to canvas at right edge, 91.5 x 60.5cm (36 x 24ins) (1)

£200-300

398* Hollywood. Portrait of a Hollywood actress, by Mold, c.1930s/40s, attractive head & shoulders pastel portrait on paper (possibly Ginger Rogers or Madge Evans), signed, 58 x 42.5cm (22.75 x 16.75ins), framed and glazed (1)

£150-200

399* Hulbert (Thelma, 1913-1995). Honesty and Window, 1980, oil on canvas, signed lower right, 107 x 91.5cm (42 x 36ins), framed, with Christopher Hull Gallery label to verso, additionally titled, dated and signed to verso Thelma Hulbert (1913-1995) was born in Bath, and studied at the Bath School of Art, before moving to London in 1934, where she met Victor Pasmore, William Coldstream and Claude Rogers. With them, she helped to run the Euston Road School of Drawing and Painting in the late 1930s, for which she acted as organising secretary. A retrospective of her work was held at the Whitechapel Art Gallery in 1962. (1) £200-300

Lot 399

155

400* Jagger (David, 1891-1958). Mountain road, Majorca, oil on panel, signed lower left, 32.5 x 40.5cm (12.75 x 16.25ins), period gilt frame, glazed, with handwritten title label to verso, priced at 75 guineas (1)

ÂŁ400-600

156

401* Jorde (Lars, 1865-1939). Winter landscape with houses nestled amongst fir trees, 1931, oil on board, signed and dated lower right, 42 x 49cm (16.5 x 19.25ins), framed (1)

ÂŁ500-800

157

402* Kay (Pamela, 1939-). The Lawn, River Test, Hampshire, oil on board, initialled lower left, 24.5 x 29.5cm (9 5/8 x 11 1/2ins), framed (1)

£100-150

406* Kogan-Shats (Mathew, 1911-1989). Trees on the estuary, oil on canvas, signed, 74 x 82cm (29 x 32 in), framed (1)

403* Kogan-Shats (Mathew, 1911-1989). Forest landscape, oil on canvas, signed, 62 x 78cm (24 1/2 x 30 3/4 in), framed

£70-100

407* Lenkiewicz (Robert Oscar, 1941-2002). Self Portrait, oil on cubed panel, 23 x 23cm (9 x 9ins)

Mathew Kogan-Shats (1911-1989) was born in the Vinnitsa region of Ukraine and studied at the Kiev State Art Insitute under Oleksii O. Shovkunenko (1884-1974). He exhibited at the All-Union Art Exhibition in Moscow in 1950 but won few plaudits owing to his Jewish heritage, gaining more regognition after Perestroika. He is known for preoducing lyrical impressionistic landscapes of his native Ukraine. (1) £150-200

Provenance: Previously sold as part of the Robert Lenkiewicz studio sale at Bearne’s, Exeter on 23rd October 2004, lot 249. (1) £2000-3000

404* Kogan-Shats (Mathew, 1911-1989). Two boys in a lakeside landscape, oil on canvas, signed, 67 x 98cm (26 1/2 x 34 1/2 in), framed (1)

£70-100

405* Kogan-Shats (Mathew, 1911-1989). Spring landscape, oil on canvas, signed, 68 x 90cm (27 x 35.5 in), framed (1)

408* Lloyd (Elizabeth Jane, 1928-1995). Poppies in a Jug, oil on canvas, 40.5 x 40.5cm (16 x 16ins), framed

£70-100

(1)

158

£150-200

Lot 407

159

Lot 409

Lot 410

160

409* Lloyd (Elizabeth Jane, 1928-1995). The Breakfast Tray, oil on canvas, signed with initials lower right, 70 x 90cm (27.5 x 35.5ins), framed (1)

£200-300

410* Macmiadhachain (Padraig, 1929-). Spanish Church, Ibiza, oil on board, signed lower left, inscribed with title to verso, 61 x 91.5cm (24 x 36ins) (1)

£500-800

Lot 411

411* Madyol (Jacques, 1871-1950). Barques au Soir, oil on board, signed lower right, titled and dated 1925 to verso, 24 x 34.5cm (9 1/2 x 13 1/2ins) (1)

£200-300

412* McIntyre (Donald, 1923-). Three Deck Chairs, oil on board, signed with initials lower right, 19 x 16cm (7.5 x 6.25ins), framed (1)

£500-700

Lot 412

161

413* McIntyre (Donald, 1923-). Rocky coastline with red boat, gouache and charcoal on paper, initialled lower right, 28 x 40.5cm (11 x 16ins), framed and glazed (1)

415* Ozanne (Ellen, New York, 20th century). Early autumn landscape, oil on board, signed, 19.7 x 25.2cm (7 3/4 x 9 7/8ins), framed

£600-800

(1)

416* Pearce (Faye, 20th c.). Spanish lady, 1944, oil on panel, signed and dated upper right, 30.5 x 24cm (12 x 9.5ins), framed

414* Miller (Anne, 20th c.). Nude woman facing away, oil on canvas, artist initials to lower right corner, 28 x 20cm (11 x 8ins), framed and glazed (1)

£100-150

(1)

£150-200

162

£100-150

417* Pirie (George, 18631946). Sheep resting on the moors, oil on canvas, signed lower left, 40.5 x 51cm (16 x 20ins), framed (1)

ÂŁ300-500

Lot 417 418* Poignant (Nancie, 1911). Le lac du Bourget, le soir (Savoie), oil on board, signed lower left, additionally signed and inscribed in pencil to verso, 32 x 39cm (12.5 x 15.25ins) (1)

ÂŁ200-300

Lot 418

163

419* Poignant (Nancie, 1911-). Lac de Montagne en Maurienne (Savoie), oil on board, signed lower left, title inscribed in pencil to verso, 33 x 44.5cm (13 x 17.5ins), framed (1)

ÂŁ200-300

Lot 419

420* Power (James P., exh. 1924-38). Cornish Farmhouse, oil on canvas, signed, 51 x 61.3cm (20 x 24ins), framed (1)

Lot 420

164

ÂŁ200-300

421* Serra (Nicholas de). Excavate, 1996/97, oil on canvas, signed, titled and dated to reverse, 86 x 86cm (34 x 34ins) This work was exhibited in the exhibition Three Painters: Three Languages, at the Rocket Gallery, 4 February-5 April 1997. Nicholas de Serra was born in 1968, and studied at Winchester School of Art from 1987 to 1990. His work has been widely exhibited from the mid1990s onwards, with a solo exhibition at the Rocket Gallery entitled Distortions in 1997, and another solo show entitled Touched by Time at Nagan Johnson Design, London and Bridport Art Centre, Dorset, 1999-2000. (1) ÂŁ300-500

Lot 421 422* Sheppard (Michael, 20th/21st c.). Looking to the Brissons, December 1998, oil on canvas, signed lower right, 76 x 86cm (30 x 34ins) Michael Sheppard was born in Yorkshire, and studied at Wakefield and Leeds Colleges of Art, as well as Nottingham University. He now lives in Cornwall, and is a member of the Penrith Society of Arts. (1) ÂŁ200-300

Lot 422

165

424* Stops (John, 1925-2002). Millennium Square, Bristol, 2001, oil on board, signed and dated lower left, 58.5 x 43cm (23 x 17ins), framed, together with Dapedium Politum, Lyme Regis, 1995, colour screenprint, signed, titled, dated, and marked A/P, image size 30.5 x 40.5cm (12 x 16ins), framed and glazed John Stops, painter and printmaker, studied at Northampton Art School, 1947-51, and Leeds College of Art, 1951-52. He became a member of the Royal West of England Academy in 1980, where a memorial exhibition of his work was held in 2003. (2) £150-200

423* Sidoli (Dawn, b.1933). Fishermen, Isle of Bute, oil on card, signed and dated 1991, 36 x 37cm (14 1/8 x 14 1/2ins), framed and glazed Dawn Sidoli trained at Northampton School of Art and is a member of the Royal West of England Academy and the New English Art Club. (1) £100-150

425* Stops (John, 1925-2002). Boswedden Road, St. Just, I, oil on canvas, signed and dated lower right, 55 x 46cm (22 x 18ins), framed (1)

£150-200

426* Stops (John, 1925-2002). Road near car park, St. Just, 1999, oil on board, signed and dated lower right, 40 x 61cm (15.75 x 24ins), framed (1)

Lot 424 166

£150-200

428* Stops (John, 1925-2002). Road in Vori, Crete, 2000, oil on board, signed and dated lower left, 61 x 51cm (24 x 20ins), framed, with artist’s printed address label to verso (1)

£200-300

427* Stops (John, 1925-2002). Cornish harbour wall, 1991, oil on board, signed and dated lower right, 61 x 51cm (24 x 20ins), framed, with artist’s printed address label to verso (1)

£200-300

429* Van Biesbroeck (Jules Evarist, 1848-1920). Italian landscape with sunlit church and buildings, oil on board, signed, 32 x 22cm, framed Original exhibition label to verso of frame. (1)

Lot 428

167

£100-150

430* Vasey (Gladys, 1889-1981). The Black Gloves (portrait of the artistâ&#x20AC;&#x2122;s daughter Madeleine), 1953, oil on canvas, signed lower right, 91 x 61cm (36 x 24ins), framed Gladys Vasey (1889-1981) pursued a long and active career as a portrait artist in the tradition of John Singer Sargent, William Orpen and Augustus John. She was born in Sale, and attended art classes by William Fitz, a Polish teacher in Manchester, and was a fellow student of the young L. S. Lowry. In 1943 she moved to Llanyblodwel, near Oswestry. She exhibited regularly at the Manchester Academy of Fine Arts from 1930, as well as the Royal Cambrian Academy, the Royal Society of Portrait Painters, the Society of Women Artists and elsewhere. Solo exhibitions of her work were held at the National Library of Wales, Aberystwyth, in 1973 and 1991. Robert Meyrick, Gladys Vasey, A Retrospective Exhibition, National Library of Wales, Aberystwyth, 1991, no. 37 (illustrated in colour). This work was painted for the Diamond Jubilee Annual Spring Exhibition of Modern Art at the Atkinson Art Gallery, Southport, and subsequently at the Manchester Academy of Fine Arts, 1954, Royal Cambrian Academy, 1954, and the Society of Women Artists, 1962. (1) ÂŁ300-400

168

432* Vasey (Gladys, 1889-1981). A Welsh Innkeeper (portrait of Dai Edwards, Black Lion Hotel, Talybont, Ceredigion), 1953, oil on board, signed lower right, 40.5 x 33cm (16 x 13ins), framed Robert Meyrick, Gladys Vasey (1889-1981), A Retrospective Exhibition, National Library of Wales, Aberystwyth, 1991, no. 39. (1) £150-200

431* Vasey (Gladys, 1889-1981). January in the Garden, Trefriw, Caernarvonshire, 1960, oil on board, signed lower left, 37 x 45.5cm (14.5 x 18ins), framed R. Meyrick, Gladys Vasey (1889-1981), National Library of Wales, Aberystwyth, 1991, no. 108 (illustrated in colour). (1) £200-300

433 Vyatkin (Aleksandr V., 1922-). Russian Airman, c. 1950, oil on card, signed A. V. Vyatkin with pencil inscription in Russian to verso, approx. 410 x 330mm, framed and glazed (1)

Lot 432

169

£300-500

434* Wesson (Edward, 1910-1983). Landscape with church and houses in sunshine, oil on board, signed lower right, 45.5 x 61cm (18 x 24ins), framed (1)

ÂŁ400-600

170

435* Weight (Carel, 1907-1997). Struggle in the Lane, oil on board, unsigned, 67.5 x 95.5cm (26.5 x 37.5ins), framed Provenance: Purchased by the current owner from the Hambledon Gallery in Blandford, Dorset in the 1960s or early 70s. A similar work entitled ‘Pre-Raphaelite Tragedy’ was offered at auction by Dreweatt’s, Newbury, 24 February 2009, lot 89, and was dated 1949/50. (1) £3000-5000

171

436* Woollaston (Leslie, 1900-1976). Street Backwater, Brighton, oil on canvas, additional caption to stretcher ‘Humber Super Snipe 1951’, 51 x 61cm (20 x 24ins), framed (1)

£200-300

Lot 436 437* Woollaston (Leslie, 1900-1976). View of the River Thames at Richmond Bridge, from a window, oil on panel, artist initials to lower right corner, 45.5 x 51cm (18 x 20ins), framed (1)

Lot 437

172

£200-300

438* Woollaston (Leslie, 1900-1976). At the Fairground, oil on canvas, signed to lower right corner, 61 x 50.5cm (24 x 20ins), framed (1)

ÂŁ200-300

173

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.

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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.

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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 17.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 17.5% 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 17.5% and assents to the Auctioneer receiving the said commission.

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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.

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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.

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.

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.

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.

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DOMINIC WINTER BOOK AUCTIONS SPECIALIST AUCTIONEERS AND VALUERS Saleroom and Offices: Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 Fax: 01285 862461

COMMISSION SLIP Please Bid on my behalf at the sale on 14th July 2010 up to the amount shown. I acknowledge that I will be required to pay a buyer's premium at the current rate.

Lot ÂŁ Brief Description ______________________________________________________________________________________

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Postage can be arranged for most purchases. For UK and European customers we use DPD (formerly Parceline) or Royal Mail: a separate charge is added to the invoice (minimum ÂŁ15) and parcels are despatched as soon as possible after payment has been received. All framed and glazed items and all lots for overseas customers outside Europe will be sent to Mail Boxes Etc. (tel: Swindon 01793 525009) or R.F. Shipping (tel: London 0845 873 6240). Both of these companies will quote and invoice separately. Please note: DBWA invoices must be paid before consignments are handed to third party shipping companies. 175

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