Dominic Winter 2 Feb 2011 by Jamm Design Ltd

BRITISH & CONTINENTAL PAINTINGS & WATERCOLOURS OLD MASTER & MODERN PRINTS PERSIAN & ORIENTAL ART WEDNESDAY 2 FEBRUARY 2011

DOMINIC WINTER BOOK AUCTIONS

Lot 63 • Front cover image: Lot 423 • Back cover image: Lot 395

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 21% 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 PERSIAN & ORIENTAL ART Wednesday 2 February 2011 Lots 1-431 commencing at 11am

On view in the Upstairs Gallery Viewing Tuesday 1 February, 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 & 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.

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08457 484950

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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 Old Master & Later Oil Paintings

1-61 62-106

British & Continental Drawings

107-123

Old Master & Later Prints

124-142

Persian Miniatures & Qurâ&#x20AC;&#x2122;ans

143-154

Oriental Art

155-162

Japanese Wooblock Prints

163-190

British & Continental Etchings

191-255

Posters & Artwork

256-263

Sculpture

264-266

Artistâ&#x20AC;&#x2122;s Studio Equipment

267

Modern & Contemporary Prints

268-328

Brotherhood of Ruralists

329-333

Modern & Contemporary Watercolours

334-376

Modern & Contemporary Paintings

377-431

Lot 94

BRITISH & CONTINENTAL WATERCOLOURS To commence at 11am

1* Batchelder (Stephen John, 1849-1932). Surlingham on the Yare, fine watercolour, heightened with gouache, titled lower right, a little foxing to the sky area, 34 x 62cm (13.5 x 24.5ins), contemp. gilt frame, glazed (1)

£300-500

3* Bradbury (Arthur Royce, 1892-1977). A shepherd and his flock near Dorchester, 1888, watercolour, signed lower left, 26 x 35cm (10.25 x 13.75ins), gilt moulded frame, glazed

2* Bond (William Joseph Julius Caesar, 1833-1926). Old Cottage and Figures by a River, probably North Wales, 1878, pen, ink & watercolour, signed and dated lower right, 14 x 18cm (5.5 x 7ins), period gilt beaded frame, glazed (1)

(1)

£200-300

5* Browne (Philip Vandyck, 1801-1868). A pair of views of the River Severn, together a pair of watercolours, of the River Severn at Bridgnorth, one looking upstream, the other looking downstream, with boats, figures, and animals, both 19.2 x 33.2cm (7.5 x 13ins), mounted (with artist’s name on mounts), framed and glazed

4* Bromley (John Mallard, 1858-1939). Young woman and child on a moorland path, watercolour, heightened with bodycolour, signed lower left, 17 x 24.5cm (6.75 x 9.5ins), framed and glazed (1)

(2)

£200-300

Lot 7

£200-250

Lot 9 6 Buckman (Edwin, 1841-1930). Constantinople, watercolour, signed by artist to lower right corner, image size 22 x 19cm, framed and glazed (1)

9* Carmichael (James Wilson, 1800-1868). ‘In the Battle of The Baltic’, British Marines destroying the Russian Fleet, 1854, watercolour and pencil on paper, heightened with touches of white bodycolour, with pencil inscription to lower right corner, ‘not finished - please let Mr George Thomas draw it on the Block’, small portion to centre of upper margin det., without loss, some marks to surface, 21.5 x 44.5cm (8.5 x 17.5ins), laid down on card

£70-100

7* Butler (Mildred Anne, 1858-1941). Peacock, watercolour and gouache, signed with initials lower right, 17.5 x 22.5cm (7 x 9ins), gilt frame, glazed

With old handwritten note to verso giving the artist’s name and title of the work, and stating that this image was reproduced in the lllustrated London News, c. 1854. (1) £200-300

The Irish artist Mildred Anne Butler (1858-1941) was born in Kilmurry, County Kilkenny, but was associated particularly with the Newlyn School in Cornwall, where she stayed during the summers of 1894 and 1895, and was influenced by Norman Garstin, Stanhope Forbes. She was particularly known for her genre scenes, and animal studies, especially cows and birds. A pair of watercolour studies of peacocks similar to the present work were sold at Sotheby’s Irish sale on 16th May 1996 (lot 430). (1) £1000-1500

10* Carter (W., act. 1843-1864). View of Bolton Abbey, with two ladies sketching by the river, 1851, watercolour, signed and dated lower right, 21 x 31cm (8.25 x 12.25ins), contemp. gilt moulded frame, glazed (1)

8* Canziani (Estella Louisa M., 1887-1964). View near Limone, August 1914, watercolour, heightened with bodycolour, signed and dated, and inscribed Limone to lower right, 8.5 x 27.5cm (7.25 x 10.75ins), together with River Landscape near Lisieux, watercolour, heightened with bodycolour, inscribed Lisieux to lower right, 17.5 x 26.5cm (7 x 10.5ins), both framed and glazed (2)

£200-300

£100-150

Lot 11

Lot 12

11* Cox (David, 1783-1859). Mountain landscape, with figures and cart, possibly North Wales, watercolour, with traces of pencil, 26 x 37cm (10.25 x 14.5ins), colour wash mount, gilt frame, glazed, with old Christie’s stencil S42H.V., with date in chalk July-5-46 (1)

£1000-1500

12* Croft (Arthur, 1828-1893). “Old Church at Scherzligen and(?) Ferry, Thun, Switzerland”, 1873, watercolour, showing a Swiss mountainous lake scene with a church, with figures and goats in a boat in the foreground, signed and dated in lower right-hand corner, 40.3 x 65.6cm (15.75 x 25.75ins), framed and glazed, with ms. label on reverse in the artist‘s hand, giving the title, his signature, and his address Arthur Croft was a London landscape and topographical painter. He travelled widely, to Switzerland, Algeria, the USA and New Zealand. He also painted English and Welsh scenes. Croft exhibited at the Royal Academy and elsewhere. He was a member of the Alpine Club, and is particularly admired for his Alpine scenes and his delineation of mountains. (1) £400-600

13* Dawbarn (Joseph Yelverton, 1856-1943). Interior of Gloucester Cathedral, 1927, watercolour with traces of pencil, heightened with bodycolour, signed and dated lower right, 36 x 24cm (14.25 x 10.25ins), framed and glazed (1)

£150-200

14* De Wint (Peter, 1784-1849). Landscape with sailing boat in an estuary, with windmill and passing shower, watercolour on paper, 15.2 x 24.5cm (6 x 9.6ins), framed and glazed (1)

£700-1000

Lot 13

Lot 14

Lot 16 15* English School. Portrait of a lady in 18th century costume with riding crop, mid 19th c., three-quarter length portrait watercolour on board, heightened with bodycolour, initials ‘E.B.’ to lower right corner, 15.5 x 12cm (6 x 4.75ins), mounted, gilt moulded frame, ink inscription ‘by Buckman’ to backing board, glazing cracked, together with Portrait of a lady, late 19th c., oval head & shoulders oil on board portrait, 28.5 x 21.5cm (11.25 x 8.5ins), mounted, gilt moulded frame (with slight loss to moulded corners & lower edge) (2)

16* English School. Portrait of a young lady, possibly the Duchess of Cleveland, c.1780s, coloured pastels on paper, lined on canvas, showing head and shoulders of a lady dressed in a pale yellow silk gown, with lace collar and bonnet trimmed with blue silk ribbon, on oval stretcher, 60.7 x 47cm (24 x 18.5ins), gilt oval mount, framed and glazed According to a hand-written note attached to the verso of the painting the sitter is the Countess of Cleveland, the 5th daughter of the Duke of Cleveland: ‘Leslie Frederick Talbot-Price. The Countess of Cleveland, 5th daughter of Duke of Cleveland & a Connection of the Talbot family - From Rose L. Talbot-Dyer’.

£100-150

(1)

£1500-2000

17* English School. Portrait of a young child with a spaniel, pastel oval pastel on paper, some light spotting, 69 x 51cm (27 x 20ins), contemp. gilt oval frame (some damage) Although the subject appears to be female, an old ink note attached to the reverse of the frame provides the name Colin Hinton Dunlop, and the dates of birth and death as 17th October 1841 and 19th November 1868. (1) ÂŁ500-700

Lot 17 18* English School. The Hermit reading outside his cave, late 18th/early 19th c., watercolour on paper, 34.5 x 43.5cm (ins), framed and glazed (1)

ÂŁ300-400

Lot 18 11

Lot 20

19* English School. Moorland landscape with cottage and cows, c.1900, watercolour of a British landscape, depicting a view across moorland to a white cottage beside a rocky headland and a bridge over a river, with trees and two cows in the foreground, 28.6 x 45.7cm (11.25 x 18ins), mounted, framed and glazed (1)

£100-150

20* English School. Portrait of James Grosett and portrait of Elizabeth Grosett (neé Burnett), late 18th/early 19th c., together a pair of oval pencil & watercolour portraits, 22 x 17cm (8.75 x 6.75ins), both framed & glazed, remnants of manuscript captions written to paper tapr on verso of backing boards Later identification label attached to one portrait ‘James Grosett & Elizabeth Grosett (neé Burnett) father of Admiral William Grosett, whos daughter Cecilia Jane married William Hudson Heaven who purchased Lundy Island in 1835’. (2) £150-200

21* Fayod (Charles, 1857-1932). “Nervi”, Italy, watercolour on paper, laid on linen, showing an olive tree in blossom with the sea and cliffs in the background, signed to lower margin, mounted, framed and glazed, 24.5 x 36cm (9.5 x 14ins) (1)

Lot 21

£150-200

Lot 22 22* Fielding (Anthony Vandyke Copley, 1787-1855). The Fell from The Pass over Wrynose, Cumberland, watercolour on paper, with scratching out, 17 x 25cm (6.75 x 9.75ins), framed and glazed (1)

£300-500

24* Flower (Charles Edwin, b.1871). “Coastal Scene, Jersey”, 1929, watercolour, showing a Napoleonic fortification on a rocky headland, signed and dated in lower left-hand corner, 24.2 x 34cm (9.5 x 13.5ins), mounted, framed and glazed, with later ms. title label on verso

23* Flint (Robert Purves, 1883-1947). “Oyster Boats, Whitstable”, 1953, watercolour, showing boats on the sea, with groins on the beach in the foreground, signed in lower right-hand corner, 23.8 x 35.7cm (9.25 x 14ins), mounted, framed and glazed, with Fine Art Society label on reverse (1)

Charles Flower was a painter and lithographer of landscapes and architectural subjects. He studied at the Royal College of Art, and exhibited at the Royal Academy and the Royal Birmingham Society of Artists. He lived near Wallingford in Oxfordshire. (1) £200-300

£100-150

Lot 25

Lot 26 14

25* Francia (Francois Louis Thomas, 1772-1839). Shipping off Calais Pier, monochrome wash on paper, some toning and marks to surface, dated 1804 to stern of boat in the fore-ground, 29 x 40cm (11.5 x 15.75ins), framed and glazed (1)

£500-800

26* Gianni (Y., late 19th/early 20th c.). Neapolitan coastal scene, watercolour, heightened with bodycolour, depicting the Bay of Naples, with a female figure in the foreground, and Mount Vesuvius smouldering in the distance, signed in lower right-hand corner, 19 x 42cm (7.5 x 16.5ins), mounted, framed & glazed, together with another similar work by Maria Gianni (2)

£300-400

28* Goodwin (Frank A., 19th-20th c.). Crossing the Golden Valley, Nr. Cheltenham, Gloucestershire, 1887, watercolour scene showing female figure walking along a country track, signed and dated, 34.2 x 24cm (13.5 x 9.5ins), mounted, framed & glazed, painting card caption to backing board (1)

£150-200

27* Gick (R.W., 20th c.). “Siegfried after Wagner” [cover-title], 1932, a collection of ten pen, ink, and watercolour illustrations, most titled, signed and dated, 35.5 x 25cm (14 x 10ins), tipped-in on thick paper leaves, each with caption on mount, orig. cloth covers, gilt lettered on upper cover, sq. folio, together with another ten illustrations similar, for Tristan and Isolde, tipped-in on thick paper, and loosely inserted (1)

£200-400

29* Gotch (Bernard Cecil, 1876-1964). “On the Quay, Dordrecht”, 1907, watercolour on artist’s board, showing figures and luggage on a Dutch quayside, with various craft on the river, and buildings on either side, signed and dated in lower left-hand corner, titled in ms. on verso, 25 x 36cm (9.75 x 14ins), mounted, framed and glazed (1)

£200-300

Lot 31

Lot 32 16

30* 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 (1)

34* Kinnaird (Henry J., fl.1880-1908). On the Arun, Sussex, watercolour landscape, signed and captioned, some fading and spotting, small punch hole to upper left corner, 19.5 x 39cm (7.75 x 15.5ins), mounted (dampstained and browned), framed & glazed

£100-150

(1)

£100-150

31* Harford (John Scandrett, 1787-1866). View of St. Peter’s Rome, watercolour on board, unsigned, some spotting and browning, paper label to verso “A view of St. Peter’s Rome, by J.S. Horford (from the collection of W. Berwell(?), 1927”, 49.5 x 73.4cm (19.5 x 29ins) (1)

£300-500

32* Hern (Charles Edward, 1848-1894). A pair of harbour scenes, 1885, together two watercolour paintings on paper, one showing a harbour at low tide with a sailing ship moored in the foreground and a bridge in the background, the other showing a harbour town with figures, and boulders on the harbourside in the foreground, both signed and dated to lower left-hand corner, both 23.5 x 35.7cm (9.25 x 14ins), mounted, framed & glazed Landscape and architectural painter Charles Edward Hern was born in New South Wales, but subsequently came to England. He lived in London where he was instructor in watercolours to the daughters of the Prince and Princess of Wales (later King Edward VII and Queen Alexandra). He exhibited between 1883 and 1894, including at the Royal Academy and the Royal Institute of Painters in Watercolours. (2) £400-600

35* Lee (William, 1810-1865). Devotions of a French peasant girl, 1848, oval watercolour, of a young woman in a church kneeling on a chair and holding a rosary, with a wicker basket in the foreground, signed and dated, 35.5 x 27.7cm (14 x 11ins), oval gilt frame William Lee was a painter of rustic genre, using mainly watercolour. He exhibited at the Royal Academy between 1844 and 1854, and at the New Watercolour Society (91 works). (1) £150-200

33* King (William Gunning, 1859-1940). Left in Charge, 1883, monochrome gouache on board, showing a young girl in late 19th c. Sunday dress seated in an open carriage with pug dog by her side, signed ‘Gunning King’ & dated to lower left corner, 42.5 x 31cm (16.75 x 12ins), caption and artist name to mount, framed and glazed

36 Bottomley (Albert Ernest, R.B.A., 1873-1950). "The Mill", watercolour, showing a windmill by a canal crossed by a small bridge on which is a horse and cart being loaded from the mill, with a horse and rider approaching the mill on a muddy track, signed in lower lefthand corner, and titled in lower right-hand corner, 22.5 x 29cm (9 x 11.5 in), mounted, framed and glazed

William Gunning King (1859-1940) exhibited extensively, including at the New English Art Club and Royal Academy etc. He contributed to the Illustrated London News, The Graphic, Punch & Quiver. He was working for the Graphic in 1883 and this painting was possibly illustrated in that magazine in the same year. (1) £300-500

(1)

£300-400

Lot 38 37* Ludby (Max, 1858-1943). Christchurch Priory, watercolour, signed lower left, 26 x 35.5cm (10.25 x 14ins), framed and glazed (1)

£200-300

38* Ludby (Max, 1858-1943). Evening, near Guildford, 1915, panoramic watercolour with cattle watering on the River Wey, buildings beyond, signed and dated lower left, 33 x 76cm (13 x 30ins), gilt frame, glazed, with remains of label for the Royal Institute of Painters in Water Colours to verso (1)

£200-300

39* Macwhirter (John, 1839-1911). Trees in a landscape, watercolour heightened with bodycolour, signed in lower left-hand corner ‘Mac W’, 31.7 x 37.7cm (12.5 x 15ins), mounted, framed and glazed John MacWhirter was a member of the Royal Academy and the Royal Scottish Society of Painters in Watercolours, as well as an Associate of the Royal Scottish Academy. (1) £150-200

Lot 37

40* Martin (Henry, 1835-1908). “Bulking Fish”, watercolour, of the interior of a fish cellar, with female workers, 43.3 x 32.2cm (17 x 12.75ins), mounted, framed and glazed, with the artist’s studio label on reverse titled in his hand, and another old ms. label Born in Camberwell, Henry Martin began adult life as a midshipman, sailing around the Cape of Good Hope to India before ‘discovering’ Newlyn in 1870, where he painted coastal landscapes and scenes of fishing life. He was the only artist listed as resident in Newlyn at the time of the 1871 census, and the only one of the first generation of Newlyn artists to be in the vicinity at the time of the 1881 census. Martin and his wife, Helen Amy, retained their tenancy at Castle Cliff in Newlyn until 1883, later moving to the Plymouth area. Thus Martin had been painting in Newlyn for up to twelve years prior to the arrival of the main body of artists to the locality, which resulted in him being described as ‘the original Newlynite’. (1) £500-800

Lot 39 18

Lot 40 19

Lot 41

Lot 42 20

42* Pollitt (Albert, 1856-1926). In the Hayfield, Lymm Cheshire, 1905, watercolour, signed and dated in lower left corner, 32 x 51cm (12.5 x 20 inches), well mounted and framed Pollitt exhibited at the Walker Gallery Liverpool and Manchester City Gallery.His style owes much to Cox ith its dramatic blustery skies. (1) £200-300

43* Price (Frank Corbyn, 1862-). The Moated Stream, watercolour of village street scene (possibly in Sussex) with timber framed houses, figures, stream and wooden bridge, signed to lower right, exhibition label to backing board, 35.5 x 51cm (14 x 20ins), framed & glazed (1)

£150-200

44* Prout (Samuel, 1783-1852, manner of). Continental scene with bell tower, cathedral and figures, 1859, watercolour on paper, indistinct signature and date to lower right corner, 21.5 x 13.5cm (8.5 x 5.5ins), mounted, framed & glazed (1)

Lot 43

£200-300

45* Rousse (Charles, active c. 1870-90). Old English street scene with figures and arched gateway, 1890, watercolour, heightened with bodycolour, signed and dated lower right, 30 x 47cm (12 x 18.5ins), framed and glazed (1)

£150-200

46* Ryland (Henry, 1866-1924). ‘We are such stuff as dreams are made on’, pen & ink on paper, heightened with brown wash and white bodycolour, signed lower right, 17 x 34.5cm (6.75 x 13.5ins), laid down on card (with pencil note to lower edge ‘drawing to be retd. to Mr. Ryland’)

Lot 44

Possibly one of the illustrations produced by Ryland for the English Illustrated Magazine. (1) £100-150

41* Mitchell (Philip, 1814-1896). View of the Coast near Plymouth, watercolour, signed lower right, 34 x 50cm (13.5 x 19.5ins), mounted, framed and glazed Philip Mitchell exhibited extensively at the Manchester City Art Gallery, The Royal Society of British Artists and The Royal Institute. (1) £200-300

50* Spiers (Charlotte H., Exh. 1880-1914). ‘A Wild Garden’, Milford, Hants., watercolour, signed, 9 x 31.5cm (7.5 x 12.5ins), some sl. foxing, contemp. gilt frame, glazed, with hand-written label by the artist to verso

47* Salter (E.). Beddgelert, Early Morning, 1894, watercolour, signed, dated and titled lower left, 23.5 x 35cm (9.25 x 13.75 inches), mounted, together with Meldrum (William),Knoydart Hills from Skye, n.d., c.1950, watercolour, signed by artist to lower left corner, 33 x 48cm (13 x 19 inches), mounted, plus an unsigned 20th century watercolour of Dartmouth, 19 x 27.5cm (7.5 x 10.75 inches), mounted, and an unsigned 19th century watercolour of Carnarvon in the manner of David Cox, 16.5 x 21cm (6.5 x 8.25 inches), mounted, together with another nine 19th & 20th century watercolours, including three framed and glazed, various sizes (13)

(1)

51* 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)

48* Simkin (Richard, 1840-1926). “5th Royal Irish Lancers, Officer, Review Order”, 1878; “2nd Dragoons, Royal Scots Greys, Officer, Review Order”, 1878, together two watercolours, titled below image and signed in lower right corner, 24 x 16cm (9.5 x 6.25ins), mounted, framed and glazed £300-400

Sylvester Stannard was a Bedford landscape painter, who also painted rustic subjects in the tradition of Birket Foster. He exhibited 15 works at the Royal Academy, as well as exhibiting elsewhere. (2) £200-300

49* 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)

£200-300

52* Stannard (Henry John Sylvester, 1870-1951). Twilight landscape, possibly Flitwick Moor, near Bedford, watercolour, of a stream wending across moorland at dusk, signed in lower left-hand corner, 13 x 18.7cm (5 x 7.25ins), wooden mount, framed and glazed, together with Garden view, with mist, 1940, watercolour, of herbaceous borders either side of a path, with trees in the background, signed and dated in lower left-hand corner, 26 x 34.5cm (10 x 13.5ins), mounted, framed and glazed

£200-300

(2)

£100-150

£200-300

Lot 48

Lot 49 22

Lot 51

Lot 52 23

Lot 53 53* Steer (Philip Wilson, 1860-1942). Battleships of Rosyth, 1917, watercolour, 14 x 24.5cm, framed and glazed, with Spink gallery label to verso bearing stock no. APB/4031/j, a Christie’s auction stencil 744WX

54* Taylor (Charles II, active 1841-1883). Shipping scene with schooner in rough seas, watercolour, heightened with bodycolour, some light fading, signed, 43 x 77cm (17 x 30ins), mounted on card (1)

Provenance: The Leighton Family. Robin Garton, Catalogue Eight, 1976, item 38. (1) £200-300

Lot 54 24

£200-300

Lot 55 56* Van de Velde (Charles Meredith, 1818-1898). Mountain landscape with trees (possibly the Alps), watercolour on paper, signed lower right, 23.5 x 34cm (9.25 x 13.25ins), framed and glazed

55* Toovey (Richard Gibbs Henry (1861-1927)). Farmhouses in Finistere, 1889, watercolour heightened with gouache on paper, signed and dated to lower right corner, 15 x 23.5cm (6 x 9.25ins), mounted, framed and glazed, contemporary label to verso with manuscript title, artist‘s name and address, ‘Richard Toovey, c/o M.L. Menpes, Osborn Lodge, Fulham… Price £5.5.0’, together with ‘Carting Seaweed’, by Richard Toovey, watercolour on paper, signed and dated 1883 to lower left corner, 15 x 23.5cm (6 x 9.25ins), mounted, framed and glazed, similar provenance label to verso (2)

(1)

£200-300

57* Varley (John, 1778-1842). Skiddaw, Cumbria, watercolour on paper, with scratching out, some pale toning, 18.5 x 26.5cm (7.25 x 10.5ins), framed and glazed (1)

Lot 56

£300-500

Lot 58

Lot 59

Lot 60 58* Wachtel (Elmer, 1864-1929). “Moss Beach, Monterey County, California”, 1909, watercolour on board, of a view towards the sea, with trees and boulders in the foreground, titled in ink to lower lefthand corner, and dated in right-hand corner, name of artist pencilled on verso, 13.2 x 27cm (5.25 x 10.5ins) (1)

£300-500

59* Wadham (William Joseph, 1863-1950). Maoris by a Geyser, watercolour, showing a rocky landscape with a large geyser erupting in the centre, with two female Maori figures on an outcrop of rock to the right, signed in lower left-hand corner, 45.7 x 71cm (18 x 28ins), framed and glazed William Joseph Wadham was born in Liverpool and travelled to Australia in 1885. He was a prominent figure in the Adelaide art scene of the late 1800s and travelled extensively in Australia and New Zealand in search of the picturesque. (1) £200-300

60* Watts (A., 19th-20th c.). River scene with cows drinking at the watersedge, 1911, watercolour heightened with bodycolour, showing a female figure standing at the waters edge with cows drinking, cottages and wooded scene in the background, signed and dated, 29 x 49cm (11.5 x 19.25ins), mounted, framed & glazed, together with Bonny (John, fl.1870-1892), Young girl with white ducks in country lane with cottage, watercolour on paper, signed, 27 x 37cm (10.5 x 14.5ins), mounted, framed & glazed, and Storey (H., 19th20th c.), The White Hart Inn, Wytham, Nr. Oxford, 1922, watercolour, 22.5 x 17cm (8.75 x 10.75ins), mounted, framed & glazed, plus English School, Ashby de la Zouch Castle in Leicestershire, August 27, 1837, pencil on paper, laid-down on backing paper, caption, artist initials ‘E.A.P’ & dated to lower margin, image 22.5 x 34cm (8.75 x 13.25ins), framed & glazed, plus one other (5)

61* Woodville (Richard Caton, 1856-1929). Portrait of a Gentleman in Elizabethan costume with sword, holding a document with a Royal seal, gouache on paper, signed lower left, 37.5 x 24cm (14.75 x 9.5ins), framed and glazed

£180-220

Richard Caton Woodville, a painter and illustrator particularly of military subjects, worked for the Illustrated London News and other journals of the day. (1) £300-400

OLD MASTER & LATER OIL PAINTINGS 62* American School. Ducks in flight over reeded lake, late afternoon, early evening, oil on canvas, bears signature F. W. Benson, and date ‘27 in red to extreme lower right, 40 x 80cm (16 x 31.5ins), framed (1)

£200-300

Lot 62 63* British School. Portrait of ‘Sir James Hamilt[on] of Bancrief[f] & of Innerwick, aged 54’, mid 17th century, half-length portrait to sinister, the faintly smiling subject in black armour against a dark background, oil on canvas, titled but unsigned in lower right area of painting, a few letters slightly indistinct and loss of last two letters of Hamilton’s name where the canvas has been slightly cut down and relined, stretched on to a later wooden frame, 56 x 46cm (22 x 18ins) Sir James Hamilton (died 1672?) is believed to be the Hamilton who married (27th September 1614) Anne or Anna, daughter and heir of Sir Thomas Otterburn of Redhall, in the Parish of Colinton, Edinburgh. The couple had two (or possibly three) children, including Sir James Hamilton, and Andrew and/or Adam. On 24th August 1650 Cromwell stormed and captured Redhall which was held by Hamilton (possibly father or one of the sons), along with sixty men. Cromwell released the laird in recognition of his bravery. It is possible this portrait was painted in recognition of Sir James Hamilton after this battle which would suggest a birth date of c. 1695/1696. A good Civil War portrait in the manner of Robert Walker. (1) £1000-1500

Lot 63 28

Lot 64

64* Callender (H.C., 19th c.). Tavern interior with cavaliers, in the manner of David Teniers, oil on canvas, showing six cavaliers around an oak table, drinking and playing cards, with a large carved oak fireplace in the background, relined, 54.7 x 65cm (21.5 x 25.5ins), gilt frame, with artist’s brass name plate to frame (1)

£200-300

65* Constable (John, 1776-1837, School of). Cottage by a Cornfield, with distant view of a church, 19th c. oil on canvas, signed ‘J. Constable’ to lower right, some marks and slight damage, 61 x 51.5cm (24 x 20ins), with old printed label of F. J. Harris & Son, Bath, to verso (1)

£200-300

Lot 65

66 Continental School. A mid-19th century oval summer landscape, oil on board, showing a track through rocky outcrops with trees, 29.7 x 42.5cm (11.75 x 16.75ins), gilt oval mount, framed and glazed (1)

£200-300

67* Continental School. Portrait of St. Francis & St. Nicholas, earlymid 18th, oil on canvas, relined & repaired, some areas of damage and paint loss, 75 x 62cm (29.5 x 24.5ins), framed (1)

£200-300

68* Daele (Charles van den, 19th c.). Historical domestic scene, oil study on wood panel, showing a family group of a seated lady and gentleman and a young girl, with a servant in the background, signed in lower right-hand corner, 22 x 29.5cm (8.75 x 11.75ins), gilt frame (1)

Lot 67

£300-400

Lot 68 30

Lot 69

Lot 70

69* Dawbarn (Joseph Yelverton, 1856-1943). Cornfield with sheaves, oil on board, of a cornfield, with a cottage and trees in the background, 38.8 x 30cm (15.25 x 12ins), framed, with artist’s brass name plate to frame (1)

£150-200

70* Dawbarn (JosephYelverton, 1856-1943). Trees in a landscape, oil on board, 39.3 x 29.2cm (15.5 x 11.5ins), framed, with artist’s brass name plate to frame Joseph Dawbarn was a Liverpool painter of rustic subjects and landscapes. He exhibited at the Royal Academy from 1897, but mainly at Liverpool Academy, of which he was President from 1905 until 1912. (1) £150-200

71* 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)

£150-200

72* Ellis (Ralph, 1885-1963). “Mist over the South Marshes”, oil on canvas, looking across rooftops to marshland, over which hovers a mist in the form of ethereal dancing female figures, signed in lower left-hand corner, 46.8 x 61cm (18.25 x 24ins), framed, with ms. title label on reverse of frame (1)

73* 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

£150-200

(1)

£300-500

74* Embleton (A., 19th-20th c.). Thames wharfside with boats unloading, oil on panel, signed to lower right corner, 35.5 x 50.5cm (14 x 20ins), framed (1)

ÂŁ200-300

75* English school. Landscape with figures on a path, early 19th c., oil on canvas, indistinctly signed to lower right corner, 23.5 x 28.5cm (9.25 x 11.25ins), mounted and framed Provenance: Frost & Reed, 1960, gallery label to verso. (1)

Lot 76

ÂŁ200-300

Lot 77

76* English School. Landscape with Mazeppa bound naked to a horse, early to mid-19th century, oil on canvas, indistinctly signed lower right (E. Fowler?), restored and relined, 55 x 76cm (21.75 x 30ins), gilt frame, with remains of Crane Kalman gallery label to stretcher A dramatic evocation of the story of the young Polish hero, who having been caught in the company of the wife of a nobleman, was banished on the back of a horse into the heart of the Ukraine, where he was rescued by cossacks and later became their prince and leader. The best known account of this story is by Lord Byron, from whose poem the present work almost certainly derives. (1) £300-500

77*† Frazer (William Miller, 1864-1961). The Ouse at Hemingford Grey, oil on canvas, signed lower, 50.5 x 61cm (20 x 24ins), frame with old handwritten to verso (1)

£1000-1500

Lot 80

80* Goodall (Frederick, R.A., 1822-1904). Camels and figures beside a waterhole, 1892, oil on canvas, artist’s monogram & date, 23 x 53.5cm (9 x 21ins), framed & glazed

81* Goodwin (Albert, 1845-1932). Corfe Castle, near Swanage, at dusk, 1885, oil on board, signed with monogram lower right, inscribed with title and date to reverse, 23 x 30cm (9 x 11.75ins), framed

Frederick Goodall was the second son of the engraver Edward Goodall (17951870). He received his education at the Wellington Road Academy. Frederick’s first commission, for Isambard Brunel, was six watercolour paintings of the Rotherhithe Tunnel. Four of these were exhibited at the Royal Academy when Frederick was 16. His first oil won a Society of Arts silver medal. He exhibited work at the Royal Academy 27 times between 1838 and 1859. He was elected Associate of the Royal Academy in 1852. Goodall visited Egypt in 1858 and again in 1870, both times travelling and camping with Bedouin tribesmen. The Eyptian theme was prominent in his work, with 170 paintings being exhibited at the Royal Academy over 46 years. He received guests such as the Prince of Wales (later Edward VII) and Charles Dickens at his home at Harrow Weald. His income declined towards the end of his life and he was declared bankrupt in 1902. (1) £700-1000

(1)

£1500-2000

82* Goodwin (Albert, 1845-1932). Landscape with setting sun (possibly North Devon), 1886, oil on board, 24 x 35cm (9.5 x 13.5ins), framed (1)

£1500-2000

Lot 81

Lot 82

Lot 83 83* Hancock (Margaret, 19th/20th c.). “Still life with strawberries”, oil on board, showing a vase filled with chrysanthemums, azaelias, daffodils, and narcissi, accompanied by prawns in a blue and white Ming bowl on a white napkin, several strawberries on a cabbage leaf, a striped tulip, and a partially cut melon on a pewter platter, signed, 53.7 x 80.3cm (21.25 x 31.5ins), framed, with Grafton Street Gallery label on verso (1)

£400-600

Lot 84 36

Lot 85

84* Hayward (Alfred FrederickWilliam, 1856-1939). Strewn Roses, & White Hellebore (Christmas Roses), a matching pair of oils on canvas, each signed, 15 x 36 cm, contemp. gilded wood frames, glazed, with old label of Arthur Vokins, 23 Baker Street, London to verso

85* Icon. A Russian icon of the Madonna and Child surrounded by four angels, 18th c., painted in gold and colours on wood panel, some sl. surface flaking, panel dimensions 14 x 11cm (5.5. x 4.25ins), chased and embossed silver frame, backed with brocade material

Alfred Frederick William Hayward (1856-1939) was born in Port Hope, Ontario, but emigrated to England in 1885. He initially studied architecture, but turned to painting, and was for a time tutored by Stanhope Forbes at Newlyn. After the first world war, he joined the Newlyn Society of Artists, and was elected to its committee in 1920. He specialised in flower paintings, and exhibited studies of azaleas, roses and chrysanthemums at the Royal Academy and elsewhere from 1880 onwards. He also returned to his homeland regularly to participate in Canadian exhibitions. (2) ÂŁ400-600

(1)

ÂŁ700-1000

86* Italian School. Still life, c.1870, oil on canvas, occ. small chips to image, 29.5 x 24cm (11.5 x 9.5 inches), decorative gilt and gesso frame (1)

ÂŁ200-300

Lot 87

Lot 88

Lot 89 38

Lot 90

87* Kauffmann (Angelica, 1741-1807, manner of). The Three Graces, early to mid 19th c., circular oil on panel showing semi-clad female figures in a landscape, vertical crack to panel, 34 x 34cm (13.5 x 13.5ins), contemporary gilt moulded frame (1)

89* Morley (S. C., 19th century). Highland Loch with horned cattle watering, oil on canvas, signed lower right, relined, 51 x 76cm (20 x 30in), gilt frame (1)

90* Naive School. Figures with prize cows in farmyard, 19th c., oil on board, revarnished, 30 x 38cm (12 x 15ins), framed

88* Lansil (Walter Franklin, 1846-1925). The Camponile, Venice, oil on board, signed to lower edge and signed and titled to verso, 28 x 18.5cm (11 x 7.25ins), gilt frame (1)

£300-500

£200-300

(1)

£200-300

£300-500

Lot 91 91* Nasmyth (Patrick Peter, 1787-1831, Manner of). Country lane with thatched cottage and windmill, oil on panel (cleaned & revarnished), signed ‘P. Nasmyth’ to lower right corner, stenciled auction number to verso, 21 x 32.4cm (8.25 x 12.75ins), gilt moulded frame (repainted) (1)

94* Palma il Giovane (Jacopo, 1548-1628). The Virgin appearing to St. Nicholas of Bari, pen, ink and pale brown wash on grey paper, depicting a sleeping saint, with the Virgin Mary appearing above him, and three men in the background around a wooden chest, bears signature in ink to lower left corner, Giacomo Palma, with owner’s small blindstamp towards centre of lower margin, and small circular stamp with intials W.F.K. to corner verso, 34.4 x 22.6cm (13.5 x 8.9ins), some surface marks and minor stains, with one or two minor repairs, mounted along left margin to late 19th century card with wash border, (with extensive handwritten note in ink, written in German, beneath the drawing)

£200-300

92* Newman (J., 19th c.). American three-masted, square-rigged, clipper merchant ship, mid-19th c., oil on canvas-lined paper, signed in lower right-hand corner ‘J. Newman, Barrow’, damaged with some surface loss, 46 x 59.4cm (18 x 23.5ins) (1)

See illustration on page 4 (1)

£100-150

93* Ostade (Adriaen van, 1610-1685, after). Halt of Travellers at a Smithy, 19th century oil on wood panel, 33 x 44cm (13 x 17.25ins), with old title inscription in ink to verso, framed (1)

£4000-6000

95* Palma il Giovane (Jacopo, 1548-1628). Apollo, Mercury and Hercules, with attendant putti holding a torch and three bacchantes, pen & brown ink, pale brown wash, heightened with white bodycolour, on pale grey-brown paper, corner-mounted on a 19th c. sheet of backing paper, with stamped monogram JD, and marked in ink No. 1822 to lower margin, additionally marked in ink to top margin verso with the name Camillo Bolognese, and numbered 357 in red pencil, 28.5 x 19.7cm (11.25 x 7.75ins)

£200-300

(1)

£2000-3000

Lot 95 41

96* Raphael (Sanzio, 1483-1520). Madonna della Sedia, fine 19th century circular oil on board after Raphael, with printed stamp to verso of G. Hautmann’s Gallery of Modern Paintings and Copies, 38 Borgognissanti, Florence, image size 17cm (6.6ins) diameter, contemp. ornate moulded gilt frame, decorated with cherubs’ heads, scallop shells, and leaf decoration (1)

£700-1000

98* Richards (John Inigo, 1731-1810, attrib.). A pair of oval river landscapes, later 18th c., one showing a fisherman on the riverbank in the early morning, the other showing a young couple by the river at dusk, approx. 18 x 22.5cm (7 x 9ins), matching period oval gilt frames, glazed, with period label of Darlings Printshop, Great Newport Street, Long Acre, London, to verso of each (one label defective) (2)

97* Raphael (Sanzio, 1483-1520). Self Portrait, 19th century oil on canvas after Raphael, 25 x 18.5cm (9.75 x 7.25ins), contemp. pierced and hand-carved gilt wood frame

£200-300

99* Romero (E. Franco, 19th century). View of Manila Harbour, 1909, oil on canvas, signed lower right, E. Franco-Romero y Mackenna, and dated Ceuta 1909, 70 x 100cm (27.5 x 39.5ins), framed

A copy of the celebrated self portrait by Raphael in the Uffizi Gallery, Florence. (1) £300-400

(1)

Lot 99 43

£200-300

100* Ruff (George, 1826-1903). Haywards Heath, from Cuckfield, with Lindfield Church in the distance, oil on panel, indistinctly signed and dated 1874, 10 x 21.5cm (4 x 8.5ins), later gilt frame with old handwritten label to verso George Ruff Senior was an artist and photographer who lived and worked in Brighton and is known for his oils and watercolours of local scenery. (1) £200-300

101* 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)

Lot 100

£300-500

102* Spanish School. Madonna and Child in a Garden, c. 1700, oil on canvas, depicting the Madonna and Child seated by a fountain, within a formal terraced garden, with camellias, orange trees, clipped box hedges, and a falcon and duckling in the foreground, and buildings beyond, 80 x 56cm (31.5 x 22ins), some surface abraiding and minor damage, contemp. handcarved gilt wooden frame According to the current owner, this painting was cleared from Christchurch Cathedral, Oxford, sometime in the 1960s. An unusual work full of symbolic detail, in which the traditional attributes of the Virgin Mary are associated with the imagery of a garden. (1) £700-1000

Lot 101 103*† Thors (Joseph, 1843-1898). Wooded river landscape with two female figures by a pool, oil on canvas, signed lower centre, some damage and surface wear, 50.5 x 76cm (20 x 30ins), period gilt frame (1)

£300-500

104* Todd (Robert, 19th/20th century). Scottish Landscape, 1921, oil on canvas, signed and dated in lower right corner, 51 x 76cm (20 x 30 inches), unframed, together with another four 19th & 20th century oil paintings of rural lanscapes and genre scenes, various sizes and condition (5)

£100-150

105* Wilkie (Sir David, 1785-1841, after). “Falstaff in the Stocks”, oil on wood panel, with repaired horizontal break to upper portion, 24.3 x 30.2cm (9.5 x 11.75ins), titled and attributed in later ms. on reverse (1)

Lot 103

£150-200

Lot 102

106* Wyllie (William Lionel, R.A. 1851-1931). “On the Red Sea”, 1887, oil on canvas board, showing the main deck of a merchant steam ship making passage through the Red Sea, with standing and seated itinerant Arab hawkers in the foreground, titled and dated in early ms. on verso, 43.5 x 31.7cm (17 x 12.5ins) An important early work by William Wyllie, the famous English painter of maritime themes in both oil and watercolour. He was born in Camden, London, the elder son of a prosperous genre painter and a singer. He began to draw from an early age, and his natural talent was encouraged by his artist father. He was educated at the Heatherley School of Fine Art, and at the age of fifteen he was sent to the Royal Academy Schools where he studied under Edwin Landseer, John Millais and Frederic Leighton, among others. He demonstrated his precocious talent when he won the Turner Gold Medal in 1869 at the age of eighteen, and he went on to become a prolific exhibitor. (1) £1500-2000

BRITISH & CONTINENTAL DRAWINGS 108* Baumer (Lewis, 1870-1963). Beach scene with mother and children, pen & ink on paper, laid down on card, signed, 23 x 32.5cm (9 x 12.75ins), with pencil caption to lower edge of mount, together with May (Phil, 1864-1903), The Letter R with two boys playing, pen & ink on card, signed, sheet size 16.5 x 14.5cm (6.5 x 5.75ins), plus Crage (Basil, fl. 1890s), Costume design for the Babbie in the Little Minister by J. M. Barrie, 1899, pen, ink & watercolour, signed and dated in pencil at head, 21.5 x 14cm (8.5 x 5.5ins) (3)

109* Cooke (Edward William, 1811-80). Study of Lobster Pots and Boats by the Shore, Salerno, pencil on paper, inscribed Salerno and dated May 25, 6 x 18cm (2.5 x 7ins), together with Wehnert (Edward Henry, 1813-1868), Capriccio of a young woman emerging from a flower bud, pen & ink on paper, signed in ink to mount, 18 x 16cm (7 x 6.25ins), plus Brooke (William Henry, 1772-1860), Carisbrooke Castle, Isle of Wight, pen, ink & grey wash drawing on paper, 10 x 17cm (4 x 6.75ins), and five other English drawings, various, 18th & 19th c., including a study of a hand by Richard Westall, a view of Hedsor, Lord Boston’s Buckinghamshire, a naive watercolour view of Denbigh Castle, c. 1820, etc.

107* Baudit (Louis Amedee, 1870-1960). Yacht coming to shore, 1927, sanguine sketch on paper, signed and dated to lower left-hand corner, and with indistinct inscription (to Maurice Hernandez?), 25.8 x 34.8cm (10 x 13.75ins), mounted, framed and glazed (1)

£100-150

(8)

£100-150

£150-250

Lot 108 110* Drage (E. Alice, 20th c.). Portrait of a Terrier, c. late 19th/early 20th c., black charcoal on paper, signed by artist to upper right corner, sheet size 58 x 46cm, old black and gilt frame, glazed (1)

£150-200

Lot 111 111* Dutch School. Game of nine-pins, mid-19th c., pen & ink on artist’s board, of an outdoor scene with five peasant figures playing skittles, browned, 8.4 x 33cm (3.5 x 13ins), laid down on card (1)

113* French School. Two costume studies: Abbé Commedatain & Un Kalmagne, 18th century, black chalk on laid paper, the second heightened with red chalk, inscribed with title in ink to lower margin, 24.8 x 17.5cm (9.75 x 6.9ins), and similar, together with a red chalk study of an infant, probably 18th c., (somewhat stained), three 19th c. pencil and watercolour sketches, and two small etchings on laid paper of musicians, probably late 17th or early 18th century, each 11 x 8 cm

£100-150

(8)

£100-150

114* French School. Interior scene with figures, 19th c., oval black chalk and pastel drawing, showing two ladies and a young gentleman, with figures taking tea at a table behind, and two standing figures viewed through a doorway, 29.5 x 38.3cm (11.75 x 15ins), laid down on backing card and mounted (1)

112 Continental School. Interior scene with figures, later 19th c., coloured chalks on paper, showing a lady and a gentleman seated at a table playing cards, with a standing serving maid pouring from a jug (in the manner of Vermeer), indistinctly signed lower right, some marks and minor damage to edges, 39.5 x 29.5cm (15.5 x 11.5ins), laid down on backing card Possibly the work of Louis Haghe (1806-1885), the Belgian artist and print maker, best known for his production of lithographs for David Roberts’ ‘Views of the Holy Land’, published in 1855/6. (1) £150-200

£200-300

115* Gilbert (Sir John, 1817-97 ). Study of lady and gentleman horseriders, 1889, pen, ink and watercolour, heightened with white bodycolour, initialled and dated lower right, 11 x 21.5 cm (1)

£100-150

116* Glover (John, 1767-1849, attrib.). View of Rome with the Castel Sant’Angelo, miniature sepia pen and ink drawing, 7 x 11 cms (2.75 x 4.25 inches), mounted, together with another similar Italianate scene (2)

£150-200

Lot 115 117* Green (Percy E., early 20th c.). A collection of drawings and illlustrations, incl. nine pen & ink illustrations for books or periodicals (two with portion excised), two full-length portraits (one in pencil, one in red crayon), six further portrait studies in pencil, and two sketch books of pencil and crayon drawings containing portraits and figure studies, slim 4to, some drawings signed and dated, 48 x 30.5cm (19 x 12ins) and smaller (a folder)

£200-300

Lot 116

Lot 117 49

Lot 118

118* Italian School. A study for the Last Supper, 17th century black chalk on paper, some marks and creases, three corners restored, ruled in brown ink to outer edge, mounted on later backing paper, with the suggested name Poussin to lower margin in pencil in 19th century hand, 30 x 35.5 cm

119* Prior (Melton, 1845-1910). “The Last Days of Plevna, Sharing out Flour in Camp”; “The last days of Plevna, Sharing out biscuits in camp”, 1877, a pair of pencil drawings, both initialled in lower lefthand corner, approx. 14 x 22.2cm (5.5 x 8.75ins), mounted, framed and glazed, later ms. title labels on reverse

(1)

(2)

£400-600

£100-150

Lot 120

Lot 122

120* Robinson (Thomas Heath, 1865-1950 ). The Death Chamber at The Elysee, 1894, monochrome wash drawing on pale brown paper, heightened with grey and white bodycolour, signed with artist’s monogram to lower left, 19.5 x 24.5cm (7.75 x 9.75ins), contemp. gilt moulded frame, glazed This original drawing depicts the funeral chamber of Marie Francois Sadi Carnot, 4th President of the Third French Republic in 1894, following his assassination by the Italian anarchist Sante Geronimo Caserio on the 24th June, 1894. With pencil inscription (corrected in ink) to verso: ‘The Death Chamber at the Elysee - the room was not accessible to the general public reserved for the family. Several pupils of the Ecole Polytechnique worked guard with drawn sword, and an officer of the [?] was present. Two sisters were praying; and by the Prie-Dieu in the foreground Madame Carnot knelt’. (1) £150-200

121* Sri Lanka. A pair of views of Indonesian temples, with figure in the fore-ground, c. 1930s, two coloured pastel drawings on paper, each signed indistinctly Sito (?) to lower right, 21.5 x 27.5cm (8.5 x 10.75ins), matching frames, glazed, with label of Semage & Co., Picture Framers, 70 Prince St., Pettah [Ceylon] to verso (2)

£100-150

122* Thornhill (James, 1675-1734). Study for a statue of Athena in a niche, pen & brown ink on laid paper, heightened with grey wash, laid down on old backing paper with frame line in brown ink to extreme edge, overall size 25 x 13.7cm (9.8 x 5.4ins) A very similar drawing by Thornhill for a statue of Diana, was sold at Christie’s London 8th June 1999, lot 112. (1) £400-600

123* Williams (Hubert). Old Shops next to the Admiralty, Whitehall/Somerset House, Watergate/St. Olave’s, Hart Street/Southwark Cathedral, together four pen & ink drawings of London street scenes, each signed, 40 x 30cm (15.75 x 11.75ins) and similar, each mounted (4)

Lot 123

£200-300

OLD MASTER & LATER PRINTS 124* Bega (Cornelis, 1620-1654). Woman standing with a basket on her head, & Man seated on a bench, together two etchings, margins trimmed, 12.7 x 8.2cm (5 x 3.25ins), and a little smaller, together with Velde (Jan van der, c. 1593-1641), The Round Tower, b&w etching, trimmed to margins, 12.7 x 19.2cm (5 x 7.5ins), plus Callot (Jacques, 1592-1635), Apostle, b&w etching, margins trimmed, 15 x 10cm (6 x 4ins), and other various Old Master prints, mostly 17th and 18th c., including Thomas Wyck (1616-1686), A Dancing Beggar, Johann Kraus (1655-1719), October (from The Twelve Months), two landscapes by Ferdinand Kobell, one by Bloemart entitled Herfst, and a study of a tree by J. P. Hackert (10)

126* Cotman (John Sell, 1782-1842). Brandsby Tower, Yorkshire, softground etching, in clean condition, with margins, plate size 25.5 x 19cm (10 x 7.5ins), together with Bonington (Richard Parkes, 1801-1828), Edinburgh from St. Anthony Chapel, pub. Colnaghi, December 1st 1828, b&w lithograph, sheet size 23 x 27cm (9 x 10.5ins), plus five other mostly 19th c. prints, including by Cotman, two by Samuel Howitt, and a hand coloured engraved view of Nottingham, taken from Walpoole’s Modern Universal BritishTraveller (7)

£200-300

125* Burgkmair (Hans, 1473-1531). Battle scene with siege (from der Weisskunging), b&w woodcut on laid paper, closed horizontal tear to left hand margin, 22.5 x 20cm (9 x 8ins), together with three woodcut illustrations by Jost Amman (1539-1591), from the Theatrum Mulierum of 1586, plus three late 15th century woodcut illustrations from books, including a scene of a man kicked by a horse, by Johann Gruninger in Strassburg, c. 1496-1502, a woodcut illustration of two men stoning and drowning a saint, printed by Gunther Zainer in Augsburg, c. 1470-73, and another woodcut illustration of the Crucifixion of St. Peter, from the Nuremberg Chronicle, printed by Anton Koberger in 1493 (7)

£100-150

127* Durer (Albrecht, 1471-1528). The Peasant and his Wife (Rustic Couple), 1497, copper engraving, a later impression, trimmed within plate mark, some surface soiling and pale water stain towards left hand margin, 105 x 70mm (4.15 x 2.75ins), framed and glazed Bartsch 83. Meder 86, Dodgson 19. (1)

£700-1000

128* Durer (Albrecht, 1471-1528). Adam and Eve, 1504, copper engraving, trimmed to image, with some old damage, creases and surface scratches, laid down on card, 247 x 190mm (9.75 x 7.5ins), framed and glazed

£100-150

Dodgson 39. Meder 1. (1)

£1500-2000

Lot 128 53

129* Fantin-Latour (Henri-Theodore, 1836-1904). “Lohengrin, acte III, Scene d’armour”, b & w lithograph, 1st state, before the addition of titles to head and foot, water-stain to upper right-hand corner of blank margin, sheet size 430 x 296mm (17 x 11.5ins), image size 23 x 15.2cm (9 x 6ins) Hediard 66. (1)

£100-150

130* Gessner (Johann Conrad, 1764-1826). Fighting Cavalry Scenes, pub. R. Ackermann, 1797-98, together nine uncoloured aquatint plates, by C. Ziegler, after Gessner, with margins, one or two closed marginal tears, and minor fraying to extreme edges, plate size 31.5 x 44 cm, and similar (8)

Lot 132

£150-200

131* Gill (Eric, 1882-1940). Elizabeth Gill, 1924, engraving on zinc, printed on Japon tissue, without plate number, some overall light staining and foxing, plate size 17.5 x 12.5cm (7 x 5ins), sheet size 30.5 x 24cm (12 x 9.5ins), mounted to upper corners on backing card Skelton, Engravings of Eric Gill, P 279. This engraving was first published by Douglas Cleverdon in 1929, in a work entitled The Engravings of Eric Gill. 400 copies were printed with plate numbers to each engraving, with an additional 90 special copies, a set of the numbered plates, as well as an extra suite printed on varying tissue papers without plate numbers, of which this is one example. (1) £50-80

132* Goltzius (Hendrik, 1558-1617). The Betrayal of Christ, 1598 [or later], copper engraving on laid paper, probably a 16th century impression, trimmed to margins, plate size 20.2 x 13.3 cm (1)

£200-300

133* Goya (Francisco de, 1746-1828). Tal para qual, etching with aquatint on wove paper, plate 5 from Los Caprichos, probably from the second edition of 1855 or the third edition of 1868, plate size 19.5 x 15cm (7.75 x 6ins), sheet size 28.5 x 20.5cm (11.25 x 8ins) (1)

£100-150

134* Holman Hunt (William, 1827-1910). “The Abundance of Egypt”, 1857, etching on india paper, plate size 15.5 x 12cm (6 x 4.75ins), mounted, together with Goya (Francisco de, 1746-1828), “The Prisoner”, etching, printed by Delatre, Paris, plate size 103 x 84mm (4 x 3.25ins), mounted, plus three Merivale Edition prints (Edge of the Wood by Stephen Whittle; Boy Bird’s Nesting by Eric Ravilious; and The Riverbank by Christopher Wormell), and four other small prints ‘The Abundance of Egypt’ is from the only published edition, as issued in ‘Etchings for the Art-Union by the Etching Club’, 1857. (9) £100-150

Lot 133

Lot 135 135* Lucas (David, 1802-1881). Sea Beach, Brighton, c. 1829-30, b&w mezzotint on india paper, a rare early proof, before reworking of the head of the figure, and other retouching, before letters, plate size 19 x 25 cm, together with another proof mezzotint on laid paper by David Lucas, after John Constable, being the view of East Bergholt, Suffolk, 1832, issued as the frontispiece to Constable’s English Landscape Scenery, and published in 1855, before letters, mount stained, plate size 23 x 24 cm, some marks and one or two small holes to blank margins, plus two proof aquatints by Paul Sandby (1731-1809), entitled North West View of St. Donats Castle in Glamorganshire & Manerbawr Castle in Pembrokeshire, numbered 4 and 8 in Roman numerals to top margin respectively, generally in good condition, sheet size 26 x 34cm (10.25 x 13.5ins) Shirley 17 for the first item (4)

£200-300

136* Piranesi (Giovanni Battista, 1720-1778). Colonna Trajan, from Vedute di Roma, 1st ed., 3rd state, 1758, etching on laid with margins, one small worm hole and small area of paper thinned to verso, 54.5 x 41cm (21.5 x 16ins) Hind 51. (1)

£300-500

137* Rembrandt (Harmensz van Rijn, 1606-1669). The Three Trees, 1643, etching with drypoint and burin on laid paper, a 20th century edition by R. de Boer, marked in pencil to lower margin ‘handprinted by R. de Boer’, plate size 21.5 x 27.7cm (8.5 x 11ins), good-quality by Sebastian D’Orsai, London, glazed (1)

£150-200

Lot 136 55

138* Rembrandt (Harmensz van Rijn, 1606-1669). The Pancake Woman, 1635, etching, some toning and thumb marks to surface, trimmed within the plate mark, 102 x 78mm (4 x 3ins), framed and glazed Hollstein 124. (1)

ÂŁ1000-1500

140* Tempesta (Antonio, 1555-1630). Alexandri Magni praecipuae res gestae, pub. Nicolaus Joannis Visscherius, 1608, ten etched plates on laid paper (with faint watermark), numbered I-X (of 12), including title page, lacking plates XI and XII, with short margins, a few minor marks, plate size 22.5 x 29 cm (10)

£300-400

141* Thorigny (Felix, 1824-1870). Landscape near Belatat-el Khamse Khobsat, Israel, pencil on paper, inscribed with title, 15 x 24cm (6 x 9.5ins), together with Vernet (Carle, 1758-1836), Peasant Woman and Horse, b&w lithograph, pub. Dupin & Cie, sheet size 27 x 29.5cm (10.5 x 11.5ins), plus Perignon (Alexis Nicolas, 17261782), The Midday Meal, b&w etching, trimmed to margins, 11 x 18cm (4.25 x 7ins), and other 18th and 19th century French engravings and lithographs including Le Prince, Duplessis-Bertaux (2), Edmond Hedouin, Gavarni (3 plates from Physionomies Parisiennes), Cham & Steinlen Provenance: All purchased by the current owner from the Folio Society Collectors’ Corner during the 1960s. (12) £150-200

139* Rosa (Salvator, 1615-1673). Figurine, c. 1656-1657, a collection of fifty-seven etched plates on laid paper (numbered up to sixty) a few unnumbered, mostly trimmed to margins, plate size 14 x 9.5cm A series of etched studies of soldiers, and male (and occasionally female) figures, published c. 1656-57, and dedicated to Rosa’s patron Carlo de Rossi, a banker and avid collector. (57) £200-300

142* Tomkins (Peltro William, 1760-1840). The Birth of the Thames, after Maria Cosway, pub. R. Ackermann, January 1, 1802, stipple engraving, with later hand colouring, 55 x 41cm (21.5 x 16ins), mount aperture, gilt frame, glazed (1)

Lot 140

£150-200

PERSIAN MINIATURES & QUR’ANS

Lot 143 143 Hafez. Divan of Hafez, Persia, 1110 A.H., 1698 A.D., illuminated title in blue, red and gold within polychrome foliate border, text in ruled border window-mounted within later waxed paper, a few leaves loose with light marginal waterstain, contemporary calf, rebacked, a little rubbed, 8vo (1)

144 Hafez. Divan of Hafez, Persia, late 16th/early 17th c., illuminated titles in gold and polychrome, text within ruled borders and gold foliate margins, first title laid down, occasional small repairs, closed tears, last two leaves with frayed and chipped foredges, light waterstain, bookplate of D.S. Robertson, a.e.g., later calf gilt, rebacked, some edge wear, 8vo

£500-800

(1)

Lot 144 58

£700-1000

Lot 145

Lot 146

145 Persian manuscript. Kitab i 窶連rz, a manual of esoteric teaching concerning nature and the soul, by Baba Afzal ul-Din Kasi. Composed for Fakhr ul-Din (Hajji), A.H. 1258 (1842), title with decorative headpiece in red, blue and gold, text within polychrome ruled border, closed tear at head of title, light minor spotting, library typecript note tipped-in at end, contemporary limp calf, rubbed, 8vo (1)

ﾂ｣150-200

146* Persian Miniature. Female cotton picker, probably 18th c., opaque watercolour on laid-down paper, heightened in gold, within ruled silver border and Persian text, one or two minor stains, 20 x 13.5cm (8 x 5.25ins), mounted, framed and glazed, together with an erotic Indian miniature, 19th c., depicting a horse with three copulating couples within, framed and glazed (2)

ﾂ｣150-200

147* Persian Miniature. Prince at Court with attendants, 19th c., opaque watercolour on paper, probably depicting Khusraw listening to Barbad playing the lute, from a Khamseh of Nizami, margin with reclining figure at head and foot and standing figure with two birds to right margin, old tape marks and chipped edges, 24.5 x 16cm (9.5 x 6.25ins), mounted, framed and glazed (1)

ﾂ｣100-150

Lot 147

148* Persian Miniature. Scene from the Shahnameh of Ferdowsi, Shiraz, c. 1580, pen, ink and opaque watercolour on paper, heightened in gold, text within boxes at head and foot, some light surface wear, repaired tear at foot, some retouching, 25.5 x 15.5cm (10 x 6.25ins), mounted, framed and glazed Provenance: From the collection of Wilfrid Blunt (1901-87). (1)

ÂŁ1000-1500

149* Persian Miniature. Shiraz School, c. 1520, pen, ink and opaque watercolour on paper, heightened in gold, depicting a country scene, possibly from the Shahnameh of Ferdowsi, of two noblemen kneeling in the foreground, one armed with bow and quiver of arrows, with surrounding hunting scene, text at head and foot, some surface wear and small areas retouched, 20 x 11cm (8 x 4.5ins), mounted, framed and glazed Provenance: From the collection of Wilfrid Blunt (1901-87). (1)

ÂŁ1500-2000

Lot 150

Lot 151

150* Persian Miniature. A Persian miniature, late 18th/early 19th c., pen, ink and opaque watercolour on paper with gold background, text at foot and verso, depicting a country scene, possibly from the Shahnameh of Ferdowsi, with two seated figures beside a stream, various animals and two armed figures standing behind a hill in the background, 23 x 15.5cm (9 x 6.25ins)

152* Persian Miniatures. Three Persian miniatures, 20th c., one depicting a nobleman on horseback, the other two depicting a hunting and pastoral scene, pen, ink and opaque watercolour on paper, the largest 14 x 24cm (5.5 x 9.5ins), framed and glazed

(1)

153* Persian School. A group of nine miniatures, late 18th/early 19th c., watercolour and gold on laid and wove paper, one or two watermarked, depicting battle, polo, hunting and leisure scenes, each within border and Nasta’liq script, some light marginal stains, largest image 18.5 x 13.5cm

(3)

£200-300

151* Persian Miniatures. Two Persian miniatures, late 18th/early 19th c., opaque watercolours on paper, heightened in gold, depicting scenes from the Shahnameh, inset text in Persian, one with short vertical split, small areas of restoration and minor soiling, 29.5 x 22cm (11.5 x 8.75ins), mounted and framed (2)

(9)

£200-300

£100-150

154 Qur’an. Persia, 18th c., illuminated title in blue, red and gold, text within gold ruled borders, sura headings and diacritics in red, circular gold punctuation marks, some repairs, mainly at front and rear, some light soiling and marginal wtaerstain, contemporary wallet calf, rubbed and scuffed, 8vo (1)

Lot 152 62

£200-300

ORIENTAL ART 155 Arabic Manuscript. Based on the Dalial-ul-Khairat of Al-Jazuli and the Shawaraq-ul-Anwar, relating to blessings on the Prophet Muhammad, signed by Muhammad Ziaddin, 1170 A.H., 1756 A.D., gold and polychrome headpiece, bold Naskh script with gold rosettes within ruled border, some light soiling and old repairs, watercolour illustration of Mecca at front, and Medina at end (rubbed), original calf with inlaid medallion and corner pieces, rebacked, rubbed, 8vo (1)

157* Chinese rice paper drawings. A group of eight rice paper watercolours of birds & insects, late 19th century, a few with some minor damage and closed tears, 19 x 32.5cm (7.25 x 13ins) to 12 x 17.5cm (4.75 x 7ins), mounted, framed & glazed, with Rowley Gallery label to verso of each (8)

£300-400

£200-300

156* Burma. An album of nineteen leaves of decorative watercolours, late 19th/early 20th c., pen, ink and opaque watercolour on paper, heightened in gold, depicting ceremonial, religious, agricultural and sporting scenes, some continuing onto other sheets, occasional minor soiling, loose in original pink cloth, covers with watercolour of an elephant and trainer, a few stains, small 4to (1)

£100-150

158* Indian Miniature. Krishna and Radha at court with female attendants, 19th c., fine opaque watercolour and gold on paper, decorative polychrome and foliate border, Sanskrit text to verso, 27.5 x 20.5cm (10.75 x 8ins), framed and glazed (1)

Lot 157

£150-200

Lot 159

161* Mughal School. Portrait of a prince, late 18th c., fine opaque watercolour on paper, heightened in gold, of a kneeling prince on a terrace, holding a sheathed katara dagger, with sword and book in front, gold bolster cushion behind and turquoise background beyond, gold foliate border, Persian text at foot and to verso with small marginal repaired holes, 21 x 11.5cm (8.25 x 4.5ins)

159* Kangra School. Krishna arresting a fanatic threatening Sita (?) and her lady attendants, c. 1750, pen, ink & opaque watercolour on paper, some light dust-soiling, 17.5 x 23.5cm (6.75 x 9.25ins), mounted, framed and glazed Provenance: From the collection of Wilfrid Blunt (1901-1987). (1)

£500-800

(1)

160* Mughal School. Picnic scene, early 19th c., opaque watercolour on paper, heightened in gold, depicting a group of five gentlemen, one kneeling on a rug with a book, flasks and other utensils and fruit beneath, trees and mountains in the background, Persian text at head and to verso, gold foliate and bird border, 17.5 x 8.5cm (7 x 3.25ins) (1)

£300-400

162* Mughal School. Portrait of a lady, 18th c., opaque watercolour on card, heightened in gold, Persian calligraphy to top margin, slight surface abrasions, 19 x 12.5cm (7.5 x 5ins), mounted (1)

£100-150

£150-200

Lot 161

JAPANESE WOODBLOCK PRINTS

Lot 163

Lot 164

Lot 165 66

Lot 165

163* Azechi (Umetaro, 1902-1999). Mountaineer and Bird, 1969, colour woodblock, signed, dated, and numbered 74/150, 34.5 x 22cm (13.5 x 8.75ins) mount aperture (1)

165* Hiroshige (Ando, 1797-1858). Woman seated on a platform, colour woodblock, 32.5 x 7 cm, mounted, together with Boats in the Harbour, c. 1850, double-page colour woodblock book illustration, from Hiroshige’s Ehon Edo Miyage (Souvenirs of Yedo), 1850-67

£150-200

(2)

164* A late 19th c. Chinese carved ivory group of a man and a boy, approx. 7.5 ins. (19 cms.) tall (1)

£150-200

166* Hokusai (Katsushika, 1760-1849). Two ladies and a child on a verandah, colour woodblock surimono, 20.8 x 18.6 cm

£200-300

(1)

£200-300

167* Hokusai (Katsushika, 1760-1849). Pilgrims at Kirifuri Waterfall, Oban colour woodblock, from the series Shokoku Takimeguri (Going Round the Waterfalls in Various Provinces), titled Shimotsuke Kurokamiyama Kirifuri no taki (Kirifuri Waterfall at Mount Kurokami in Shimotsuke Province), lacking censorâ&#x20AC;&#x2122;s seal, some light toning, minor edge wear, 37.2 x 25.5 cm (1)

ÂŁ2000-3000

170 Japanese colour woodblocks. Book of early 20th c. Japanese woodblocks, twenty corner-mounted colour prints, some folding, mostly depicting women, some minor edge-creasing, orig. patterned cloth, with fabric ties, folio (1)

£100-150

168* Hokusai (Katsushika, 1760-1849). Valley landscape with distant view of Mount Fuji, c. 1830-35, colour woodblock, from the series of 100 Views of Mount Fuji, one or two light stains, 26 x 38.2cm (10.25 x 15ins), framed and glazed (1)

£150-200

171 Kasamatsu (Shiro, 1898-1991). Bird amongst foliage, dated 1955, colour woodblock, signed and numbered in pencil 45/100, image size 37 x 25cm, framed and glazed (1)

169* Hokusai (Katsushika, 1760-1849). Surimono of a Monkey, colour woodblock, 20.5 x 18.5cm (8 x 7.25ins), framed and glazed (1)

£100-150

£80-120

Lot 172

Lot 173 172* Keith (Elizabeth, 1887-1956). Hong Kong, colour woodblock signed to lower right, blank margin chipped with some loss to lower edge and extreme top left corner, image size 31 x 38.5cm (12.3 x 15.2ins)

173* Kiyochika (Kobayashi, 1847-1915). Hashiba no yugure (Evening at a Ferry Crossing), oban yokoe colour woodblock, a good impression and colour, light central vertical crease, 23.3 x 33.9 cm

(1)

ÂŁ400-600

ÂŁ500-800

Lot 174

Lot 175

174* Kiyonaga (Torii, 1752-1815). Two Bijin in the rain, colour woodblock, light waterstain to upper portion, one or two minor marks and pinhole to each corner, 38 x 25.5 cm

177* Kunisada (Toyokuni III, 1848-1920). Night scene with noblewoman and man in an interior, colour woodblock print, 33 x 23.5 cm, framed and glazed

(1)

£150-200

£70-100

175* Kogyo (Tsukioka, 1869-1927). Shozon’s attack on Yoshitsune, from the series Nogaku Zue (Noh Plays), June 1898, colour woodblock in good condition with strong colours, 24 x 35.5 cm, framed and glazed (1)

£100-150

176 Kunisada (Utagawa, 1786-1865). Portrait of a kabuki actor, colour woodblock print, 35.5 x 24cm (14 x 9.5ins), a few light creases, mounted

178* Kuniyoshi (Utagawa, 1797-1861). Tawara Tota Hidesato and Dragon Princess of Lake Biwa, Kusatzatsu (from the series FiftyThree Parallels for the Tokaido Road), pub. Ebirin, 1845-46, oban colour woodblock, in generally good condition with fresh colours, 36.5 x 25cm (14.25 x 9.75ins), framed and glazed

(1)

£70-100

£150-200

Lot 179

179* Kyochika (Kobayashi, 1847-1915). Sudmidagawa at Night, 1881, colour woodblock, some light surface soiling, with loss of caption to left hand margin, sheet size 24.5 x 32.5 cm (1)

£300-500

180* Modern Japanese School. Street scene at night, with lanterns and moon, early to mid-20th century, colour woodblock in good condition, sheet size 45 x 30 cm, mounted (1)

£100-150

181* Oda (Kazuma, 1882-1956). The Great Bridge at Matsue, 1924, colour woodblock, pub. Shosaburo Watanabe, Tokyo, some pale toning, image size 23.5 x 36 cm, sheet size 26 x 39 cm, framed and glazed One of the Founders of the Sosaku Hanga movement, which included Watanabe and Saito, Kazuma Oda was much influenced (like many of his contemporaries), by the new French printmakers such as Toulouse-Lautrec and Bonnard. The present work is described and illustrated in Lawrence Smith, The Japanese Print Since 1900, pub. British Museum, 1983, no. 70. (1) £200-300

182* Saito (Kiyoshi, 1907-1997). Street scene with farmer and cow, colour woodblock, signed in pencil lower left, sheet size 28.7 x 42 cm (1)

£200-300

Lot 180

Lot 181

Lot 182

Lot 183 183* Sekka (Kamisaka, 1866-1942). Figure in a snowstorm, from Momoyo-gusa, c. 1909-1910, colour woodblock print, with handstencilled light bodycolour, 30 x 44.5cm (12 x 17.5ins) mount aperture, framed and glazed (1)

ÂŁ200-300

184* Sekka (Kamisaka, 1866-1942). Child playing a flute beside an ox, from the series Momoyo-gusa, c. 1909-1910, colour woodblock, oban tate-e diptych, 30 x 46.5cm (11.75 x 18.25ins), framed and glazed (1)

ÂŁ200-300

Lot 185

Lot 186

185* Shunsen (Natori, 1886-1960). Female figure, colour woodblock print, of a Japanese lady, 40 x 27cm (15.75 x 10.5ins), tipped-in on card (1)

£150-250

186* Toshihide (Migada, 1863-1925). Man throwing his sword into the sea, from the series Kunyo juhachi ban (Eighteen examples of lordly behaviour), colour woodblock, oban tate-e diptych, with publisher’s stamp of Akiyama Buemon, and date stamp Meiji 27, sheet size 37 x 48.5cm (14.5 x 19ins), framed and glazed, with printed label from the Antiquariaat C.P.J. van der Peet, Amsterdam, to verso (1)

£200-300

187* Toyohiro (Utagawa, 1773-1828). Ebi Takara-bune, Lobster Surimono, colour woodblock depicting a lobster in the shape of a sailing ship, some creasing to top left corner, sheet size 21.5 x 18 cm (1)

£100-150

Lot 187 75

Lot 188

188* Tsuga (Sefu, 1880-1978). Japanese Bowls, colour woodblock, 24 x 35.5cm (9.5 x 14ins), framed and glazed Seifu Tsuga lived in Paris from 1907 to 1911, and studied art under Jean-Paul Laurens. His work pioneered the combination of Japanese and Western styles in Japanese painting and printmaking. (1) £200-300

189* Utagawa (Yoshiiku, 1833-1904). Flower Form pictures taken before a full moon, c. 1867, colour woodblock print, 36 x 24 cm, together with two further woodblock prints by Yoshiiku from the Tokaido series, entitled Maru-umi and Miya, each 18 x 24 cm, plus one other 19th c. Japanese colour woodblock print depicting a robbery Also known as Ochiai Yoshiiku. (4)

£150-200

190* Yoshitsuya (Utagawa Ichieisai, 19th c.). Three Men at a Dining Table, served by a Japanese female attendant, colour woodblock, sheet size 35 x 24cm (13.75 x 9.5ins), mounted, together with another similar woodcut by the same artist, similar size, mounted (2)

£100-150

Lot 190

BRITISH & CONTINENTAL ETCHINGS 191* Anderson (Alfred Charles Stanley, 1884-1966). “Toledo Cathedral”, 1928, etching with drypoint, signed in pencil, plate size 24.2 x 30cm (9.5 x 11.75ins), mounted, with gallery label on verso of mount (1)

£100-150

192* Appleby (Wilfred C., 20th c.). “The Rt Hon Winston Churchill”, 1940, etched head and shoulders portrait of Churchill with ‘Finest Hour’ quotation, plate size 30.2 x 22.6cm (11.75 x 8.75ins), mounted, framed and glazed Limited signed edition, numbered 50/111. (1)

£70-100

193* Auerbach-Levy (William, 1889-1964). ‘Happy’, 1919, & ‘Poete du Quartier’, 1940, etching with drypoint, and soft-ground etching respectively, each signed, the second dated, generally in very good condition, plate size 30 x 25cm (11.75 x 9.75ins) and similar, both framed and glazed (2)

£70-100

Lot 191

Lot 193

194* Austin (Robert Sargent, 1895-1973). The Letter, copper engraving, signed and dated 1938 in pencil, plate size 13.5 x 10.2cm (5.25 x 4ins), mounted (1)

£150-200

Lot 195

Lot 196

195* Austin (Robert Sargent, 1895-1973). On the Stairs, copper etching, inscribed by the artist in pencil to lower margin ‘to A.M.B.S. from Robert Austin Apr. 16 1937’, and marked 6th State 3 proofs, a good clean impression, plate size 18.5 x 15cm (7.25 x 6ins), framed and glazed (1)

197* Blampied (Edmund, 1886-1966). San Sebastian Harbour Scene, b&w etching, signed in pencil, with full margins, plate size 20.5 x 30.5cm (8 x 12ins), together with Grazing Horses, & Carting Seaweed, together two etchings, both signed in pencil, with margins, plate size 16.5 x 22cm (6.5 x 8.75ins), and 12.5 x 28.5cm (5 x 11.25ins), respectively, plus one other etching of Carthorses by R. C. Peter, signed and numbered 12/50

£150-200

196* Blampied (Edmund, 1886-1966). A Market Argument, October 1929, drypoint etching, signed and dated in the image, signed in ink to lower margin, and numbered 70/100, the full sheet, light mount discolouration, plate size 27 x 27cm (10.5 x 10.5ins) Appleby 141. (1)

Appleby 98, 37 & 15. (4)

£200-300

198* Bone (Sir David Muirhead, 1876-1953). “Windy Night, Stockholm”, 1935, drypoint, printed in brown-black ink on laid japan paper, showing fishermen with large circular nets on the canal in front of the Royal Palace, signed in pencil to lower margin, plate size 31.7 x 21.2cm (12.5 x 8.25ins), sheet size 400x 27.3cm (15.75 x 10.75ins), tipped onto backing card, framed and glazed

£200-300

A rich, dark impression of one of Bone’s dramatic night scenes. Only 88 impressions were made. (1) £500-800

Lot 198

Lot 199 199* Brangwyn (Frank, 1867-1956 ). French cafe scene, etching with drypoint, signed in pencil, plate size 20.5 x 25.2cm (8 x 10ins), mounted (1)

ÂŁ300-400

200* Bresslern-Roth (Norbertine von, 1891-1978). Owl on a branch, colour woodcut, signed in pencil, image size 18.5 x 19.5cm (7.25 x 7.75ins), framed and glazed (1)

ÂŁ300-500

201* Brockhurst (Gerald Leslie, 1890-1978). Ranunculus, 1921, etching with aquatint on laid paper, plate size 20 x 15cm (7.8 x 5.8ins), with margins, together with Harding (Frank, late 19th/early 20th c.), The Harbour, Harwich, etching on laid paper, signed and titled in pencil, plate size 11 x 31.5cm (4.25 x 12.4ins), with margins, plus Roussel (Theodore Casimir, 1847-1926), London street scene, etching, trimmed to plate margins, with tab pencil signature, some light foxing, 15 x 21 cm, mounted, and other various British etchings, including Percy Robertson, William Strang, Turner, Frank Hill, Millais, and including a signed colour woodcut by the Canadian artist Barbara Barleigh [Barbara Harvey Leighton, 19111986], entitled Lake Louise, signed, titled, and numbered 35/100 (19)

ÂŁ300-400

Lot 200 80

202* Brockhurst (Gerald Leslie, 1890-1978). Pepita, etching, signed in pencil to lower margin, plate size 11.2 x 10.8cm (4.4 x 4.25ins), framed and glazed, with label of the Royal Exchange Art Gallery, London to verso

204* Brouet (Auguste, 1872-1941). Danseuse à la barre, b&w etching with drypoint, signed, numbered 37 from an edition of 75, and with pubs. blindstamps to lower margin, plate size 20 x 18.5cm (8 x 7.25ins), framed and glazed

(1)

£150-200

205* Camoin (Charles, 1879-1965). Girl on a stool reading, drypoint etching, signed, and numbered VII/XX, plate size 17.5 x 23cm (7 x 9ins), framed and glazed

203* Brockhurst (Gerald Leslie, 1890-1978). Nadia, etching, signed in pencil to lower margin, some light overall toning, plate size 13.7 x 11.2cm (5.5 x 4.4ins), framed and glazed, with label of the Royal Exchange Art Gallery, London to verso (1)

£100-150

(1)

£150-200

Lot 204

206* Camoin (Charles, 1879-1965). Standing nude, drypoint etching, signed in the image, numbered VII/XX, plate size 27.5 x 17.5cm (10.75 x 7ins), framed and glazed (1)

Lot 205

£150-200

207* Dawson (Nelson, 1859-1941). A large archive of etchings, drawings, tracings and lithographs, c. 1909-30, including views of Venice, Switzerland, the North East Coast (particularly Scarborough, Whitby and Robin Hood’s Bay), the Thames, Devon, etc., many signed, including some duplicates, titles includeYacht Aground, Runswick, 1910, Brigantine towing into Scarborough Harbour, Southwold Fishermen,The Harbour Booms Away, Scarborough, Boat of the Seven Black Eagles, Appledore Sea Wall, The Julia of Bideford, Highland Scot & St. Sun III, San Giorgio, Venice, St. Mark’s Campanile, Chioggia, Ponte Paradiso, Venice, Venetian Oar Makers, Metal Workers, Chioggia, etc., various sizes (32 x 39cm and slightly smaller) (-)

£700-1000

Lot 209 208* Delleaney (Greta, 1884-1968). Seven etchings of rural scenes, seven etchings, all signed and titled in pencil by artist below image, various sizes, mounted, together with ‘Lewes’,unsigned pastel and pencil drawing, titled in pencil and base of image, 16 x 22cm, mounted, framed and glazed The etchings are titled: - ‘Milking Time, Amberly’, ‘Pig Farm’, ‘January Lambs’, ‘Milking Time’, ‘Spring in the New Forest’, ‘Lunchtime Mass Farm’ and ‘The Storm’. (8) £120-180

209* Dent (Robert Stanley G., 1909-1991, and others). A mixed collection of twelve early 20th century etchings, including signed examples by Stanley Dent, E.Owen Jennings, H.W.Freeth, J.M.Bull, N.Ward and Miriam Macgregor, various sizes, all mounted (12)

£150-200

210* Edwards (Edwin, 1823-79). Gentleman with pony and trap near a gate, etching, signed and dated May 1861, plate size 26.3 x 16.5cm (10.3 x 6.5ins), with margins, tipped-on to backing card, together with three other signed etchings, each dated April 1861 (Wynfarthing Oak, Ipswich & Gainsborough’s Lane on the Orwell), plus twenty other rare proof etchings by Edwin Edwards, unsigned, mostly with full margins, various sizes (24)

£200-300

211* Etchings. A mixed collection of seven etchings, early 20th century, including signed examples by Edward Cherry, James Grant, W.G.Penn and W. Fairclough, various sizes, mounted (7)

£100-150

Lot 210

Lot 212 212* Gibbings (Robert John, 1889-1958). Lovers by a riverbank, b&w woodcut on Japan, signed and numbered 16.20 in pencil, sheet size 12.5 x 18.5 cm, (5 x 7.25ins), together with Leighton (Clare Veronica Hope, 1899-1988), The Washing Boat, 1930, wood engraving on japan, signed and numbered 3/50, with full margins, sheet size 20.5 x 26.7cm (20.5 x 26.7 cm) (8 x 10.5ins), plus Craig (Edward Gordon, 1872-1966), Hilltop Town, 1907, woodcut on japan, signed with initials and dated, image size 4 x 14.5 cm, sheet size 11.5 x 18 cm, one of only 150 copies printed, this copy numbered 23, and View of a mountain with Italianate buildings, woodcut on japan, signed with initials, and dated 1926, one of only 50 copies, this copy numbered 9, sheet size 20 x 26.5cm (8 x 10.5ins), plus other various woodcuts, including two further pieces by Edward Gordon Craig (including Miss Mary Sheppy), two small wood engravings by Eric Gill, one by John T. Greenwood, Katherine M. Clayton, etc. (18)

£400-600

213* Gill (Eric, 1882-1940). Portrait of Gordian Gill, 1924, etching, with margins, signed with initials and numbered 43/50, plate size 20.5 x 15cm (8 x 6ins), together with four other impressions of the same work, including two experimental proofs printed from the surface of the plate on Japan Physick 280. (5)

£200-300

214* Gosse (Laura Sylvia, 1881-1968). Sir Edmund Gosse in his study, etching on laid paper, signed and titled in pencil, additionally signed in pencil by Edmund Gosse, 25 x 19cm (9.75 x 7.5ins) mount aperture, framed and glazed (1)

Lot 214

£200-300

215 Gross (Anthony, 1905-1984). Landscape with preying mantis, etching, signed by artist to lower margin, plate size 35 x 45cm, framed and glazed (1)

£150-200

218* Hughes-Stanton (Blair, 1902-1981). The Maze, 1929, woodengraving on japon, signed, dated, titled, and numbered 10/30, in very good condition, image size 14 x 12cm (5.5 x 4.75ins), framed and glazed (unexamined out of frame) (1)

£200-300

216* Haden (Sir Francis Seymour, 1881-1910). Windsor, 1878, etching, signed in pencil lower right, plate size 32.8 x 44.5cm (13 x 17.75ins), wide margins, some overall spotting, framed and glazed, together with Dodd (Francis, 1874-1949). Half length portrait of a gentleman, etching, signed in pencil, plate size 24.5 x 18.5cm (9.5 x 7.25ins), framed and glazed (2)

£100-150

219* Hughes-Stanton (Blair, 1902-1981). Holy Family, 1935, b&w wood engraving, signed and dated, titled and numbered 4/15, additionally inscribed to lower edge ‘To Bill and Li from Blair & Anne. Xmas 52’, sheet size 28 x 39cm (11 x 15.25ins), together with Venus, 1938, b&w wood engraving, signed and dated, titled and numbered 20/20, image size 11.5 x 19cm (4.5 x 7.5ins), framed and glazed, plus Susannah and the Elders, 1929, b&w wood engraving on Japan, signed and dated in pencil, the full sheet, image size 18 x 12.5cm (7 x 5ins), full margins

217* Hebborn (Eric). Interior with the artist in bed, 1960-61, original engraved woodblock, stamped with manufacturer’s stamp to verso of T.N. Lawrence, Bleeding Heart Yard, Greville St., London EC1, 15.2 x 20.2cm (6 x 8ins) (1)

£100-150

(3)

£300-400

220* Inshaw (David, 1943-). ‘West strip with comet’, original etching (Ap) titled in the plate, signed in pencil by the artist, image 10 x 10 cm, framed and glazed (1)

£200-250

221* James (H.R., 20th c.). Cirencester market, etching, showing a busy market square, with throngs of people, hawkers, tented stalls, and the Church of St. John the Baptist, signed in pencil to lower margin, 17.7 x 20.5cm (7 x 8ins), mounted, framed and glazed Limited edition, 4/75 copies. (1)

£70-100

222* Jones (David, 1895-1974). Two Illustrations to the Book of Jonah, 1926, two b&w wood engravings on Japan, both full sheet, signed, titled and numbered 4/15, one or two faint vertical creases towards right hand blank margin, sheet size 27 x 20.5cm (10.5 x 8ins), together with a b&w copper engraving by David Jones for the Rime of The Ancient Mariner, an unsigned proof, wide margins, plate size 17.8 x 13.8cm (7 x 5.4ins), window-mounted

Lot 221

(3)

£350-450

223* Lindsay (Lionel Arthur, 1874-1961). The Golden Pheasant, woodcut, signed in pencil, image size 60 x 76mm (2.3 x 3ins), framed and glazed, together with another similar signed woodcut by Lionel Lindsay (some diagonal creasing), framed and glazed (2)

£50-80

224* 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 21.2 x 38cm (8.25 x 15ins), framed and glazed (1)

Lot 222

£70-100

Lot 225 225* McBey (James, 1883-1959). The Dead Sea, 1921, drypoint etching on laid paper, signed and numbered A18, in ink, with full margins, plate size 20 x 30cm (8 x 11.75ins), together with Gerona, May 1921, drypoint etching, signed and numbered XLIII/L, with margins, plate size 18.5 x 32.5cm (7.25 x 12.75ins), plus GwynneJones (Allan), Harbour Scene, etching, signed in pencil, with margins, plate size 20 x 25.3cm (7.9 x 10ins) (3)

£300-400

226* Meryon (Charles, 1821-1868). La Tour de l’Horloge, 1852, etching with engraving on chine collé with margins (some browning to extreme edges), plate size 26.5 x 19cm (10.5 x 7.5ins), together with Bain-Froid Chevrier, 1864, etching, with wide margins, plate size 13 x 14.5cm (5 x 5.75ins) Schneiderman 23 & 93. (2)

£250-350

Lot 226

227* Nevinson (Christopher Richard Wynne, 1889-1946). The Spirit of Progress, 1933, b&w autolithograph on wove paper, as issued in The Studio, April 1933, sheet size 28 x 19.4cm (11 x 7.6ins) (1)

£150-200

228* Niekerk (Sarah van, 20th-c.). ‘Nant Pasgan Bach’, uncoloured woodcut (A/P), signed and titled by the artist in pencil, image 24 x 16.5 cm, together with Paynter (Hilary, 20th-c.), ‘Threshold’, uncoloured woodcut (25/100), signed and titled by the artist in pencil, image 14 x 8.5 cm, with two other small woodcuts, including one of a scarecrow by Claire Dalby (19/185) and another of sheep by Roger Harris (79/100), all framed and glazed (4)

£200-250

Lot 227

229* Osborne (Malcolm, 1880-1963). Maggie, etching, signed and dated 1905 in the image, plate size 12.5 x 6.5cm (5 x 2.5ins), mounted, together with Valley farm, Semur, etching with drypoint, signed in pencil, plate size 14 x 33cm (5.5 x 13ins), mounted (2)

Lot 228

£100-150

230* Palmer (Samuel, 1805-1888). The Early Ploughman, c. 1860, etching on thick wove paper, an early proof impression, with wide margins, a few marks to edges, faint trace of erased pencil signature to lower right, plate size 18 x 25.5cm (7 x 10ins) Lister E.9. (1)

£1000-1500

231* Pellew (Claughton, 1890-1966). The Nativity, 1923, b & w woodcut, signed and dated, and inscribed to Kechie, some light foxing, image size 10 x 14cm (4 x 5.5ins), framed and glazed (1)

232* Phipps (Howard, 1954- ). ‘Beach’s Bookshop, Salisbury’, uncoloured woodcut, signed, titled and dated by the artist, 1995, together with eight other uncoloured woodcuts by the same artist, including ‘Thomas Hardy’s Study at Max Gate, Dorchester, 1993, ‘Knowle Hill, Broadchalke’, 1994, ‘Suffolk Shepherd’, 1999, ‘Dean Coppice’, 1995, etc., all but one titled by the artist, image size approx. 10 x 12.5cm and smaller, all framed and glazed

£100-150

All limited to 100, 150 or 250 copies. (9)

£200-300

234* Raverat (Gwen, 1885-1957). ‘Elms by a pond’, uncoloured woodcut, signed and titled by the artist, image 10 x 12.5 cm, together with Butcher (Enid, 20th-c.), The tree surgeon, uncoloured etching (11/30), signed in pencil by the artist, 19 x 13.5 cm, and two uncoloured woodcuts by John O’Connor, ‘Boy bathing’, and ‘Cockle boats’, both signed and titled by the artist and both numbered 191/500, 19 x 15 cm, all framed and glazed

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 (1)

£100-150

(4)

Lot 237 90

£250-350

235 Richards (Frederick Charles, R.E., 1878-1932). ‘The Quay, Bristol’, etching, signed by artist to lower margin, plate size 27 x 20.5cm, with margins, together with three others by the same artist, each signed to lower margin (4)

£80-120

236* Robins (William Palmer, 1882-1959, and others). A mixed collection of eight various etchings, mostly early 20th century, including signed examples by W.P.Robins, Gertrude Hayes and J. C. Robinson (2), various sizes, mounted (8)

£100-150

237* Royds (Mabel Alington, 1874-1941). Boat-builders, c. 1925, colour woodcut, signed and titled in pencil, with full margins, image size 22 x 29cm (8.5 x 11.5ins), together with five other colour woodcuts by Mabel Royds of Indian figure subjects, including snake charmer, harvesting, Forgers, etc., each signed in pencil, with full margins (6)

£400-500

239* Selaski (Jozef, 20th-c.). Harbour wall, uncoloured wood engraving, signed in pencil by the artist, image approx. 14 x 19 cm, together with another uncoloured woodcut by the same artist, interior scene with pear tree, partridge, chickens, etc., signed in pencil by the artist, image size 15 x 11.25 cm, together with Woodcock (John, 20th-c.), Harvest mouse, uncoloured woodcut, signed and titled by the artist (5/150), image size 11.5 x 8 cm, and four other uncoloured woodcuts including two by Miriam Macgregor, one by Anna Ravenscroft and another by Paul Kershaw, all framed and glazed (7)

240* Squirrell (Leonard Russell, 1893-1979). Lakeland View, 1937, uncoloured aquatint, signed and dated within the image and additionally signed in pencil, lightly toned, plate size 22.5 x 35.5cm (9 x 14ins), framed and glazed

238* Schmidt-Rottluff (Karl, 1884-1976). Menschenpaar (Couple), pub. Das Kunstblatt, 2, no. 2, February, 1918, woodcut, 22.2 x 16.8cm (8.75 x 6.75ins), mounted, framed and glazed Davis-Rifkind 2556. (1)

£250-350

(1)

£200-300

£100-150

241* Squirrell (Leonard Russell, 1893-1979). Ruined castle on the Scottish coast, etching with drypoint, signed in pencil, some overall toning, plate size 25 x 30cm (9.75 x 11.75ins), framed and glazed (1)

ÂŁ100-150

242* Sutherland (Graham, 1903-1980). May Green, 1927, etching on laid paper, a trial proof before the plate is reduced in height, with margins, signed in pencil, plate size 13 x 16cm (5 x 6.3ins) Man 28. (1)

Lot 241

Lot 242

ÂŁ400-600

243* Tanner (Robin, 1904-1988). Wren, and Primroses, etching, as issued in Kenneth Guichard, British Etchers 1850-1940, published in 1977, signed in pencil, 9.5 x 11.2cm (3.75 x 4.5ins), framed and glazed (1)

245* Tanner (Robin, 1904-1988). Full Moon, etching, signed in pencil, plate size 24.5 x 18.8cm (9.6 x 7.4ins), framed and glazed

£100-150

(1)

£150-200

244* Tanner (Robin, 1904-1988). The Old Road: Elegy for the English Elm, 1976, etching, as issued in Kenneth Guichard, British Etchers 1850-1940, published in 1977, signed in pencil, plate size 30 x 23.5cm (11.75 x 9.75ins), framed and glazed

246* Thomas (Henri Joseph, 1878-1972). La Beauté du Diable, colour etching, signed, titled and numbered 3/100, additionally inscribed ‘A mon vieul ami Georges Van Jé’, plate size 33.5 x 24.5cm (13.25 x 9.75ins), mounted, together with another smaller uncoloured etching with aquatint of a young lady wearing a hat, signed and similarly inscribed, additionally stamped with artist’s monogram, plate size 15 x 10.5cm (6 x 4.1ins), sheet size 25 x 19cm (9.75 x 7.5ins)

(1)

(2)

£150-200

£100-150

248* Tute (George William, 1933- ). ‘Bather in Landscape’, uncoloured woodcut, signed and titled by the artist in pencil, image 10 x 15 cm, together with Cosman (Milan, 20th-c.), Ralph Vaughan Williams at piano, original etching, signed in pencil by the artist, image 15 x 20 cm, plus Petts (John, 1914-1991), ‘Welsh mountain Christmas’, uncoloured woodcut, signed, titled and dated by the artist, 1939, (10/50), image 9.5 x 9.5 cm, and four others, including a small etching of a mouse by Frans Wesselman, an uncoloured woodcut by Anne Jope and two by Harry Brockway, all framed and glazed (7)

£200-300

247* Tushingham (Sidney, 1884-1968). Venetian Canal scene with gondoliers, etching with drypoint, signed in pencil, plate size 26.5 x 37cm (10.5 x 14.5ins), mounted, together with Jennings (E. Owen, 1899), Sandcart, Siena, etching, signed and titled in pencil, plate size 26 x 31.5cm (10.25 x 12.5ins), mounted (2)

£150-200

249* Underwood (Leon, 1890-1975). ‘The Novel’, original uncoloured etching, signed, titled and dated by the artist in pencil, 1921, sheet size 22 x 16.5 cm, together with Slatterly (Rosemary, 20th-c.), ‘St. Hubert Converted - (1st state)’, original etching with sepia tint, signed and titled by the artist in pencil, image 25 x 20 cm, plus Thompson (Ken, 20th-c.), ‘How shall we sing the songs of God in a strange land’, uncoloured woodcut (22/30) with presentation inscription in pencil by the artist ‘For J. & H. from Ken, 1993’, image 10 x 7.5 ins, another woodcut by the same artist and three others, various, all framed and glazed (7)

Lot 248

£200-250

250* Walcot (William, 1874-1943). The Giudecca No. 2, Venice, 1913, & The Hospital of St. Mark’s, Venice, 1920, together two drypoint etchings, each signed in pencil, plate size 10.5 x 19.5cm (4 x 7.6ins) and 12 x 17.5cm (4.75 x 7ins), both framed and glazed (2)

£150-200

251* Whaley (Harold, 20th-c.). ‘The Calf of Man’, 1923, sepia aquatint, signed, dated, and titled in pencil, single unobtrusive worm hole to lower right corner, image size 22.5 x 28.5cm (8.75 x 11.25ins), framed and glazed, with old Isle of Man framer’s label of Bregazzi & Co., Douglas, to verso (1)

£70-100

252* Whistler (James Abbott MacNeill, 1834-1903). The Little Putney, No. 1, 1879, etching on pale cream wove paper, second state (of 2), with butterfly signature to lower right, plate size 13.3 x 20.6cm (5.25 x 8.1ins), a little mount stain, framed and glazed, with printed certificate of authenticity from the Associated American Artists, New York, to verso Kennedy 179. (1)

£300-500

253 Whistler (James Abbott MacNeill, 1834-1903). Whistler As I Knew Him by Mortimer Mempes, pub. Adam and Charles Black, 1904, colour and b&w plts., occn. marginal spotting, t.e.g., remainder rough-trimmed, orig. decorated cloth gilt, a little rubbed and sl. frayed to extrems., with one or two small tears to head of spine, 4to Limited edition 351/500, signed by Mortimer Mempes, with an original by Whistler entitled ‘The Mempes Children (Kennedy 261). (1) £200-300

255* 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 28.5 x 20cm (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

254* Whistler (James Abbott MacNeill, 1834-1903). Nursemaids, Les Bonnes de Luxembourg, 1894, b&w lithograph on wove paper, sheet size 32 x 24cm (12.5 x 9.5ins), adhesive glue marks to left hand margin, together with four other published lithographs by Whistler (Savoy Pigeons, Gants de Suede, The Long Gallery, Louvre and Little Evelyn), 32 x 24cm (12.5 x 9.5ins), and a little smaller, of which three are somewhat toned, with a few minor marks Way 48. (5)

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) £200-300

£250-350

POSTERS & ARTWORK

Lot 256 256* Armstrong (John, 1893-1973). Theatre-Goers Use Shell, 1938, colour lithograph poster, printed by Waterlow, the full sheet, in good condition, 76 x 114cm (30 x 45ins), framed and glazed (1)

£600-900

257* Gorbatov (Konstantin Ivanovich, 18761945). Scarborough. It’s Quicker by Rail, colour lithograph poster, printed by Haycock Press, for London & North Eastern Railway, creased where previously folded, with one or two discreet repairs, and short closed marginal tears (generally in bright condition), sheet size 102 x 127cm (40 x 50ins), gilt frame, glazed (1)

£300-500

Lot 257

Lot 258 258* Goursat (Georges, ‘Sem’, 1863-1934). A collection of twenty-five various colour prints entitled Chez Maxim’s, Palais de Glace, Au Cafe de Paris, Ouverture de la Chasse au Bois de Voulogne, Chez Voisin, etc., c. 1915, together twenty-five, including six double-page, and nineteen single-page, each with stencil handcolouring, most with pencil identifications to the figures, one or two with additional annotations in ink, some marks and short closed tears to margins, each single-page plate, 52 x 36cm (20.5 x 14.25ins), loosely contained in contemp. portfolio, soiled and worn, folio (1)

£400-600

259* Guien (Louis, early 20th-c.). Service A Cafe, Service de Table, & Assiettes Decoratives Huiler Cendrier, Bonbonniere, Vases de Jardin et d’Interieur, c.1920’s, three art deco gouache, pencil and charcoal poster designs on grey and brown wove paper, each signed by artist, each 97.5 x 68.5cm, framed and glazed Louis Guien, a decorative artist based in Nice in the South of France, is known for his art deco designs for faience. (3) £300-500

Lot 259

Lot 262

260* Legrand (Louis, 1863-1951). Camille Mauclair, Louis Legrand, Peintre et Graveur (Etudes sur quelques artistes originaux), Paris, 1910, sixteen b & w plts., including three original etchings and three original drypoints, six col. plts., and num. b & w illusts., orig. printed wrappers bound in, contemp. dark blue half morocco gilt, a little rubbed to extremities, 4to, together with Demolder (Eugene), Felicien Rops, Etude Patronymique, avec quelques reproductions brutales de devises inedites de Rops, Paris, Rene Pincebourde, 1894, ten b & w plts. after Rops at rear, with some scattered spotting, orig. printed wrappers bound in, t.e.g., contemp. black quarter crushed morocco, 8vo in 4’s (Large Paper copy) (2)

262* Mucha (Alphonse, 1860-1939). Leon Maillard, Les Menus & Programmes Illustres, Invitations - Billets de faire part - Cartes d’adresse - Petites estampes du XVIIe siecle jusqu’a nos jours, Paris, 1898, nineteen lithographs (each supplied in two states, uncoloured and coloured), num. b & w illusts. throughout, orig. wrappers bound in (designed by Mucha), with addn. state of the upper wrapper in colour also present, printed by Imprimerie Chaix and Eugene Verneaux, t.e.g., remainder rough-trimmed, contemp. dark blue quarter morocco, rubbed and scuffed to upper joint and extremities, folio Limited edition of 1,050 copies, this being one of 25 copies on papier de chine. Contains colour lithographs by Boutet de Monvel, Cheret, Clairin, Ibels, Job, Lefevre, Meunier, Milliere, Misti, Synave and Toulouse-Lautrec. (1) £400-600

£150-200

261* Les Cent Bibliophiles. A collection of twenty-three menu illustrations for Les Cent Bibliophiles, c. 1898-1944, with etched or lithographed illustration to each, by Georges Auriol, Alexandre Lunois, Edgar Chimot, Edmond Kayser, Rassenfosse, Louis Jou, Auguste Lepere, J. Chadel, etc., a few signed in pencil, 28.5 x 24cm (11.25 x 9.5ins) and sl. smaller (23)

263* Societe des Aquafortistes. Eaux Fortes Modernes publiées par la Société des Aquafortistes, Imprimeiere Année, Paris, A. Cadart & Luquet, 1863, etched title and fifty-one etched plates by Legros, Ribot, Laurens, Seymour Haden, Desbrosses, Hervier, Appian and others, occ. minor foxing to extrems., light waterstain to upper margin of title, orig. cloth gilt, worn with covers det., large folio (54 x 36 cm)

£100-150

(1)

£150-200

SCULPTURE

266* Smith (Stuart, 20th/21st century). Semi-clad woman reclining in an armchair, 1979, polychromed resin sculpture on wooden base, numbered 9/10 from Edition 1, signed, numbered & dated to brass plaque to base, height including base 35.5cm (14ins) (1)

£300-500

ARTIST STUDIO EQUIPMENT 267* A late 19th c. substantial stained oak H-frame artist’s easel by J. Bryce Smith, London, with adjustable mechanism (complete with winding handle), on replacement ball bearing casters (1)

£200-300

MODERN & CONTEMPORY PRINTS 264* Bergmann (Franz Xavier, 1861-1936, after). Oriental kneeling figure holding a scallop shell, bronze figurine, cold-painted (traces only), signed and dated 1872 to base, height 21cm (8.25ins) (1)

268* Ackroyd (Norman, 1938- ). Danebury Ring, 1980, etching with aquatint, signed, dated, titled and numbered 10/20 in pencil, plate size 70 x 80 mm, sheet size 19.5 x 23cm (7.75 x 9ins), framed and glazed, together with another similar small etching with aquatint by the same artist, depicting snow falling, signed with initials and dated 1980, plate size 90 x 90 mm, with short margins, framed and glazed

£100-150

265* Clodion (Claude Michel, 1738-1814, after). Family Group of Bacchantes, probably later 19th century, bronze with brown patina, showing a satyr with a set of pipes, supporting a child on his shoulders and bacchante dancing with another infant playing a tambourine behind, with bladder of wine vessel at their feet, signed, on veined marble socle, bronze height 38.5cm (15.25ins), height including base 43cm (17ins) Berman, Encyclopaedia of Bronzes, I, 489. (1)

(2)

£80-120

269 Ackroyd (Norman, 1938- ). Moored Man, Poems of North Norfolk, by Kevin Crossley-Holland, pub. Enitharmon Editions, 2006, colour illusts., orig. cloth with mounted colour illusts. to upper cover, in matching slipcase, 4to

£1000-1500

Limited edition de luxe, numbered 47/90, signed by author and artist, with a signed and numbered etching entitled Overy Marshes, loosely contained in card wrappers. (1) £100-150

100

Lot 265

101

273 Banksy. Banging Your Head Against a Brick Wall, c.2001; Existencilism, c.2001; Cut It Out, c.2004; Pictures of Walls, 2005, all with col. illusts. throughout, orig. wrappers, 148 x 105mm (6 x 4ins) (4)

274* Bargheer (Eduard, 1901-1979). Landscape with trees and buildings, colour lithograph, signed, dated ‘67 and numbered 196/200, sheet size 48.5 x 64.5cm (19 x 25.5ins), together with Landscape with Donkey in a Grove, colour lithograph, 1970, signed, and numbered 25/150, sheet size 49.5 x 64cm (19.5 x 25.25ins), plus Figures in a Church, colour etching, signed, dated ‘72, and numbered 22/90, plate size 31.5 x 42.5cm (12.5 x 16.75ins), sheet size 53.5 x 64cm (21 x 25.25ins)

270* Aitchison (Craigie, 1926-2009). Crucifixion, Montecastelli Tree, 2002, colour screenprint, printed by Advanced Graphics, in an edition of 75, signed, numbered and dated to verso, sheet size 30 x 25cm (11.75 x 9.75ins), framed and glazed (1)

£70-100

(3)

£150-200

£400-600

271 Appel (Karel, 1921-2006). Head, 1961, colour lithograph, contained in XXe Siecle, new series, no. 17, Christmas 1961, num. col. and b & w plts. and illusts., orig. printed wrappers, some marks and chipped to edges, with a little loss to extremities, folio (1)

£70-100

275* Bawden (Richard, 1936-). ‘Jester asleep where she’s not supposed to be’, etching, signed, titled and numbered 33/85, plate size 16.5 x 21cm (6.5 x 8.25ins), framed and glazed, together with ‘Tom’, woodcut, printed in light brown and black, signed, titled and marked A/P, image size 24.5 x 23.5cm (9.6 x 9.2ins), framed and glazed (2)

272* Appel (Karel, 1921-2006). Visages, colour lithograph on Arches paper, signed in pencil, and numbered 107/200, 56 x 75.5cm (22 x 29.75ins) (1)

£150-200

102

£150-200

277* Bill (Max, 1908-1994). Geometric Composition, colour screenprint, signed lower right, sheet size 48 x 41cm (19 x 16ins), together with Kocsis (Imre, 1937-), Geometric Composition, 1970, colour screenprint, printed in black and white, signed, dated and numbered 144/150, 58.5 x 40.5cm (23 x 19ins) (2)

£100-150

276 Bevan (Tony, 1951-). Harold Pinter, The Disappeared and Other Poems, Images by Tony Bevan, Enitharmon Editions, 2002, tippedin colour plates, edges untrimmed, orig. cloth with mounted colour illusts. to upper cover, and printed spine label in matching slipcase, folio Limited de luxe edition 28/75 (aside from the 100 copies of the regular edition, numbered 76/175), signed by author and artist, with a signed, titled and dated colour etching by Tony Bevan, entitled Violet Interior, contained in separate card wrappers. (1) £200-400

278* Blake (Peter, 1932-). Fat Boy (from Side Show), 1974-78, b&w woodcut on Japanese Tonosawa paper, signed in pencil, and inscribed ‘working proof of Fat Boy from ‘Side Show’’, image size 15.3 x 12.9cm (ins), framed and glazed An artist’s proof of one of Peter Blake’s series of five woodcuts entitled Side Show, comprising Fat Boy, Bearded Lady, Tattooed Man, Giant and Midget, published in an edition of 100. (1) £300-500

279* Blyth (Robert Henderson, 1919-70). Female figure in street scene, lithograph on paper, 26 x 28.5cm (10.25 x 11.25ins), mounted, framed & glazed (1)

Lot 277

103

£70-100

280* Braque (Georges, 1882-1963). Design for a stained glass window at the church of St. Dominique, Varengeville, 1960, colour lithograph on paper, signed in the image lower right centre, signed in white paint ‘G. Braque’ lower right and numbered in white paint 17/175 lower left, a few light creases and marks to paper background, 71 x 42cm (28 x 16.5ins) (1)

£1000-1500

281* Clave (Antoni, 1913-2005). La Sainte Famille, c. 1951, colour lithograph, signed and numbered 120/200, sheet size 38 x 56.5cm (15 x 22.25ins) (1)

£500-700

282* Clemente (Francesco, 1952-). Robert Creeley, Life & Death, Francesco Clemente, New York, Grenfell Press, 1993, seven b&w etched photogravures by Jon Goodman after Francesco Clemente, printed by Peter Pettengill, bound concertina-style in silver boards, lettered in gold, with orig. plain black card slipcase, 8vo (21.5 x 13.3cm) Limited edition of seventy copies, this copy numbered 35, signed by Creeley and Clemente. (1) £300-500

283* Degas (Edgar, 1834-1917). Les Loges d’Actrices, etching, printed on ivory wove paper, taken from the cancelled plate, plate size 16 x 21.3cm (6.25 x 8.5ins), mounted, with gallery label on verso of mount (1)

£100-150

284* Derain (Andre, 1880-1954). Man holding a large bell, from Pantagruel, 1946, colour woodcut, printed in an edition of 275, sheet size 10 x 10cm (4 x 4ins), together with Vlaminck (Maurice de, 1876-1958), Usines, b&w lithograph on japan, image size 10 x 16cm (4 x 6.25ins), sheet size 23 x 23.5cm (9 x 9.25ins) (2)

£100-150

Lot 280

285* Erni (Hans, 1909-). Three Horses, colour lithograph, printed in grey, black, orange, and yellow, depicting three spirited horses, signed and numbered 117/200 to lower margin, image size 53 x 63cm (21 x 25ins), framed and glazed

Lot 281

(1)

104

£100-150

286 Frink (Elizabeth, 1990-1993). Etchings illustrating Chaucer’s ‘Canterbury Tales’, 1972, nineteen b & w etchings with aquatint on Barcham Green wove paper, each 505 x 345mm (19.75 x 13.5ins), printed by Cliff White, White Inc. Ltd., London, and published by Leslie Waddington Prints, untrimmed, orig. green full goatskin gilt, with upper inner hinge partly broken, and rear cover near-det., with orig. slipcase (some staining and wear), folio, 66 x 46cm (26 x 18ins) Wiseman 58-76. Limited edition of 300 copies, this being one of fifty copies of the standard edition (B), signed by the artist. This lavish publication has been described as ‘amongst the most successful illustrations of the century, encompassing the mood of the text in concise delineations and disarmingly ribald humour’. (Houfe Dictionary of British Book Illustrators, 1996, 203). (1) £1500-2000

105

Lot 287 287* Frink (Elizabeth, 1990-1993). Corrida III, 1973, colour lithograph, signed and numbered 5/72, sheet size 57 x 77.5cm (22.5 x 30.5ins), framed and glazed Wiseman 80. (1)

£400-600

288* Frost (Terry, 1915-2003). Orange and Blue Q, Newlyn, 1997, colour screenprint on Arches, signed, and numbered from an edition of 150, 65 x 63.5cm (25.5 x 25ins), framed and glazed, with typewritten gallery label for Julian Lax, London to verso Kemp 167. (1)

£600-800

289 Greenwood (Jeremy). The Graphic Work of Edward Wadsworth, Wood Lea Press, 2002, col. and b & w illusts., orig. red quarter morocco, contained in publisher’s purpose-made bookbox, folio Limited De Luxe Edition 49/50 (aside from the standard edition of 450 copies), with an original woodcut entitled A Black Country Village bound at rear. (1) £200-300

Lot 288

106

290* Grunberg (Maty, 1943-). 8 Colours Erosion-Grid, 1978, eight colour serigraphs, printed by Spinks Studios Ltd, London, each signed in pencil and marked A/P, a proof copy aside from the edition of only thirty numbered and signed copies, loosely contained in orig. printed wrappers, with black mock leather drop-over book box, lettered in silver, very sl. rubbed, square 4to (22 x 26 cm) The painter and printmaker Maty Grunberg was born in Skopje, Yugoslavia, in 1943, and studied at the Bezalel Academy of Arts and Design in Jerusalem from 1963 to 1966, where he was an assistant to the artist’s Yaacov Agam, Danny Karavan and Igael Tumarkin, and later at the Central School of Art and Design in London, where he was taught by Norman Ackroyd (1969-1972). He was awarded the Prix du Salon for graphics in Paris in 1972. The artist’s paper erosion works were exhibited in London at the Stefan Maltz Gallery (1977), Etra Arte, New York and Thumb Gallery, London (1978), and again at the Thumb Gallery, London, in 1981. (1) £200-300

291* Heron (Patrick, 1920-1999). Mini Mini II, 1978, colour screenprint from 'The Shapes of Colour', published by Kelpra Editions, 1978, signed, sheet size 48 x 31cm (19 x 12.25ins), framed and glazed (1)

£400-600

Lot 291

292 Herrero (Maria, 1942-). Calendario Para el Ano, 1965, pub. Bilbao, 1964, twelve b&w woodcuts, each signed by the artist and numbered 31/60, author inscription in pencil to front blank, dated 1965, orig. printed cloth, folio (33 x 25cm) (1)

107

£100-150

Lot 293

294* Hubbard (John, 1931-). From the Poet’s House, A Portrait of New Harmony, Twelve facsimile etchings by John Hubbard, pub. Robert Lee Blaffer Trust, New Harmony, Indiana, 1990, twelve b&w plts. on handmade paper, tissue guard with printed title to each plate, signed by the artist to title, untrimmed, orig. wrappers, stitched as issued, with paper label to upper cover, square 4to

293* Hodgkin (Howard, 1932-). The Way We Live Now, by Susan Sontag, pub. Karsten Schubert, 1991, six colour etchings by Howard Hodgkin, each hand-painted in tempera, orig. boards in handpainted d.j., 4to Limited edition 125/200, signed by author and artist. Riva Castleman, A Century of Artist’s Books, page 198. (1) £700-1000

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£70-100

295* Inshaw (David, 1943-). Face, etching, signed in pencil, and marked artist’s proof, plate size 10.2 x 10.6cm (4 x 4.25ins), framed and glazed With artist’s presentation inscription to verso ‘11th November 1994. Happy Birthday James, with love from David’. (1) £150-200

296* Inshaw (David, 1943-). Moon & Tree, 1992, colour etching, signed, dated, and marked ‘proof’, plate size 40 x 25.7cm (15.75 x 10ins), framed and glazed (1)

£300-400

297* Inshaw (David, 1943-). Bird, 1992, colour etching, signed, dated, and marked ‘proof’, plate size 40 x 48cm (15.75 x 19ins), framed and glazed (1)

£300-400

298* Inshaw (David, 1943-). Silbury Hill, 1993, colour etching, signed, dated, and marked ‘proof’, a good strong impression, plate size 30.5 x 35.5cm (12 x 14ins), framed and glazed (1)

£400-600

299* Jeremenko (Theodore, 1938-). Sagaponack, 1986, colour screenprint, signed and numbered LXIII/C, sheet size 53 x 68.5cm (21 x 27ins), framed and glazed, with printed certificate of originality from the publisher, International Images of Vermont attached to verso (1)

Lot 295

108

£70-100

Lot 297

Lot 298

109

302* Kabakov (Ilya, b. 1933). Angel’s Wings series: ‘How can one change oneself?’, 1998, lithograph with some printed colours around the angel’s wings, signed, numbered and dated to lower margin beneath English text transcription (part of the print), 42 x 50cm (15.75 x 19.75ins), framed and glazed 300 Johnstone (William, 1897-1981). Twenty Poems by Hugh MacDiarmid, with Twenty Lithographs, by William Johnstone, 1977, twenty b&w lithographs, hand-printed by Ken Duffy at the Printmakers Workshop, Edinburgh, each signed, contents loosely contained in orig. black morocco chemise, with matching slipcase (1)

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£300-500

£300-400

301* Jungmann (Nico Wilhelm, 1872-1935). ‘The Visit’, handcoloured print, heightened with bodycolour, signed with monogram to lower right, 27 x 16cm (10.5 x 6.25ins), contemp. black and gilt frame, glazed, with old handwritten title label, and printed label of Doig, Wilson, & Wheatley, 90 George Street, Edinburgh, to verso

303* Klein (Anita, born 1960). Song of Songs, pub. Clarion Publishing, 1995, a publisher’s archive, including trial sheets of the illustrations, a set of proofs of the 10 drypoints, an additional set of the illustrations in sanguine, and a maquette for the blind-stamped cover, plus a copy of the book for which they were produced (limited edition, 272/349 copies, signed by both artist and publisher, of a total edition of 499 copies), accompanied by an addn. signed set of the drypoints (2/20 sets), and a copy of the paperbound version of the book

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(a folder)

£150-200

110

£300-400

304 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)

£100-150

305* Laurencin (Marie, 1885-1956). Tête de Jeune Fille, 1947, etching, as published in ‘Du Cubisme’ by Gleizes and Metzinger, 3rd state (with initials M.L. to lower right), some overall toning, plate size 17.5 x 12.8cm (7 x 5ins), mounted, framed and glazed Marchesseau 250. (1)

£200-300

306* Laurencin (Marie, 1885-1956). Frivolités ou La Marchande de Rubans, 1926, etching, as published in ‘Tableaux de Paris’, 2nd state (with corner of table obscured), some overall toning, plate size 20 x 14.8cm (8 x 5.75ins), mounted, framed and glazed Marchesseau 92. (1)

309* Milton (Peter, 1930-). Marshland, 1962, etching with aquatint, signed, dated, titled and numbered 37/40, plate size 22.5 x 38cm (9 x 15ins), framed and glazed

£200-300

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307* Long (Richard, b. 1945). ‘Walking with Five Stones’, Dartmoor, 2001, five line text work, orig. lithograph on paper, white lettering against an earth-brown background with place and date in black centred to lower margin, signed and numbered by artist (90/100) to lower margin (white mount), 59.5 x 84cm (23.5 x 33ins) (1)

310* Milton (Peter, 1930-). Vegetation I, 1962, etching with aquatint, signed, dated, titled and numbered 17/40, plate size 38 x 45.5cm (15 x 18ins), framed and glazed

£200-300

308* Maillol (Aristide, 1861-1944). “Trees by a Pool”; “Goat and Pine Trees”; “Two Goats Eating”, together three woodcuts, on handmade paper, two with Maillol Gonin watermark, each numbered in pencil, and with red stamped artist’s initial M, first woodcut lightly foxed, image size 16 x 12.5cm (6.25 x 5ins) and sl. smaller, each mounted, together with Forain (Jean-Louis, 1852-1931), “Le Cafe”, etching from La Vie Parisienne, showing two young women and a man sitting at a table, plate size 10 x 15cm (4 x 6ins), mounted (4)

£100-150

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£100-150

311 Miro (Joan, 1893-1983, and others). Maetht Editeur Paris, Lithographies et Eaux-Fortes Originales, Livres Illustrés Originaux, Affiches, Derrière le Miroir, Redfern Gallery, 1966, colour lithographs by Miro, Chagall, Braque, Calder, Ubac, Tal-Coat, Chillida, Steinberg and Kelly, orig. colour wrappers with colour lithograph by Miro to upper cover, small 4to, VG

£100-150

Limited edition of 1500 copies. With an original invitation for the Redfern Gallery exhibition, with colour lithograph by Calder is loosely inserted. (1) £150-200

111

Lot 313 312* Moore (Henry, 1898-1986). Goethe Promethee Traduction par Andre Gide..., (part only), Henri Jonquieres, P.A. Nicaise, Editeur, 1950, two unsigned col. litho plts. only (of 15), one leaf of text only (pp.7/8), loosely contained in orig. printed wrappers, approx. 38 x 28cm (15 x 11ins), together with Kitaj (Ronald Brooks, 1932-2007), Modern Painters... King Penguins, screen print on wove paper displaying King Penguin book titles, 57.5 x 39cm (22.5 x 15.25ins), Procktor (Patrick, 1936-2003), A Chinese Journey, Redfern Gallery... November 4th to December 9th 1980, col. print advertisement poster, signed in pencil, 55.5 x 63cm (22 x 25ins), framed & glazed, with a col. print signed in pencil by Doris Zinkersen, and mixed media rain forest scene by Louise Holloway with Natural History Museum exhibition catalogue and signed letter (5)

£200-300

313* Moore (Henry, 1831-1895). Stonehenge, pub. Ganymed Original Editions, 1974, one etched plate to title page, signed in pencil, and four b&w lithographs only (from a total of fifteen), each signed and numbered, sheet size 46 x 58cm (18 x 23ins), title sheet with some spotting, contents loosely contained in orig. pubs. dropover bookbox, large folio

314* Nash (John Northcote, 1893-1977). Woman sleeping with Cat and Canary, colour printed lithograph, trimmed to edges, 49.5 x 76cm (19.50 x 30 inches), mounted on blue card (1)

£100-150

315* O’Casey (Breon, 20th century). Stars Are Suns, Poems by Scott Chaskey, Woodcuts by Breon O’Casey, [1993], sixteen singlecolour woodcuts printed by Hugh Stoneman, tissue-guard to each page, orig. cloth gilt, with glassine d.j., 8vo

Limited edition of 60 copies. The lithographs are plates 7, Rainwashed Stones, 13, Arm and Body, 14, Moon Lightfall, & 15, Dark Cavern. (1) £500-600

Limited edition of 100 copies, signed by the artist, this copy numbered AP 8/30. (1) £150-200

112

316 O’Donoghue (Hughie, 1953-). The Testament of Cresseid, A retelling of Robert Henryson’s poem by Seamus Heaney with images by Hughie O’Donoghue, Enitharmon Editions, 2004, tipped-in colour plates, untrimmed, orig. dark green cloth with mounted colour illust. to upper cover, and printed label to spine, in matching publisher’s slipcase, folio Limited De Luxe Edition 61/75 (aside from the regular edition of 350), signed by author and artist, and including a signed colour etching by Hughie O’Donoghue, contained in separate card wrappers. (1) £200-300

317* O’Donoghue (Hughie, 1953-). Actaeon - after Titian, 1991, etching with drypoint, with added patches of oil of spike, signed, dated, titled, and numbered 8/35, plate size 37 x 43cm (14.5 x 17ins), framed and glazed (1)

Lot 316

Lot 317

113

£300-500

Lot 318

318* Pacheco (Ana Maria, 1943-). Domestic Scenes, 2000, the complete set of ten uncoloured etchings with drypoint on handmade paper, each with blind stamp P within a circle to lower right corner, each signed, titled and dated, numbered from the edition of 30, plate size 20 x 27 cm, sheet size 38.5 x 43cm (15.25 x 16.8ins), loosely contained in orig. plain black cloth bookbox A series of dark and mythic narrative images in which a variety of encounters between man and woman, as well as children, are evoked in powerful and brilliantly executed etchings. The Brazilian-born painter, sculptor and printmaker Ana Maria Pacheco, studied at the Slade School of Art in London, and has lived in England since 1973. She was appointed associate artist at the National Gallery in London for 1996. (10) ÂŁ1000-1500

114

321 Preece (Lawrence, 1942-). Illuminations, pub. Vittoria Pozzi, Stamperia Calcografica, sixteen b&w aquatints (complete), each signed in pencil and numbered 5/10, sheet size 33 x 27.5cm, loose in orig. pub. drop over book box, folio (1)

£150-200

322* Procktor (Patrick, 1936-2003). “Salisbury Festival, July 12th to 21st, Public Library, Paintings”, col. litho. advertisement for Salisbury Festival, with red roses on the left, and lettering on the right, 37.4 x 55.4cm (14.75 x 21.75ins), framed and glazed (1)

£80-120

323* Richards (Ceri). Elegy for Vernon Watkins, 1971, colour lithograph, printed by Curwen Press, a proof aside from the published edition of 100, signed in pencil [by Frances Richards], sheet size 44.5 x 32cm (17.5 x 12.5ins), framed and glazed Sanesi 90. (1)

£150-200

319* Picasso (Pablo, 1881-1973). Le peintre et son modèle, 1964, lithograph on velin d’arches, printed by Mourlot, 25.5 x 19cm (10 x 7.5ins), framed and glazed (1)

£200-300

320* Portway (Douglas Owen, 1922-1993). Female nude, etching, signed, numbered 28/100, plate size 14.9 x 9.2cm (5.75 x 3.5ins), framed and glazed (1)

£50-80

324* Rouault (Georges, 1871-1958). Nude Woman & Man with Moustache and Spectacles, from Reincarnations du Pere Ubu, 1955, together two uncoloured aquatints, each initialled and dated 1929 in the plate, plate size 10 x 7.5cm (4 x 3ins), sheet size 25.5 x 18cm (10 x 7ins) (2)

Lot 321

115

£100-150

327* Thorpe (Hall, 1874-1947 ). “Home” and “The Wise Men”, together a pair of colour woodcuts on toned paper, both captioned and signed in pencil to lower margins, image dimensions 14 x 13.5cm (5.5 x 5.25ins), mounted, framed & glazed, orig. printed labels to back board of each (2)

£150-200

325* Shrigley (David, b. 1968). ‘The Lord moves in mysterious ways’, 1988, C-print photograph in colours, 25 x 25cm (10 x 10ins), framed and glazed with Stephen Friedman Gallery printed label to verso Limited edition 5/10. (1)

£300-500

328 Tyson (Matthew, 1959-). A Wish, by Robert Creeley, 1994, six hand-painted illustrations in watercolour and gouache, sheet size 37 x 28cm, orig. green astro-turf binding, large 4to, numbered 2 from an edition of only 5 copies, signed by artist and author, together with an original printed card by the same artist, entitled ‘Diversion’, pub. Imprints, 1995, containing a screen print in silver, sheet size 25 x 16.5cm, signed by artist and numbered to verso 4/15 (2)

326* Spencer (Stanley, 1891-1959 ). Boating, June, [1947], uncoloured lithograph on paper, identified in pencil with limitation number (54/75) to lower margin, 30 x 48cm (12 x 19ins), together with two other Stanley Spencer prints, ‘Disciples at the Gate’, 20th September 1976, and ‘Girls Gathering Flowers’, 6th March 1975, both identified in pencil with title, date and limitation number (68 & 8 of 75 respec.), blind stamp of Friary Studio lower right to latter print, 42 x 29cm (16.5 x 11.5ins) & 43 x 36cm (17 x 14ins) respec., all framed and glazed (3)

£300-500

116

£100-150

BROTHERHOOD OF RURALISTS

329* Arnold (Graham, 1932-). The Surplice, silverpoint drawing on a white gouache prepared ground, signed lower right, 25.5 x 18.5cm (10 x 7.25ins), framed and glazed, with handwritten note relating to the use of the garment by David Scott pasted to verso, additionally inscribed and signed by the artist at foot

330* Arnold (Graham, 1932-). Okebourne Chace, silverpoint drawing on prepared white gouache ground, signed lower right, 22.5 x 15cm (9 x 6ins), framed and glazed, with additional signature to verso and titled ‘Okebourne Chace. Round about a Great Estate’.

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£300-500

117

£500-700

333* Brotherhood of Ruralists. Colour poster, c. 1975, colour poster, signed by members of the Brotherhood of Ruralists (Graham Arnold, Ann Arnold, Peter Blake, Jann Howarth, David Inshaw, Graham Ovenden and Annie Ovenden), printed in an edition of 40 (numbered to lower right corner), 58 x 45cm (23 x 19ins), framed and glazed

331* Arnold (Graham, 1932-). Castlerigg Stone Circle, silverpoint drawing on prepared white gouache ground, signed lower right, 29.5 x 19cm (11.5 x 7.5ins), framed and glazed, with printed label pasted to verso for the Graham Arnold Retrospective Exhibition held at the Tabernacle Cultural Centre, Machynlleth, Powys, 10-30 August 1992 (1)

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£700-1000

332* Arnold (Graham, 1932-). Alison Raven, ‘Study for The Room’, silverpoint drawing on prepared white gouache ground, signed, titled and dated to lower right, additionally inscribed by the artist to verso, and with printed label for the Graham Arnold Retrospective Exhibition at the Tabernacle Cultural Centre, Machynlleth, Powys, 1030 August 1992, catalogue no. 96, 61 x 30.5cm (24 x 12ins), framed and glazed (1)

£2000-3000

118

£250-350

Lot 332

119

MODERN & CONTEMPORARY WATERCOLOURS

Lot 334

Lot 335

336* Ardizzone (Edward, 1900-1979). A study of three gentlemen, 1949, pencil sketch of three gentlemen walking, each drawn from a different angle, sheet size 13.7 x 25cm (5.5 x 10ins)

334* Angier (W. Donald, 20th c.). The “Sloop Inn” (St. Ives), watercolour heightened with bodycolour, showing a cat sitting and standing figures outside the Sloop Inn, signed ‘W.D. Angier’ and captioned to lower edge, 36.5 x 31.5cm (14.25 x 12.5ins), mounted, framed & glazed (1)

Inscribed in pencil on the verso: ‘Edward Ardizzone, Camberwell, 1949’ and ‘Illustration, Camberwell School of Art’. Ardizzone joined the teaching staff of the Camberwell School of Art and Craft in 1948, where he taught book illustration until 1952. (1) £200-300

£100-200

335* Ardizzone (Edward, 1900-1979). The Street Corner, pen, ink and monochrome wash, signed with initials lower right, 19 x 16.5cm (7.5 x 6.5ins), framed and glazed (1)

337* Ardizzone (Edward, 1900-1979). Landscape in Tuscany, with figure in an orchard, black charcoal on pale pink Ingres paper, with watermark, signed with initials lower right, 24 x 32cm (9.5 x 12.5ins), together with Landscape in Tuscany, black charcoal on pale cream paper (watermarked Canson & Montgolfier), signed with initials lower right, 24 x 32cm (9.5 x 12.5ins), and ‘And hear old Triton blow his reathed Horn’, monochrome wash drawing, signed with initials in ink to lower right, image size 19 x 28cm (7.5 x 11ins), sheet size 29 x 38.5cm (11 x 15ins)

£600-800

(3)

Lot 336

120

£500-700

338* Austen (David, b. 1960). Memories, Fear, Wishes, and Desires, 1996, gouache, watercolour and ink on light buff rag paper, typed title caption as part of the artwork under nine coloured concentric circles, signed and dated in pencil 13 July 1996 to lower margin, 29 x 22cm (11.5 x 8.75ins), framed and glazed with Contemporary Art Society Market printed label to verso (1)

340* Ayres (Lula Cardoso, 1910-1987). Abstract Forms, watercolour and black ink on textured pale cream paper, signed lower right, image size 29.8 x 22.7cm (11.75 x 9ins), sheet size 44.5 x 34cm (17.5 x 13.25ins), framed and glazed The Brazilian artist Lula Cardoso Ayres was born in Recife, and studied at the National School of Fine Art in Rio de Janeiro. He was influenced by the purist theories of Ozenfant and Le Corbusier, and is known for his abstract works as in the present example, although he also produced bold figurative works, and designs for murals and the theatre. A monograph on the artist by Clarival do Pravo Balladares was published in 1978. (1) £100-150

£300-500

341* Bassett (Vera, 1920-1997). “Refugees”, watercolour and black charcoal, showing a crowd of women and children in winter clothes, signed in pencil to lower left-hand corner, 28.9 x 39cm (11.25 x 15.25ins), framed and glazed 339* Austen (David, b. 1960). Untitled, 1995, ten concentric blue circles with white outlines, gouache on handmade off-white Indian paper, signed and dated in pencil 1st October 1995 to lower margin, 25 x 20cm (10 x 8ins), framed and glazed with Contemporary Art Society Market printed label to verso (1)

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£200-300

121

£100-150

342* Bird (Mary Holden, 1900-1978). Coastal view with castle, watercolour, looking across the sea to a fortress on a rocky outcrop, monogrammed in lower left-hand corner, 16.6 x 24.7cm (6.5 x 9.75ins), mounted, framed and glazed (1)

£100-150

343* Brady (Iain, 20th-c.). ‘Safekeeping/Mewn Diogelwch’, charcoal on paper, signed by the artist, 45 x 14.5 cm, framed and glazed, exhibition label verso, together with Jacobs (Sally, 20th-c.), Love’s Labours Lost - RSC Nathaniel as Alexander - Timothy West, costume design collage, signed, titled and dated by the artist ‘64, 31 x 26.5 cm, framed and glazed (2)

£200-300

344* Casson (Hugh, 1910-1999). “Yarmouth Castle”, watercolour, titled and initialled to lower margin, 10.5 x 17.8cm (4.25 x 7ins), mounted, framed and glazed (1)

£100-150

Lot 343

122

Lot 345

345* Craig-Martin (Michael, 1941-). 5 Identical Boxes with progression of lids - in colours - not executed, 1969, coloured tape on graph paper, signed, dated and titled in pencil to lower margin, some light overall discoloration, 44 x 57cm (17.5 x 22.5ins), framed and glazed, with Rowan Gallery label to verso, and short handwritten note by a conservator to verso, dated 2006 One of the leading members of the British conceptual art movement, Michael Craig-Martin uses stripped-down everyday objects to examine the nature of form. As a tutor at Goldsmithâ&#x20AC;&#x2122;s College in the 1980s, Craig-Martin was an important influence on the Young British artists Damien Hirst, Sarah Lucas and Gary Hume. (1) ÂŁ700-1000

123

Lot 346

124

346* Creffield (Dennis, 1931-). Worcester Cathedral, the Interior Crossing from the Trancept, 1988, charcoal on paper, 86 x 61cm (34 x 24ins), framed and glazed, with title and date inscribed in pencil by the artist to reverse, and Hayward Gallery printed exhibition label for Dennis Creffield’s exhibition of drawings of English Cathedrals, which toured the UK between 1988 and 1990

350* Dorrell (Simon James, 20th-c.). ‘On the terraces, Powis Castle’, finely executed original pen and ink drawing, signed, titled and dated on the mount, 1989, image 10 x 10 cm, together with another small pen and ink drawing by the same artist ‘The pool at Coton’, signed and dated 2001, approx. 7 x 9 cm, both framed and glazed (2)

Dennis Creffield studied with David Bomberg at the Borough Polytechnic from 1948 to 1951, and at the Slade School of Fine Art from 1957 to 1961. He is best known for his powerful and expressive charcoal drawings of cathedrals, having been commissioned by the Arts Council in 1987 to draw all twenty-six medieval cathedrals in England. (1) £700-1000

351* Dorrell (Simon James, 20th-c.). ‘Max reading, with Feo for company’, original finely executed pen and ink drawing of a young boy sitting in a chair and reading his book with his dog on his lap, signed and dated by the artist, 1999, image 15 x 13.5 cm, framed and glazed This original illustration was used on the front cover of issue 3 of ‘Books and Company’, 1999, a quarterly journal about books edited by Susan Hill, a copy of which is included in this lot. (2) £200-250

347* Deans (Austen, b. 1915). Rangitata River, South Island, New Zealand, 1974, orig. pencil, ink and watercolour, signed and dated lower right, 37 x 55cm (15 x 22ins), framed and glazed (1)

£150-200

£300-500

348* Dobson (Frank, 1888-1963). Rain sweeping across the Moors, 1943, pastel on card, signed and dated lower left, 24 x 35cm (9.5 x 13.75ins), framed and glazed (1)

£150-200

349* Nunes (Emmerico Hartwich, 1888-1968). Two ladies and a gentleman by garden staircase, releasing a bird, pen, ink & watercolour on paper, signed lower left, with publisher's ink stamp and stock number to verso, image size 24.7 x 19.2 (9.75 x 7.5ins), sheet size 30.5 x 25cm (12 x 9.75ins) The present work was produced publication Meggendorfer-Blatter. (1)

for illustration in the Munich £400-600

Lot 348

Lot 350

Lot 351

125

Lot 352

352* Eden (William, 1849-1915). “Cadogan Place”, black crayon and watercolour, signed in lower left-hand corner, 21.1 x 28.4cm (8.25 x 11.25ins), mounted, framed and glazed, titled in pencil on reverse

354* Felmingham (Michael, 1935-). “By the Fishmarket, Venice”, watercolour, signed in pencil to lower left-hand corner, 35.8 x 53.6cm (14 x 21ins), mounted, framed and glazed, titled in ms. on verso

A distinguished watercolourist who travelled extensively in Egypt, India, Japan and America. Sir William Eden exhibited at the Paris Salon, and at the Goupil Galleries, New English Art Club and the New Watercolour Society (of which he became President) in London. Following a provocation by the irascible Whistler, Eden famously became involved in a court case described in the latter's 'The Baronet and the Butterfly'. (1) £500-700

(1)

£200-300

355* Flynn (Dianne Elizabeth, 1939-). Edwardian street scene, gouache on paper, signed in pencil, 35 x 28cm (13.75 x 11ins), framed (1)

353* Felmingham (Michael, 1935-). “At the Rialto”, Venice, watercolour, signed in pencil to lower right-hand corner, 51 x 35.5cm (20 x 13.75ins), mounted, framed and glazed, titled in ms. on verso Michael Felmingham, is a frequent visitor to Italy, and is well-known for painting Venetian scenes. He is also known for his paintings of English gardens and landscapes of the ever-decreasing English countryside. He has had numerous one-man exhibitions, the last seven being held annually in London’s West End, and his work is held in many private and public collections in the UK and abroad. (1) £200-300

126

£200-300

Lot 353

Lot 355

Lot 354

127

358 Heiliger (Bernhard, 1915-1995). Abstract collage, 1991, pencil and gouache on paper, signed and dated by the artist, sheet size 27.5 x 20cm, together with Salzmann (Siegfried & Romain, Lothar), Bernhard Heiliger, pub. Propylaen Verlag, 1989, col. and b&w illusts. throughout, orig. cloth in d.j., 4to (1)

359* Hodge (Spencer (1943-)). Study of wolves, watercolour on wove paper, signed, gallery label of James Starkey Fine Art to verso of back board, 54 x 71.5cm (21.25 x 28.25ins), mounted, framed & glazed

356* Forain (Jean). Drawing of a young woman’s head, 20th c., pencil on off-white paper, some spotting, signed ‘jean forain’ lower right, 28 x 20cm (11 x 8ins), framed and glazed (1)

£100-150

Spencer Hodge attended Hastings School of Art and the Royal West of England Academy. He traveled widely, undertaking long field trips for international conservation organisations such as the World Wide Fund for Nature. His work has been exhibited by leading galleries throughout Europe and America. (1) £200-300

£100-150

357* Gentleman (David, 1930-). Castle by the Coast, East Africa, 1976, pen, ink & watercolour, signed and dated lower right, 38 x 55cm (15 x 21.5ins), framed and glazed David Gentleman held a solo exhibition of watercolours of Kenya and Zanzibar in East Africa at the Mercury Gallery, London, in 1976. (1) £200-300

360* Hodge (Spencer (1943-)). Study of a crane in flight, watercolour on wove paper, signed, 54 x 71.5cm (21.25 x 28.25ins), mounted, framed & glazed (1)

Lot 358

128

£200-300

Lot 362 361* Hunt (Cecil Arthur, 1873-1965). “Above the lake”, 1958, watercolour, of a lake scene with mountains and trees, signed in lower right-hand corner, 9.5 x 12cm (3.75 x 4.75ins), mounted, framed and glazed, titled and dated in ms. on verso of frame (1)

362* Knight (Dame Laura, 1877-1970). March Many Weathers, 1926, watercolour and pastel on paper, signed and dated ‘26, 47 x 57cm (18.5 x 22.5ins), framed and glazed The present work has been authenticated by R. John Croft, Laura Knight’s great nephew, and is to be included in his forthcoming catalogue raisonné of the artist’s work. The watercolour depicts of a view near the artist’s studio at St. Buryan, Lamorna, Cornwall, and shows the local character Frankie Pollard on horseback, with his daughter seated on a sack of oats. The artist’s dog Tip can also be seen in the left foreground. (1) £1500-2000

£100-150

129

363* Lafugie (Lea, 1890-1970). Flower market, possibly Paris, watercolour and gouache, showing flower stalls with figures, and buildings incl. a church in the background, signed to lower margin, 41.6 x 26.2cm (16.5 x 10.25ins), framed and glazed Lea Lafugie was born in France and at the age of 16 she entered the École des Arts Décoratifs de Paris. In 1925 she began travelling the world, first to Sri Lanka, then India, where she held many exhibitions and painted portraits of Mahatma Gandhi and the poet Rabindranath Tagore. She subsequently travelled to Tibet, Southeast Asia, China, and Japan. (1) £100-150

364* Maze (Paul Lucien, 1887-1979). Port de plaisance, with figures on the quayside, coloured pastels on paper, signed lower right, 37 x 54cm (14.5 x 21.25ins), mounted (1)

£1000-1500

Lot 363

Lot 364

130

366* Messel (Oliver Hilary Sambourne, 1904-1978). “The Lying in State”, set design for the film The Queen of Spades, 1948, gouache and metallic paint with painted celluloid overlay giving a three-dimensional appearance, depicting an architectural setting, with a figure standing beside a corpse lying on a bier, surrounded by candles and with a large canopy above, 41 x 57.5cm (16 x 22.75ins), mounted, framed and glazed, with Leicester Galleries labels on reverse, one stating the purchaser as Anatole de Grunewald, producer of the film The film version of Alexander Pushkin’s ‘The Queen of Spades’ was directed by Thorold Dickinson. The story, set in 1806 in St. Petersburg, is a tale of bargains with the devil and ghostly apparitions. Messel produced designs for the sets and all the costumes, and a number of these works are held in the V&A collection. From the outset the production was fraught with difficulties and it was not until the film was completed that it emerged as one of Dickinson’s finest films, with Messel’s contribution to the work helping to create one of the most famous British supernatural thrillers of the 1940s. When the film opened in June 1949, it received universal praise from the critics. Dilys Powell wrote in The Sunday Times: ‘The Queen of Spades is something rare in this country, a successful essay in romantic period, Oliver Messel’s setting and costumes are among the most beautiful I can remember seeing on the English screen.’ (1) £1000-1500

365* Megoran (Winston, 1913-1971). “Tranquil Mere”, watercolour, showing ducks flying across moonlit water, signed in lower right-hand corner, 27.4 x 41.3cm (10.75 x 16.25ins) mounted, framed and glazed (1)

£100-150

Lot 366

131

368* Payne (Henry Albert, 1868-1940). Profile Portrait of the Artist’s Son Geoffrey, watercolour on vellum, heightened with white bodycolour, signed lower right, 19 x 16cm (7.5 x 6.25ins) mount aperture, framed and glazed Provenance: Formerly in the Robert Price Collection (sold by Walker, Barnett & Hill, Wolverhampton, 24 May 1990). (1) £300-400

367 Orpen (Sir William, 1878-1931). Pen and ink sketch of the “Mevagissey Duck”, 1924, drawn as part of a presentation inscription to the front free endpaper of Orpen’s autobiography ‘An Onlooker in France 1917-1919’, revised and enlarged ed., 1924, b&w plts., the presentation inscription in Orpen’s holograph reading ‘To “The Bird’s Friend” from one who loves “Them”, William Orpen 1924’, with the sketch of a duck flying or being propelled backwards into a small dust cloud and captioned in block caps ‘The Rushbury’ with a further line in Orpen’s holograph ‘My lad, you know the Rest!!’, two contemp. news cuttings concerning the Mevagissey Duck (authored by T. H. L. Hanoy and Admiral R. H. Bacon) pasted below, a little light soiling and marginal damp staining, orig. cloth, both covers partly damp stained and frayed, 4to The Mevagissey Duck was a Cornish name for the pilchard and was a colloquialism for stupidity, ‘flying backward, like the Mevagissey duck, to keep the dust out of one’s eyes’. The sketch is possibly a slight on Orpen’s fellow official first world war artist Sir Henry Rushbury R.A. (1889-1968). (1) £200-300

369* Pusinelli (Doris 1900 - 1976). Woman Reclining, watercolour, signed in lower left corner, 38 x 49cm (15 x 19.25 inches), mounted, framed and glazed (1)

132

£250-350

372* Strike (Maurice, 1944-). Costume design for the character of Czardas in Coppelia by Delibes, c. 1974, watercolour and gouache, with pencil, signed, 36.5 x 27.5cm (14.25 x 10.75ins), framed and glazed, with printed label to verso

370* Roussel (Richard T., 20th century). Self portrait, black charcoal on paper, signed with initials 'R.T.R', 53.5 x 40.5cm (21 x 16in), mounted, framed and glazed (1)

£200-300

An original costume design by the designer Maurice Strike for the National Ballet of Canada production of Coppelia, choreographed by Erik Bruhn, and first performed during the 1974/75 season. (1) £100-150

373* Watercolour album. An album of watercolour views by Robert Hay Drummond, early 20th c., 105 mounted watercolours, of British and European buildings and views, most identified and dated in ms., incl. Hastings from Bexhill; Mount House, Alderley; Hyères from Costebelle; Roquebrune; Gorbio; Castel D’Appio, etc., 22.8 x 13.9cm (9 x 5.5ins) and smaller, orig. half morocco, rubbed and soiled, lacking spine, 4to (1)

£100-150

371* Shrigley (David, b. 1968). Untitled, 1996-97, pen and ink on paper, titled at upper margin ‘Think about these things and then meet me tomorrow (in the usual place)’, 21 x 29.5cm (8.25 x 11.5ins), framed and glazed with Stephen Friedman Gallery printed label to verso (1)

£300-500

374* Wesson (Edward, 1910-1983). Landscape with passing shower, watercolour, signed lower left, 32 x 50cm (12.5 x 19.5ins), framed and glazed (1)

133

£250-300

MODERN & CONTEMPORARY PAINTINGS

375 Worth (Leslie, 1923-). ‘The Capsized Wind-Surfer’, watercolour and gouache, signed by artist to lower right corner, label to verso, image size 23 x 32cm, framed and glazed (1)

£150-200

376* Zeffirelli (Franco, 1923-). Mask Design for Antony and Cleopatra, 1966, design for a mask, composed of pieces of copper soldered together and stiffened metallic turquoise fabric, mounted on plywood-backed card, 38.5 x 22.5cm (15 x 8.75ins), inset to linen mount, signed and dated below image on linen, framed, contemp. Wright Hepburn Gallery label on reverse, and Batoni frame label Mask design for ‘Antony and Cleopatra’, an opera by American composer Samuel Barber. Franco Zeffirelli was hired as stage director, and he prepared the libretto, based on Shakespeare’s ‘Antony and Cleopatra’. It was first performed in New York City on 16th September, 1966, at the opening of the new Metropolitan Opera House. The cast was enormous, and the stage design and costumes were elaborate, with no expense spared. However, the opera was not well received, and only a few performances were staged. (1) £200-400

377* Adams (Bernard, 1884-1965). Portrait of R. T. Roussel, oil on canvas, signed lower left, 49 x 39cm (19 x 15.5ins), gilt moulded frame with paper label of Royal Society of Portrait Painters to verso, glazed (1)

Lot 378

134

£200-300

Lot 379

378* Atkinson (Eric, 1928-). “Grays Yard, Hartlepool”, oil on board, showing a view of William Gray’s shipyard (closed in 1961), signed in lower right-hand corner, ms. title on verso, 51 x 76.6cm (20 x 30.25ins), framed Eric Atkinson was born in Hartlepool and attended Hartlepool College of Art before studying at the Royal Academy Schools, after which he embarked on an illustrious teaching career. (1) £300-500

379* Bachardy (Don, b.1934). “Isherwood”, mixed media, incl. watercolour, gouache, coloured chalks, and gold paint, incorporating over-painted printed collage, of Christopher Isherwood depicted as a reclining nude, signed by Isherwood in lower right-hand corner, 33.5 x 51.3cm (13.25 x 20.25ins), framed and glazed Born in Los Angeles, Don Bachardy was the life partner of writer Christopher Isherwood, whom he met on Valentine’s Day 1953, when he was 18 and Isherwood was 48. They remained together until Isherwood’s death in 1986. Much of the public attention garnered by Bachardy has been the result of this relationship, but Bachardy’s talent has earned him considerable success in his own right, as evidenced by his frequent solo exhibits, inclusion in many museum collections, and numerous reproductions and collections of his work. Nonetheless, Bachardy himself has acknowledged that the encouragement and support of Isherwood - the most frequent subject of his drawings and paintings - helped him gain the confidence to become a fulltime artist. (1) £700-1000

380* Battershill (Norman, RBA, 1922-). A cottage garden, pastel, signed in lower right-hand corner, 17 x 24cm (6.75 x 9.5ins), framed and glazed, titled on reverse ‘Christmas Cottage, Marnhull’, together with A moonlit scene of trees and water, acrylic on canvas, signed in lower right-hand corner, 17 x 25cm (6.75 x 9.75ins), framed and glazed (2)

135

£200-300

382* Brett (Donald, 20th c.). “The Lightning”, oil on canvas of a square-rigged tea clipper, signed to lower right, 49 x 75.3cm (19.5 x 29.5ins), gilt frame (1)

384* Cadenhead (William, 1934-). A sunlit landscape, 1963, oil on canvas, showing a river meandering through a hilly landscape with trees, with shafts of sunlight penetrating the clouds, signed and dated in lower right-hand corner, 55.5 x 76cm (22 x 30ins), framed

£300-500

(1)

383* Brooks (Robin, 1943-). “The Homeward Run”, oil on board, of a square-rigged clipper, signed, 41 x 50.5cm (16 x 20ins), framed, titled and numbered ‘A1322’ on label on reverse

£200-300

385* Canadian School. Wooded river view, by T. Dubois, early 20th c., oil on board, signed lower right, 23 x 30cm (9 x 12ins)

Robin Brooks is a widely-exhibited, self-taught maritime artist whose output is noted for its historical accuracy. (1) £200-400

(1)

136

£100-150

386* Christiansen (Jens Sinding, 1888-1980). Boats in harbour, oil on canvas, monogrammed in lower right-hand corner, small closed tear in right-hand edge, 63 x 76.5cm (24.75 x 30ins), framed, with old hand-written gift inscription to verso dated 1938 (1)

£200-300

387* Cipra (Jean Camille, b.1893). “Reflets d’eau”, oil on canvas, of reflections on water, with sandbanks and trees, and white clouds in a blue sky, signed in lower right-hand corner, 54.2 x 73cm (21.25 x 28.75ins), mounted, framed and glazed Born in Pilzen, Czechoslovakia, Cipra settled in Paris where he exhibited at various annual exhibitions, including the Salon d’Automne and the Artistes Independants. (1) £300-500

Lot 386

Lot 387

137

388 Cotton (Alan, 1936-). ‘River Otter at Evening’, 1986, oil on canvas, signed by artist, addn. signed on verso to stretcher, image size 29.5 x 24.5cm, framed (1)

£150-200

389* Dawson (Montague J., 1895-1973, circle of). “Clipper William Mitchell”, oil on canvas, of a square-rigged clipper, 51 x 76cm (20 x 30ins), gilt frame James Johnson’s yard in Stirling launched the 1,000 ton William Mitchell in 1856, and, according to a manuscript note on the verso of the canvas, the clipper was under British flag until 1927. (1) £400-600

390* Dorville (Jean, 1902-1985). Portrait of a mother and baby, oil on wooden panel, of a full-length seated female figure wearing a long black hooded cape and cradling a baby dressed in white, signed in lower left-hand corner, 43.2 x 47.3cm (17 x 18.5ins), gilt frame (1)

Lot 388

Lot 389

138

£100-150

Lot 391 391* Dulac (Edmund, 1882-1953). Christ in the Garden, 1902, oil on canvas, showing Christ on his knees praying in the Garden of Gethsemane, canvas verso with artist’s signature and ms. prize label ‘Composition 1902, 2e Prix, Dulac’, 28.5 x 35cm (11.5 x 13.75ins), framed An early work by Dulac, painted whilst he was a student at The Ecole des Beaux Arts in Toulouse. The painting has been authenticated by Colin White, the leading authority and writer on the works of Edmund Dulac. (1) £700-1000

392* Dunlop (Ronald Ossory, 1894-1973, attrib.). Rural dwellings by a pond, oil on canvas, signed in lower left-hand corner, 31.7 x 42cm (12.5 x 16.5ins), framed (1)

£200-400

Lot 392

139

393* Ghilchik (David Louis, 1892-1974). Seated nude, oil on canvas board, 34 x 24cm (13.5 x 9.5ins), mounted, framed and glazed, together with Nude redhead, oil on canvas board, 34.5 x 24cm (13.5 x 9.5ins), mounted, framed and glazed Provenance: Certified ex. studio stamp signed by Lauri Stewart of Lauri Stewart Fine Art, London. (2) £400-600

394* Gear (William, 1915-1997 ). Red/Yellow Motif, July 1969, acrylic on paper, signed and dated lower right, 51 x 65cm (20 x 25.5.ins), framed and glazed (1)

£1500-2000

395* Gear (William, 1915-1997 ). ‘Landscape’, January 1961, oil on canvas, signed and dated lower right, additionally inscribed by the artist to verso, 122 x 81.5cm (48 x 32ins), framed, with original Gimpel Fils Gallery label and City of Bradford Art Gallery label (dated 1961) to verso (1)

£4000-6000

Lot 393

Lot 394

140

Lot 395

141

Lot 396 396* Hitchens (John, 1940-). Plowed Chalk Hill, 1964, oil on canvas, signed and dated lower left, titled signed and dated by the artist to verso of frame, 32 x 47cm (12.5 x 18.5ins), framed and glazed (1)

£300-500

398* Jones (Van, 20th c.). Portrait of the artist’s daughter, oil on board, signed in lower left-hand corner, 38 x 35cm (15 x 13.75ins), framed and glazed 397* Impressionist school. Cottage garden, early 20th c., oil on artist’s board, showing colourful herbacious borders with a path between and trees beyond, indistinctly signed in lower right-hand corner (M.D.?), 37.9 x 45.7cm (15 x 18ins)

399* Kelly (Francis, 1927-). Dove, oil on canvas, signed lower right, 36 x 45cm (14 x 17.5ins), framed

(1)

£200-300

142

£300-500

£200-300

Lot 400

400* Kempster (William, 1914-1976). A collection of approx. fifty-five various figure studies, group compositions, etc, c. 1950s-70s, approx. fifteen original works in oil, watercolour and mixed media, mostly on card or paper, and approx. forty screenprints, etchings and some lithographs, including several by the artistâ&#x20AC;&#x2122;s wife Bridget Kempster, a few signed, a few duplicates and printing proofs, sheet size 77 x 53.5cm (30.25 x 21ins), and smaller William Kempster (1914-1976), a versatile painter and printmaker, studied at Wimbledon School of Art and then the Royal College of Art from 1939 to 1942, where his teachers included Ernest Tristram. He produced work for the Festival of Britain in 1951, and contributed to various magazines, including Future and Lilliput. (approx. 55) ÂŁ1500-2000

143

401* Kher (Mona ). Untitled No. 7, 1994, oil and marker pen on gesso, arranged in four squares, white painted backing frame, identified in pencil to verso with Contemporary Art Society Market printed label to verso (1)

ÂŁ200-300

402* Krut (Ansel, 1959-). Not wisely but too well (A Roman moment), 1987, oil on paper, 66 x 79cm (26 x 31ins), framed and glazed, with Fischer Fine Art gallery label to verso (1)

Lot 401

Lot 402

144

ÂŁ700-1000

403* Lawrence (J., 20th c.). “The Return of Abdul”, 1901, oil painting of an Arab warrior on a white pony, riding through a hilly landscape, signed in lower right-hand corner, titled, signed, and dated on reverse in the artist’s hand, 76 x 60cm (29.75 x 23.5ins), framed (1)

£300-500

404* Leburn (Caroline, 1952-). Still life of flowers and grapes, 1987, acrylic on board, showing tulips and anemones in a jug by a window, with a bunch of red grapes beside, signed and dated in lower righthand corner, 24.2 x 29.4cm (9.5 x 11.5ins), mounted and framed

406* Ledger (Janet, b.1934). The Red Umbrella, acrylic on board, of a woman holding a red umbrella, with two young girls, signed in lower left-hand corner, 21.2 x 13.5cm (8.25 x 5.25ins), framed

Caroline Leburn’s work has been exhibited widely. Influenced by the Scottish Colourists, she uses colour and light vividly in her portrayals of landscapes and flowers. (1) £70-100

(1)

£300-400

405* Ledger (Janet, b.1934). Industrial Landscape, acrylic on board, of rooftops, chimneys, and cranes, signed in lower left-hand corner, 51 x 61cm (20 x 24ins), framed

407* Leuers (Jeanette, b.1942). “The Cornfield”, oil on board, showing a young woman holding a parasol with a small girl in a cornfield, with poppies in the foreground and a cottage in the background, 25.5 x 30.5cm (10 x 12ins), gilt frame, with artist’s brass name plate to frame

(1)

£200-300

145

£70-100

408* Masefield (Eric, 20th/21st century). Saving the Castle, oil on canvas, signed lower right, 30.5 x 40.5cm (12 x 16ins), framed (1)

411* Masefield (Eric, 20th/21st century). Beach Picnic, oil on board, signed lower right, 35.5 x 46cm (14 x 18ins), framed

£150-250

(1)

£200-300

409* Masefield (Eric, 20th/21st century). Camber Sands, oil on board, signed lower right, 30.5 x 40.5cm (12 x 16ins), framed (1)

£150-250

412* Mead (Philip, 1948-). Tilt (The Dance series), 1997, mixed media on board, 50 x 35cm (19.75 x 13.75ins), orig. white painted wooden frame support with artist’s green marker pen signature and Rocket Gallery exhibition label pasted to verso (1)

410* Masefield (Eric, 20th/21st century). Fun in the Water, oil on board, signed lower right, 40.5 x 51cm (16 x 20ins), framed (1)

£250-350

146

£200-300

Lot 413

413* Moroney (Ken, 1949-). Harbour scene, oil on board, signed in lower right-hand corner, 20.1 x 29.1cm (8 x 11.5ins) Irish artist Ken Moroney lives and works in London. His ‘plein-air’ style is reiminiscent of the Newlyn School and later landscape artists such as Edward Seago and Edward Wesson. (1) £250-350

414* Mostyn (Marjorie, 1893-1979). Still life on a window ledge, oil on board, showing a vase of daffodils and tulips on a window ledge overlooking the sea, signed in lower right-hand corner, 44 x 33.3cm (17.5 x 13ins) (2)

£150-200

Lot 414

147

415* Nicholson (Roger, 1922-1986). Near Tenby, oil on board, signed with initials lower right, 29 x 40.5cm (11.5 x 16ins), framed, with inscription by the artist to verso, together with the another pen, ink and coloured pastel drawing by the same artist, entitled ‘Path Over the Hill’, signed and dated 1973, 18 x 29.5cm (7 x 11.5ins), framed and glazed

416* Ninnes (Bernard, 1899-1971). Spanish street scene, oil on canvas, showing vendors and shoppers in a cobbled street dappled with sunlight, with buildings on either side and an arching bridge between, signed in lower right-hand corner, 63 x 76.3cm (24.75 x 30ins), framed

Roger Nicholson was born in New South Wales, but returned to England with his family in 1930. He studied at the Royal College of Art, and after the second world war set up a graphic design partnership with his brother Robert. An exhibition of his work was held at the Gloucester Gallery in 1995. (2) £100-150

(1)

£200-300

417* Parikh (Jayant, 1940-). The Nest of the Fiend, 1966, oil on canvas, signed and dated top right, 75.5 x 55cm (29.75 x 21.5ins), framed, with additional signed presentation inscription by the artist to Mr and Mrs Roussel to verso Jayant Parikh was born in 1940 in Gujarat. He acquired his Post Diploma in Painting from M S University, Vaodara, received the Gold Medal at the International Graphics Exhibition, Leipzig in 1965, and a National Award at the Lalit Kala Academy, New Deli in 1970 & 1980. Note: Requires cleaning. (1) £300-500

Lot 417

148

Lot 419

418* Parker (Cornelia, b. 1956). The Maybe, 1995, ‘German Goblet thrown off the White Cliffs of Dover - then slightly manipulated to get into Box’, gilt goblet with German inscription dated 1931, with Tilda Swinton’s original passport (expired 24th October 1987), both laid into a perspex box with crumpled clear cellophane and loose lid, both objects with tied white card labels, the goblet label with title caption in Cornelia Parker’s holograph, signed, the passport label inscribed and signed byTilda Swinton, 21 x 21 x 7cm (8 x 8 x 2.75ins), together with copies of the original Serpentine Gallery exhibition leaflets, original cardboard packaging, also numbered 11/50 (1)

£300-500

419* Patrick (James Hollins, 1911-1944). Landscape of a lake, hills, and trees, with two cows and a farm worker tossing hay in the foreground, and scudding clouds overhead, gouache, signed in lower right-hand corner, 22.8 x 32.8cm (9 x 13ins), mounted James Hollins Patrick was born in British Columbia and died in Los Angeles. (1) £300-500

420* Pearce (John, 1942-). Tree and fence, with sunlight, 1979, oil on canvas, signed and dated in lower right-hand corner, 40.8 x 30.5cm (16 x 12ins), framed (1)

£200-300

Lot 420

149

Lot 421

421* Petley (Roy, 1951-). Mediterranean beach scene with boats, buildings and figures, oil on board, signed to lower left corner, 39 x 59cm (15.5 x 23.25ins), framed, ‘Mistral Galleries’ written in ink to backing paper on verso Roy Petley has exhibited at numerous galleries from 1968 to the present day including the Mistral Gallery in 1989. His work is held in numerous important collections including Her Late Majesty Queen Elizabeth The Queen Mother, HRH The Duke of Edinburgh and HRH The Prince of Wales. (1) £400-600

422* Ponsjoan (Ferran, 20th c.). “Playa Martianez”, near Puerto de la Cruz, Tenerife, oil on canvas, showing white-crested waves breaking on rocks, with cliffs in the background, signed in lower lefthand corner, 37 x 44.7cm (14.5 x 17.5ins), framed (1)

£200-400

Lot 422

150

Lot 423

423*â&#x20AC; Seago (Edward Brian, 1910-1974). Early Morning, Costa Smeralda, oil on board, signed lower left, 51 x 76cm (20 x 30ins), gilt frame, inscribed with picture title to verso and with original Marlborough Fine Art printed gallery label to verso Provenance: From a UK company private collection. (1)

151

ÂŁ5000-8000

426* Stoupe (Seamus, 1872-1949). “The Hill Farm”, oil on canvas, old ms. label with title and artist’s name on reverse, 22.8 x 22.8cm (9 x 9ins), framed Seamus Stoupe was a member of the Royal Ulster Academy. (1)

£150-200

427* Weatherhead (Tim, 20th c.). Storm over the Heath, oil on board, 27.5 x 35.8cm (10.75 x 14ins), signed and captioned to gilt frame (1)

£150-200

428* Weatherhead (Tim, 20th c.). Rocky Headland, oil on board, 21 x 53cm (8.25 x 20.75ins), signed and captioned to gilt frame (1)

£150-200

429* Weissenborn (Helmuth, 1898-1982). Mountain landscape, oil on canvas, signed lower left, 46 x 55cm (18 x 21.75ins) (1)

£150-200

424* Serra (Nicholas de, b. 1968). Fracture, 1996, oil on canvas, 25 x 25cm (10 x 10ins), artist’s copyright name, title and stamp in pencil to canvas verso, together with Rocket Gallery printed caption label from 1997 (1)

£200-300

425* Stops (John, 1925-2002). Cornish harbour wall, 1991, oil on board, 61 x 51cm (24 x 20ins), with artist’s printed address label to verso, together with Boswedden Road, St. Just, I, oil on canvas, 55 x 46cm (22 x 18ins), plus Road near car park, St. Just, 1999, oil on board, 40 x 61cm (15.75 x 24ins), all signed and dated lower right, all framed (3)

£200-300

430* Wood (Charles). ‘Crusader’, 1964, a pair of large-scale acrylic paintings on board, each signed and dated, 122 x 90cm (48 x 35.5ins), framed (1)

Lot 426

152

£200-300

Lot 427

Lot 428

153

Lot 431

431* Zwiebel (Alfred, 1914-2005). Jardin potager à l’Hermitage, Pontoise, oil on canvas mounted on board, monogram to lower right corner, 61 x 50.5cm (24 x 19.5ins), gilt moulded frame This painting is a copy after Camille Pissarro’s view of the vegetable garden at the Hermitage originally painted in 1879, which is held at the Musée d’Orsay, Paris. Alfred Zwiebel (1914-2005) was a self-taught landscape, floral and still life artist. He was born in Fuerth, Germany, but grew up in the nearby city of Bamberg. Soon after the Nazis came to power, Zwiebel left Germany. He emigrated to the United States in 1935, settling first in Milwaukee and then in New York City, where he married and had a daughter. He served in the U.S. Army during World War II and became a U.S. citizen in 1944. He loved the work of many artists and schools of painting, but felt the deepest affinity for the Impressionists, by whom he was also most strongly influenced. By the 1960s, he was able to devote himself to painting full-time. Over the next four decades, he exhibited in galleries and museums in the United States, Canada, England, Austria, and his native Germany, where he received particular critical acclaim. (1) £800-1200

154

DOMINIC WINTER BOOK AUCTIONS SPECIALIST AUCTIONEERS AND VALUERS

Above: Book of Hours on vellum, Paris, printed by Guillaume Godard, 1515, with eleven fine full-page illuminated miniatures. Estimate ÂŁ8000-12000

FORTHCOMING SALES IN 2011 Wednesday 2 March 2011

Printed Books & Maps Early Bibles &Theology Bookbinding Equipment & DecorativeTools

Thursday 3 March 2011

Vintage & Contemporary Photography Photography Books

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

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

Fax: 01285 862461 info@dominicwinter.co.uk

PRINTED BOOKS & MAPS EARLY BIBLES & THEOLOGY BOOKBINDING EQUIPMENT & DECORATIVE TOOLS Wednesday 2 March 2011

Right: King James “He” Bible, First edition, 1611 Estimate £15,000-20,000

Further entries are invited Please contact Nathan Winter or Colin Meays for advice Tel: 01285 860006 Email: Nathan@dominicwinter.co.uk or Colin@dominicwinter.co.uk

VINTAGE & CONTEMPORARY PHOTOGRAPHY PHOTOGRAPHY BOOKS MAGIC LANTERNS & MAGIC LANTERN SLIDES Thursday 3 March 2011

Hawaii, Fiji & Samoa. A good pair of photograph albums, c. 1880s, complete with 102 albumen prints, each approx. 20 x 25 cm £7,000-10,000

Martin Parr. West Bay, Rocket Press, 1997. Signed limited edition, 78/250 copies £500-800

Further entries are invited Please contact Chris Albury for advice Tel: 01285 860006 Email: Chris@dominicwinter.co.uk

Conditions of Sale and Business 1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims. 2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice. (b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account. 3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 17.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 20% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 17.5% and assents to the Auctioneer receiving the said commission. 4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due. (b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately. (c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day. (d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared. 5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights: (i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller. (ii) Proceed for damages for breach of contract. (b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day. (c) Ownership of the lot purchased shall not pass to the buyer until he has paid to the Auctioneer the total sum due. 6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed. (b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot. (c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.

7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded. 8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer. 9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof. 10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to the Auctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions. 11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage for which insurance the Auctioneer will charge a premium of £1.50 per £100. The value of the goods so covered will be the hammer price, or in the case of unsold lots the best bid, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods. (b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions. 12. The Auctioneer shall remit the proceeds of the sale to the seller thirty days after the day of the auction provided that the Auctioneer has received the total sum due from the buyer. In all other cases the Auctioneer will remit the proceeds of the sale to the seller within seven days of the receipt by the Auctioneer of the total sum due. The Auctioneer will not be deemed to have received the total sum due until after any cheque delivered by the buyer has been cleared. In the event of the Auctioneer exercising his right to rescind the sale his obligation to the seller hereunder lapses. 13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots. 14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein. 15. These conditions shall be governed by and construed in accordance with English Law.

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 2nd February 2011 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 ______________________________________________________________________________________

Name: Address

Telephone: Email:

Fax:

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: DWBA invoices must be paid before consignments are handed to third party shipping companies. 159

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Lot 349