Dominic Winter 8 & 9 February 2012 Low Res

PAINTINGS & PRINTS IMPORTANT CHURCH PLATE FURNITURE & EFFECTS WEDNESDAy & THURSDAy 8/9 FEbRUARy 2012

DOMINIC WINTER

Specialist Auctioneers & Valuers

Lot 103 • Front Cover: Lot 35

DOMINIC WINTER BOOK AUCTIONS SPECIALIST AUCTIONEERS AND VALUERS

BRITISH & CONTINENTAL PAINTINGS & WATERCOLOURS OLD MASTER & MODERN PRINTS Wednesday 8 February 2012 Lots 1-417 commencing at 11am Followed by

THE ANTIQUES SALE: GOTHIC REVIVAL FURNITURE & EFFECTS FROM RAMSGATE ABBEY IMPORTANT CHURCH PLATE, CERAMICS & OBJETS D’ART

Thursday 9 February 2012 Lots 420- 669 to be sold commencing at 11am

Viewing Tuesday 7 February, 9am-7pm and morning of sales 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

For directions on how to find us please see map at the end of the catalogue

IMPORTANT NOTICES All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the back of this catalogue. A buyer’s premium of 19.5% of the hammer price is payable by the buyers of all lots, except those lots asterisked, in which case the buyer’s premium is 23.4% Lots marked with a cross (+) are subject to VAT on the hammer price as well as the premium Any lot marked with the symbol @ is subject to the Artist's Resale Right Law (“Droit de Suite”).

The buyer agrees to pay Dominic Winter Book Auctions Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot.

The amount is calculated as follows: Royalty For the portion of the Hammer Price (in Euros) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 0.25% in excess of 500,000 Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale.

Please refer to the DACS website www.dacs.org.uk for further details.

For enquiries concerning any lot in this sale, please contact a member of our specialist staff

Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Susanna Winters MA (History of Art) Colin Meays BA Hons (Conservation) John Trevers

Furniture, Clocks, Ceramics & Glass Dominic Winter Henry Meadows MRICS Alastair Dickenson (Consultant)

CONTENTS DAY ONE 19th Century Watercolours

1-52

Sporting & Wildlife Art

53-58

Marine Art

59-74

18th & 19th Century Paintings

75-114

Old Master & Later Drawings

115-127

Old Master Prints

128-142

Japanese Woodblock Prints & Oriental Art

143-154

Etchings, Lithographs & Woodcuts

155-248

Modern & Contemporary Prints

249-309

Modern Drawings

310-324

Modern Watercolours

325-354

Modern Paintings

355-416

Sculpture

417 DAY TWO

Church Plate from St. Augustine’s Abbey, Ramsgate 420-499 Ceramics, Metalware & Objets d’Art

500-551

Nutcrackers

552-566

Indian Textiles

567-574

Furniture & Effects

575-669

Col. H. Stuart Wortley (1832-1890). In Moonlight, c. 1870, mounted albumen print, 30 x 36 cm.

To be sold on 8 March

SPRING 2012 SALES CALENDAR 7 March 8 March

Printed Books & Maps British Topography Vintage Photography & Photobooks The Charlesworth Collection of Railway Tickets: Part Two

11 April 12 April

Printed Books & Maps The Oriental Sale: Persian Miniatures & Manuscripts Japanese Woodblock Prints & Books Important Chinese Jade

18 April

Birmingham Medical Institute: The Rare Book Collection 1500-1900

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

WATERCOLOURS To commence at 11am 1* Barker (William Dean, ?-1889). Welsh landscape with figure by a cottage, 1873, watercolour, signed and dated lower right, 17.5 x 26cm (7 x 10.25ins), period gilt frame, glazed (1)

£70-100

4* Brabazon (Hercules Brabazon, 1821-1906). ‘Storm’, watercolour wash landscape study on paper, initialled and titled in pencil, 14.5 x 20.8cm (5.75 x 8.25ins), framed and glazed (1)

£100-150

2* Bauerle (Amelia, 1873-1916). And o and o the Daisies Blow, watercolour, signed A.Bowerley, 14.7 x 21.6cm (5.75 x 8.5ins), contained within a contemporary gilded gesso ‘arts & crafts’ style frame The title is taken from the sixth verse of John Keats’ poem ‘Teignmouth’ which he wrote whilst staying with his two younger brothers in 1818. Also known as Amelia Bowerley from around 1909, Amalie Mathilde Bauerle was the daughter of the German artist Karl Wilhelm Bauerle (1831-1912) and studied at the South Kensington School of Art and the Slade. She exhibited at the Royal Academy from 1897 until her death and illustrated several books, as well as making contributions to The Yellow Book.

(1) £200-300

5* Braddon (Paul, 1864-1938). Bull Street from the Minnories, Birmingham, watercolour street scene on paper showing shops and bustling figures, signed lower left, 42.5 x 57.5cm (16.5 x 22.5ins), caption to verso of back board, mounted, framed and glazed, together with Stone (E, 20th c.), Selworthy, Somerset, c.1930s, watercolour scene of thatched cottages at Selworthy Green, signed lower right, 27 x 37cm (10.75 x 14.5ins), mounted framed & glazed (2)

3* Bell (Arthur George, 1849-1916). “A Devon Village”, watercolour, of thatched cottages by a bridge over a river, modern gilt frame Provenance: Phillips of Knowle, sale of the artist’s studio.

(1)

£150-200

5

£200-300

8* Cobbett (Hilary Dulcie, 1885-?). Still Life of Canterbury bells, blue delphiniums and stocks in a green vase, c. 1931, watercolour, signed lower left, 46 x 34.5cm (18 x 13.5ins), framed and glazed

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

Hilary Dulcie Cobbett was the daughter of the painter William Cobbett, and studied at Richmond School of Art. She exhibited regularly at the Royal Academy, Royal Institute of Painters in Watercolour and elsewhere. The present work was exhibited at the Royal Institute of Painters in Watercolour in 1931.

(1) £100-150

£100-150

7* Chadwick (Ernest Albert, 1876-1955). ‘Hollyhurst’, Henley in Arden, watercolour on Lechertier Barbe artist’s board, signed lower right, 27 x 37.5cm (10.5 x 14.75ins), additionally titled and signed to verso (1)

£150-200

9* Company School. Indian Battle Scene, before a massive Jain stone temple, early-mid 19th c., watercolour with pen & ink, and traces of pencil, heightened with bodycolour, 25.5 x 34cm (10 x 13.25ins), framed and glazed (1)

6

£100-150

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

£70-100

10* Manner of David Cox the Younger (1809-1885). Landscape with Overshot Mill and pond, watercolour with pen & ink, heightened with bodycolour, 19 x 23.5cm (7.5 x 9.25ins), framed and glazed (1)

£150-200

11* Dibdin (Thomas R. Colman, 1810-1893). “The Tinker”, 1864, watercolour, of a wooded lane, with a male figure seated on the verge and cooking on a tripod over a fire, titled, initialled, and dated lower left, 29.5 x 19cm (11.5 x 7.5ins), mounted, framed and glazed Illustrator and painter Thomas Colman Dibdin was born in Bletchworth, Surrey, son of the dramatist Thomas Dibdin. He took up painting professionally at the age of 28, and subsequently travelled widely throughout Europe, including, France, Germany and Belgium. He also spent a great deal of time drawing and painting in Essex. He published sketches of houses in the area and produced a large watercolour of the church in Saffron Walden.

(1) £100-150

14* English School. Portrait of Walter Hume Long, aged 3½, 1857, half length pastel portrait, gilt oval frame with moulded decoration (some damage), paper label to verso “Walter Hume Long eldest son of R.P.L. & C.A.L. taken by Harwood, London at 3½ years, 1857”, glazed

12* Eastwood (Walter, 1867-1943). Lake District landscape with stone bridge and horse & cart, watercolour, signed, 33 x 48.5cm (13 x 19ins), framed & glazed (1)

Walter Hume Long, 1st Viscount Long PC, (1854-1924), was a British Unionist politician. He was the eldest son of Richard Penruddocke Long and Charlotte Anna Long of Rood Ashton, Wiltshire.

(1) £200-300

£150-200

7

Lot 15

Lot 16

17* Geddes (Ewan, 1866-1935). “Month o’ March”, watercolour, of a snowy landscape with trees, a cottage, and a wooden shed, signed lower left, 35.5 x 40.5cm (14 x 16ins), mounted, framed and glazed, with old ms. title label on verso which bears additional note in a separate hand ‘Hung in RSA Edinburgh, 1931’

15* English school. West country landscape with horses, possibly Dartmoor, 20th c. watercolour, initialled “M.A.K” lowerright, 34 x 24cm (13.5 x 9.5ins), framed and glazed (1)

£100-150

16* French School. A Tearful Maid, pastel on paper, laid down on board, with Durand-Ruel, Paris label to verso, 38.5 x 28.5cm (15.25 x 11.25ins), beaded oval gilt frame, glazed (1)

Ewan Geddes was born in Blairgowrie and trained in Edinburgh where he had a studio. He exhibited regularly at the Royal Scottish Academy from 1891. After his father’s early death he returned to Blairgowrie to the family home of ‘Gowanbrae’, where he used his father’s old studio, bringing many of his artist friends to the town. Geddes worked mainly in watercolour and he favoured landscape and rural scenes, often with snow.

(1) £300-500

£200-300

18* Gill (George Reynold, 1827-1904). “A View of Hornsey”, watercolour, of a landscape with houses, factories and church visible through trees in the background, with fields and cows, and a figure accompanied by a dog, in the foreground, signed lower right, 20 x 33.5cm (8 x 13.25ins), mounted, framed and glazed George Reynold Gill was a painter of landscapes, waterfalls, town and architectural views, who was born in Hereford. He studied at the School of Design, Somerset House, and subsequently became a Master at the School of Art in Truro.

(1) £150-200

8

Lot 17

Lot 18

9

Lot 19 19* Goodwin (Albert, 1845-1932). “Portsmouth”, watercolour, heightened with bodycolour, of a slipway and sea vessels, including a three deck first rate man o’war, de-rigged (possibly a training ship or hulk), signed lower right and titled lower left, 19 x 25cm (7.5 x 9.75ins), mounted, framed and glazed Albert Goodwin was probably the greatest follower of Turner. He was also influenced by the Pre-Raphaelites, becoming the pupil of Arthur Hughes, and later Ford Madox Brown. Goodwin was the last of the great Victorian travelling artists; in 1872 he made an intensive tour of Italy and Switzerland with John Ruskin, and subsequently travelled beyond Europe to India, the South Seas, Australia, New Zealand and the US. Like Ruskin, Goodwin responded to landscape with a religious fervour and understanding; but he went further in his interpretation, experimenting with the style of James McNeill Whistler, Ruskin’s adversary in the field of aesthetics. Goodwin exhibited regularly at the Royal Academy and the Royal Society of Painters in Water-Colours. His work is represented in numerous public collections, including the British Museum, Tate, the V&A, The Fitzwilliam Museum (Cambridge), Maidstone Museum & Bentlif Art Gallery, Manchester Art Gallery and The Whitworth Art Gallery (Manchester).

(1) £600-800

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

10

£200-300

Lot 21

21* Hankey (William Lee, 1869-1952). “Mussel Gatherers”, 1896, watercolour, of two female figures on a deserted beach at twilight with promontories in the background, signed and dated lower left (smudged), 24.5 x 38cm (9.75 x 15ins), framed and glazed (1)

£400-600

22* Harvey (Marion Rodger Hamilton, 1886-1971). A Scottish Terrier, coloured chalks on paper, signed lower left, 42 x 32cm (16.5 x 12.5ins), framed Marion Harvey was an accomplished Scottish artist born in Ayr. She was based in Glasgow and a regular exhibitor at the Royal Scottish Academy and the Walker Art Gallery, Liverpool, amongst other places. Harvey specialised in the portraiture of dogs and horses, often commissioned, and was known to work in oils, pastel, chalk and watercolour.

(1) £200-300

Lot 22

11

24* Heather (Marjorie, 1904-1989). Study of a rose, watercolour, signed, 38 x 28cm (15 x 11ins), framed & glazed (1)

£150-200

23 Hayes (Claude, 1856-1921). Near Albury, Surrey, watercolour, signed lower-right, 21 x 34cm (8 1/4 x 13 1/2ins), together with Rich (Alfred William), Rural landscape with hay cart, watercolour, signed lower-right, 20.5 x 33cm (8 x 13ins), both framed & glazed

25* Hider (Frank, 1861-1933). Landscape of a female figure with a basket walking along a path between fields, with pine trees in the background, watercolour, signed lower right, 16 x 34cm (6.25 x 13.25ins), mounted, framed and glazed

(2)

(1)

£200-300

£100-150

26* After William Hodges (1744-1797). View of Windsor and Eton College, c. 1800, pen, ink & watercolour wash on paper, being an early copy after the late 18th c. engraving by W. Byrne and J. Schuman after Hodges, 30.5 x 44.5cm (12 x 17.5ins), framed and glazed, together with a copy of the original engraving by Byrne & Schuman, framed and glazed (2)

Lot 24

12

£100-150

Lot 27

27* Holiday (Gilbert Joseph, 1879-1937). ‘The War Horse’, gouache on card, signed lower right, 27.5 x 42cm (11 x 16.5ins), framed and glazed (1)

£1000-1500

28* Italian School. “Devotione del volgo a S. Antonio protetiore”, 19th c., gouache over print, of a peasant woman kissing a picture of St. Antonio proffered to her by a bearded man with a hand-bell, with two children and a dog, Italianate buildings in the background, 21.5 x 16cm (8.5 x 6.25ins), framed and glazed (1)

£70-100

29* Italy. View of Sant’Agnese fuori le porte di Roma, c. 1812-20, sepia pen, ink & wash drawing on paper, watermark Smith & Allnutt 1812, 24 x 32cm (9.5 x 12.5ins), framed and glazed (1)

£100-150

Lot 29

13

31 Martineau (Gertrude, 1862-1911). Heather, near Aviemore, 1906, watercolour on paper, signed & dated lower left, back board with paper lable for the Aviemore & Highlands Exhibition of 1906 at The Modern Gallery, 61 New Bond Street, London, 22.5 x 38cm (9 x 15ins), mounted & framed (1)

£300-400

32* Mitchell (Philip, 1814-1896). At Loveton, pencil and watercolour landscape of a rocky stream with farm beyond, signed and dated 1882, 26.5 x 42.5cm (10.5 x 16.75ins), together with two watercolour views of Norwegian Fjords by Walter Westley Russell (1867-1949), each 17 x 20cm (6.75 x 8ins), all framed & glazed (3)

30* Leighton (Lady Mary, 1810-1864). The Blind Harpist, 1832, watercolour on paper depicting a blind male figure sitting at a harp with female figure supporting his hand, with a tent pictured in the background with ‘The Lion’ notice attached above the doorway and figures crowding around, ink manuscript annotation to verso “copied from a drawing by Richter in the possesion of Lt. H. Wynne

by Mary Leighton, Nov. 1832” and pencil annotation “the original was destroyed when Wynnstay was burnt”, 42 x 30cm (16.5 x 12ins), back board with similar pencil annotated label, ornate carved oak frame incorporating pierced decoration and richly carved corner bosses each of different design, using lattice foliate designs and fleur-de-lis Lady Mary Leighton of Loton Park, née Parker (1810-1864) married Sir Baldwin Leighton Bt. of Loton Hall, Shropshire in 1832. Two years previously in 1830, she accompanied her brother Rev. John Parker to Palestine where they both sketched. Some of their works are held by the National Library of Wales. Her second son Stanley Leighton MP (1837-1901) was the author and illustrator of Salop Houses Past and Present 1902. Provenance: Sir Michael Leighton Bt., Loton Park, Shrewsbury, Shropshire.

(1) £300-500

14

£70-100

Lot 34 33* Moore (John Collingham, 1829-1880). “Self-portrait”, charcoal and watercolour, on paper laid on card, head and shoulders portrait of a young man, several closed repaired tears, 66.5 x 52cm (26.25 x 20.5ins), gilt frame (damaged), with faint pencil inscription on the verso ‘Portrait of John Collingham Moore Painted by himself’ John Collingham Moore, a painter of portraits, landscapes and genre scenes, was from a Yorkshire family of artists. He entered the RA schools in 1850, and in 1858 he went to Rome, painting many views of the Roman Campagna, mostly in watercolour. After 1872 Moore turned his attention chiefly to portraits of children. Between 1852 and 1880 he exhibited at the Royal Academy, the British Institution, the Grosvenor Gallery, the Dudley Gallery and elsewhere.

(1) £200-300

34* Pigott (Charles, 1870-1949). The Yorkshire Wolds, watercolour, signed, contemporary gilt frame with title to verso (1)

Lot 33

15

£100-150

35* Pugin (Augustus Welby Northmore, 1812-1852). View of the Interior of St. Augustine's Abbey Church, Ramsgate, 1849, fine pen, ink & watercolour on wove paper, heightened with gold, mount stained and some overall toning, with contemporary ink inscription, apparently in the hand of Pugin's third wife Jane Pugin 'Study of the nave of St. Augustine's for the great drawing sent to the Exhibition at the Royal Academy, 1849. and afterwards presented to Mr. John Hardman of Birmingham', with ink signature below of Augustus Pugin, minor paper repair to lower centre of image, image size 20 x 15 cm (8 x 6 ins), sheet size 22 x 17 cm (8.7 x 6.75 ins), hinged along top margin to later backing card With an inscription to verso in the hand of Jane Pugin, A. W. N. Pugin's third wife and widow. An important document which provides first-hand information on the design and layout of the interior of St. Augustine's Church in Ramsgate as Pugin intended. The church was part of a group of buildings that included the Grange, the home that Pugin built for himself and his family. He wrote to the Earl of Shrewsbury during this time, 'My whole soul is devoted to building this church here ... I have got a scite and am collecting materials. I have a deliful plan of a flint Sea side church and everything gives way to that'. (Belcher, Collected Letters of A.W.N. Pugin, vol. 2, 270). Provenance: St. Augustine’s Abbey, Ramsgate.

(1) ÂŁ500-800 16

Lot 36

36* After Reni Guido (1575-1642). An early 19th century copy after Guido Reni’s God the Father above a Concert of Angels in the Church of San Gregorio Magno in Rome, pen, ink, watercolour & gouache on laid paper, watermarked Honig & Zoonen, one or two marks and minor stains, and marks to margins, sheet size 32.5 x 51.5cm (12.75 x 20.25ins) Reminiscent of the German Nazarene school.

(1)

£100-150

37* Riseley (R. C., early 20th c.). Landscape with trees on a summer afternoon, 1910, watercolour, signed and dated lower left, 31 x 41.5cm (12.25 x 16.25ins), gilt frame, glazed (1)

£70-100

Lot 37

17

Lot 39

38* Singleton (Henry, 1766-1839). An album of drawings of Shakespearean characters, six sheets of pen & ink and pencil sketches, with several figure studies to each sheet, stain to lower left corner, each approx. 17 x 10.5cm (6.75 x 4.25ins), mounted in a later album, boards soiled, 4to A typed note indicates that the volume was purchased in 1947 at Sotheby’s.

London-born artist Henry Singleton was brought up by his uncle, the miniature painter William Singleton. Henry attended the Royal Academy Schools from 1783 and started working as a professional portraitist at the age of sixteen. He exhibited some 285 works at the Royal Academy from 1784 until his death. During his early career Singleton painted a number of remarkable history and genre paintings, many of which were widely distributed as engravings in mezzotint.

(1) £200-300

40* Smith (Austin, fl. 1919-1928). Sunset, Scarborough, watercolour, signed and dated 1928, 13 x 18cm (5 x 7ins), contemp. gilt frame with title to mount Painter of Yorkshire coastal scenes in a similar style to Thomas Bush Hardy.

(1) £100-150

39* Attributed to John Raphael Smith (1752-1812). Portrait of an elderly lady, pastel head-and-shoulders portrait, of a stout elderly woman wearing a white shawl and a frilled black bonnet trimmed with feathers, 48 x 40.5cm (19 x 16ins), framed and glazed (1)

£200-300

18

41* Smith (Mabel Beatrice, early 20th c.). “Beulah R. F. Price, 1862”, 1916, opaque watercolour oval miniature, probably on vellum or ivorine, half-length seated portrait of Beulah Rosalie Farmer Price (1837-1900), signed and dated lower right, 11 x 9cm (4.25 x 3.5ins), brass frame with eng. floral border, eng. on verso with name of the sitter and the date 1862, contained in a velvet and satin lined calf box, with hinged doors and metal clasp, and hinged stand on verso, together with a related ms. album of ancestral records

Lot 42

Painted from a photograph of the sitter: the date on the verso implies the photograph was taken in 1862 when the subject was twenty-five, although an early pencilled note on a slip of paper states: ‘The original photo taken at the time of her marriage 1856’. Mabel Beatrice Smith was a miniature painter born in Philadelphia. She studied at the Philadelphia School of Design for Women, and at the Art Students League in New York with Alice Beckington and Mabel Welch. She is known to have been active and exhibiting between 1900 and 1919.

(2) £150-200

42* Sullivan (William Holmes, fl.1870-1908). Roundheads and Cavaliers fighting on a staircase, watercolour and gouache, with some bodycolour, of four men on a wide oak staircase brandishing muskets and swords, with an injured man lying at the foot of the stairs, signed lower left, 45.5 x 30cm (18 x 11.75ins), mounted, framed and glazed (1)

£200-300

43* Taylor (Neil, 20th c. ). The Old Ash Tree, watercolour, signed and dated early May 1953, 18.5 x 25cm (7.25 x 10ins), framed and glazed, original artist’s label to verso (1)

19

£100-150

Lot 44 44* After Joseph Mallord William Turner (1775-1851). The Bridge and Chateau at Amboise, watercolour on pale blue paper, with black and brown ink, heightened with white bodycolour, 14 x 19cm (5.5 x 7.5ins), mounted, together with View of boats and figures on a river, with hilltop monastery, watercolour on pale grey paper with brown ink, heightened with bodycolour, 14 x 19.5cm (5.5 x 7.75ins), mounted The first view appears to be based on a watercolour by J.M.W. Turner, made but not used for his series of engraved views on the Loire, first published in 1833. See Luke Herrmann, Ruskin and Turner, 1968, Catalogue number 36.

These two very competent watercolours appear to date from the mid 19th century, and it has been suggested that they may be the work of William Callow (1812-1908). Provenance: Formerly in the collection of the Royal Academician Charles William Mansel Lewis (1845-1931).

(2) ÂŁ200-400

45* Twemlow (B., early 20th c.). A collection of approx. fifty original watercolours on thick handmade paper together with a few prints by B. Twemlow, c. 1915-20, including several portraits, costume studies, and female heads, numerous landscapes, including Hindhead, Glengoe, Bosham, Southwold, Cornwall, some continental views, town scenes, etc., several signed and dated, mostly 55 x 38cm (22 x 15ins), and some smaller (a folder)

ÂŁ200-300

Lot 45 20

Lot 46 46* Varley (John, 1778-1842). View of Eton College at Dusk, watercolour on card, signed lower right, 25 x 37.5cm (9.75 x 14.75ins), framed and glazed (1)

£200-300

47* Vulliamy (Edward, 1876-1962). “Grantchester Meadows, Cambridge”, 1926, watercolour and black crayon, of houses viewed through blossom trees, signed and dated lower right, one small wormhole to lower right, but generally in fresh condition, mounted, framed and glazed Edward Vulliamy was a watercolour artist and honorary Keeper of Art at the Fitzwilliam Museum, Cambridge. The present work was given by the artist to Olive Wishart, of 21 Millington Road, Cambridge, around 1958.

(1) £70-100

Lot 47

21

Lot 49

48* Walton (Elijah, 1832-1880). Val d’Aosta, with a peak of the Ruitor, 1872, watercolour and pencil with bodycolour on buff paper, signed lower right, oval mount, framed and glazed with details to verso, 18 x 14cm (7 x 5.5ins) (1)

£100-150

50* Westall (Richard, 1765-1836). Nun in a wooded scene, 1803, watercolour, of a seated nun leaning against a rock, eyes turned heavenward in supplication, with a convent in the background and some shadowy figures approaching a large stone cross, signed and dated lower right, 47 x 36cm (18.5 x 14.25ins), mounted, framed and glazed, together with a pencil drawing of a young man, browned and foxed, indistinctly signed lower left, and dated 17th May 1852, 47.5 x 30cm (18.75 x 11.75ins), mounted

49* West (Alexander G., fl.1884). An album of watercolours, eleven watercolours, landscapes and seascapes, eight approx. 25 x 26cm (9.75 x 10.25ins) and three approx. 17 x 24.5cm (6.75 x 9.5ins), mounted on album leaves 64 x 50cm (25.25 x 19.75ins), with numerous blank leaves, orig. half roan, rubbed and worn, detached upper cover lettered in gilt ‘Sketches by Alexr. G. West’, large folio

Possibly an illustration for Sir Walter Scott’s 1809 edition of ‘Marmion: A Tale of Flodden Field’. Westall’s illustrations for the work were also issued separately as a suite of engravings in a portfolio.

(2) £300-500

Alexander West was a landscape artist who resided in Manchester. He exhibited four works at the Society of British Artists, Suffolk Street, and an Italian landscape at the Royal Academy.

(1) £200-300

22

51* Whyley (Evelyn Jane, late 19th/early 20th c. ). Continental Courtyard Scene, with two figures by a door way, watercolour signed lower right, 32.5 x 22cm (12.75 x 8.75ins), framed and glazed (1)

£100-150

52* Attributed to Josiah Wood Whymper (1813-1903).

Landscape with river and sheep, watercolour, 21 x 31cm (8.25 x 12.25ins) mounted, framed and glazed, together with Luce (Maximilien, 1858-1941, after) “River Marge”, watercolour, of a landscape with river and hills, with signature “M. Luce” lower right, 25 x 30.5cm (10 x 12ins), mounted, framed and glazed (2)

£200-300

Lot 53

SPORTING & WILDLIFE ART

53* Armstrong (Robin, 1947-). “And when the timrous trout I wait to take and he devours me bait”, n.d., c.1985, large watercolour and gouache, signed by the artist in lower right, watercolour remarque of a fishing fly with the leader running into the manuscript title, 705 x 490mm, mounted, framed and glazed (1)

£200-300

54* Armstrong (Robin, 1947-). “In all his glory, a male in full spawning colours”, n.d., c.1985, large watercolour and gouache, signed by the artist in lower right, watercolour remarque of a fishing fly with the leader running into the manuscript title, 705 x 490mm, mounted, framed and glazed This image was used as an illustration in Robin Armstrong’s book ‘Split-cane and Sable’, page. 117, published in 1988.

(1) £200-300

Lot 54

23

Lot 55 55* Armstrong (Robin, 1947-). Chalkstream brownie leaping.

Woodtown, March ‘90, large watercolour and gouache, signed and dated by artist in lower right corner, watercolour remarque of a salmon fly with the leader running into the manuscript title, 480 x 690mm, mounted, framed and glazed (1)

£200-300

56* Armstrong (Robin, 1947-). Male Sockeye in full spawning colours, King Salmon, Alaska, 1990, watercolour and gouache, signed and dated by artist in lower right corner, watercolour remarque of a salmon fly with the leader running into the manuscript title, 480 x 690mm, mounted, framed and glazed (1)

£200-300

Lot 56

24

Lot 57

57* De Marcillac (late 19th/early 20th-c.). A pair of French hunting scenes, early 20th century, watercolour heightened with body colour, signed in pencil below image, some creasing and staining to image, each approx. 47 x 60cms (18.5 x 23.5ins, framed and glazed, together with an uncoloured soft ground etching of a huntsman and horse by Carle Vernet, c.1820, 24.5 x 40.5cms (9.5 x 16ins), mounted, framed and glazed (3)

ÂŁ150-200

58* Green (Roland, F.Z.S., 1896-1972). Cuckoos, n.d., c.1950, pencil drawing, signed by artist, 33 x 31.5cms (13 x 12.5ins), mounted, framed and glazed (1)

ÂŁ200-300

Lot 58

25

MARINE ART

Lot 59

59* American School. Trois Mâts Swallow. Cap: William S. Harney, 19th century, naive-style watercolour on paper of a three-masted barque, flying an American flag, setting out to sea, with handwritten caption to lower margin on a black background, some light toning, 26.5 x 31.5cm (10.5 x 12.5ins), framed and glazed (1)

ÂŁ150-200

26

60* Attributed to Charles Bentley (1806-1854). Fishing boats, watercolour, 23 x 31cm (9 x 12ins), framed & glazed

62* E.S.B. Moonlit harbour with sailing ship and steam tug, 1932, watercolour and gouache on pale blue paper, signed E.S.B. and dated 1932 lower left, 23 x 34cm (9 x 13.25ins), mounted

(1)

(1)

£200-300

63* Ellis (Victor William 1921-84). Two-masted gaff-rigged sailing vessel in choppy seas, oil on canvas, 35.5 x 16.5cm (14 x 23.75ins), framed

61* Burgess (Arthur James Wetherall, 1879-1957). Square rigged clipper ship, watercolour, signed by artist in lower right corner, 25 x 36.5cm, mounted, framed and glazed (1)

£100-150

(1)

£200-300

27

£100-150

Lot 64

64* English school. Beached Brigantine unloading, early 19th century, oil on board, 19.5 x 25cms (7.5 x 9.75ins), modern gilt swept and pierced frame (1)

ÂŁ300-400

28

67* Glover (Sybil Mullen, 1908-1995). Summercraft, Devonport, watercolour, signed, 29 x 39cm (11 1/2 x 15ins), framed and glazed

65* Finch (Roger, 20th century). ‘Herring Moon’, oil on board, signed and dated (19)59 lower left, 28.5 x 39.5cm, titled verso and inscribed ‘Roger Finch, Crosstrees, Tuddenham Road, Ipswich, Suffolk’, framed, together with another by the same hand, ‘The New Genoa’, signed lower left, 28.5 x 39.5cm, titled verso and inscribed with the artists name and address, verso bearing gallery label for ‘East Anglian Art Shop Ltd, 6/8 Gt. Colman St., Ipswich’, framed (1)

Studied at St Martin’s and lived for much of her life in Plymouth. Exhibited at the RA, New English Art Club, Society of Marine Artists, and the Society of Women Artists.

(1) £150-200

£200-300

68* Gozzard (James Walter, 1888 - 1950). The Fisherman’s Children, oil on canvas, signed by artist in lower left, 40 x 60cms (15.75 x 23.5ins), framed (1)

66* Fletcher (Edwin Henry Eugene, 1857-1945). Shipping on the Thames Estuary at Blackwall, oil on canvas, signed lower right, extensive craquelure to vertical tears or partial tears to the canvas towards upper left, with a little consequent paint damage, 76 x 50.5cm (30 x 20ins), framed (1)

£200-300

29

£150-200

Lot 69

69* Jenkins (George Henry, 1843-1914). Seascape with fishing vessels and sailing craft, oil on wood panel, signed lower left, 23.5 x 39cm (9.25 x 15.25ins), gilt moulded frame Jenkins was a West Country artist who painted extensively throughout Devon and Cornwall in both oil and watercolour. His subjects are all topographical featuring landscapes and seascapes.

(1) ÂŁ200-300

70* Lancaster (Brian C., 1931-). Dutch Schooner, Berwick-uponTweed, watercolour, signed, 30 x 39cm (12 x 15 1/2ins), framed & glazed (1)

ÂŁ150-200

Lot 70

30

Lot 71

71 Naples school. SS Glassford in the Bay of Naples, with Mount Vesuvius smoking in the distance, gouache on board, titled to lower centre, 40 x 65cm (15.75 x 25.5ins), contemp. moulded frame, glazed The Steamship SS Glassford was built by Ardrossan Drydock & Shipbuilding Company on the Clyde in 1919. It was torpedoed by a German u-boat on 2nd December 1940 en route from Cardiff to Lisbon.

(1) ÂŁ200-300

72* Snape (Martin, 1853-1930). River scene with Thames barge, watercolour, signed lower left, 27.5 x 15.5cm (10.75 x 6ins), mounted, framed and glazed (1)

ÂŁ100-150

Lot 72

31

Lot 74

73* Wyllie (William Lionel, R.A. 1851-1931). Study of a rowing boat coming ashore, pencil on paper, 14.5 x 18.5cm (5.75 x 7.25ins), together with two further pencil studies of fishing boats going out to sea, both pencil on paper, 32 x 160mm (1.25 x 6.25ins), each, mounted together as one, gilt frame, glazed, with old framer’s label of J. Brown, 22 Duke Street, Aldgate, EC to verso (1)

74* Yockney (Kenneth Allington, 1881-1965). Racing Yachts in the Solent, watercolour, signed, 24 x 40.8cm (9.5 x 16ins), framed & glazed (1)

£150-200

32

£200-300

PAINTINGS

Lot 75

75* Banner (Alfred, fl.1880-1915). “Weston-on-Avon”, 1910, oil on canvas, of a rural landscape with cottages, cattle, poultry, two children, and a dog, signed and dated lower right and on reverse, 30.5 x 46cm (12 x 18ins), gilt frame (1)

£400-600

33

Lot 76

34

76* Attributed to William Beechey (1753-1839). Portrait of a lady in white, possibly Queen Charlotte (1744-1818), c. 1800, oil on canvas, half length, unsigned, 74 x 62cm (29 x 24ins), gilt frame Sir Henry William Beechey became associate of the Royal Academy in 1793, and in the same year he was made portrait painter to Queen Charlotte.

(1) £800-1200

77* Style of Richard Parkes Bonnington (1802-1828). View of an Estuary, with fishing boats unloading, oil on canvas, relined, 40.5 x 30.5cm (16 x 12ins), gilt frame, with Parker Gallery, 2 Albemarle Street, London, label to verso (1)

£200-300

78* Continental School. Portrait of St. Benedict seated on a throne holding crozier & rule book, early 19th c., full length oil on panel portrait, halo in gilt, background finished in gilt (mostly rubbed away), some surface craquelure, vertical split to panel braced to verso, 160 x 63cm (63 x 24.75ins), framed Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£2000-3000

Lot 78

35

80 Manner of Gaspard Dughet (1615-1675). The Boar Hunt, late 18th c., oil on canvas, depicting a boar hunt in progress, with cascading waterfall and castle and bridge in the background, relined, 59 x 69.5cm (23.25 x 27.25ins) (1)

£300-500

81* Dutch School. Still life of roses, tulips, chrysanthemums, carnations, hyacinths, narcissi, stephanotis and fuschias in a gilded tureen, late 17th or early 18th century, oil on canvas, mounted on board (with an additional oil landscape with figures to verso), some old restoration, 61 x 76cm (24 x 30ins), hand carved gilt gesso frame, probably later 18th century (1)

£500-800

79* Digby (Kenelm Henry, 1795/6-1880). Self portrait of Kenelm Henry Digby, early 19th c., oil on canvas half length portrait, repair to right hand central portion, relined, 76 x 63.5cm (30 x 25ins), contemp. gilt moulded frame with minor damage The Anglo-Irish writer Kenelm Henry Digby was born at Geashill, King’s county, Ireland. He was the younger son of the Very Revd William Digby, Dean of Clonfert, and Mary, his third wife (of Devon descent). Digby was educated at Petersham, Surrey, and Trinity College, Cambridge. His first published work The Broadstone of Honour, or, Rules for the Gentlemen of England, was published in 1822. His was recieved into the Roman Catholic church in 1825 by Father Edward Scott SJ. In 1833 he married Jane Mary Dillon, daughter of Thomas Dillon of Mount Dillon, co. Dublin and they had seven children. They lived with their family in Paris and various towns in France until 1857 and then settled in England. He died at his home, Shaftesbury House, Hammersmith, London, on 22 March 1880, and was buried in Kensal Green Roman Catholic cemetery, London. He wrote numerous works including prose, verse and works relating to the catholic faith including Mores Catholici, or, Ages of Faith, 11 vols., 1831-42, and Compitum, or, The Meeting of the Ways at the Catholic Church, 7 vols., written between 1848 and 1854.

Provenance: St. Augustine’s Abbey, Ramsgate. The Digby Family Chapel is located in St. Augustine’s Church, Ramsgate, adjacent to the Abbey.

(1) £300-500

82* Dutch School. Figures in an interior, 19th c. oil on copper painting showing three figures sitting by a table (possibly in a tavern), with one figure playing the guitar whilst the others observe, 21.5 x 17cm (8 x 6.75ins), gilt moulded frame with stylised acorn & oak leaf decoration (1)

36

£150-200

Lot 80

Lot 81

37

83* Ecclesiastical panels. St. Benedict and St. Scholastica, Northern Europe, mid 19th c., a pair of Goil on panel full length portraits, St Benedict holding a crozier with ornate curved handle and a volume displaying the Rule of St. Benedict “Ausculta, o fili, praecepta magistri” and with raven at his feet, St. Scholastica holding a white dove in one hand and volume inscribed “Recula” to cover in the other, each portrait with inscribed halo in gilt, Puginesque curtain behind each figure and with glimpse of ecclesiastical buildings in lunette with scalloped edge behind, monogramm H.V.W. to lower left of each, edges of each rubbed with slight paint loss and probably with some restoration to upper portion of panel, stained oak frames, 84 x 32cm (33 x 12.5ins) Originally forming the side wings of an dismantled altar triptych. Provenance: St. Augustine’s Abbey, Ramsgate.

(2)

38

£500-800

84* English Naive School. Portrait of a young girl, c.1810, oil on canvas, half-length portrait of a young girl in a high-waisted Empirestyle white muslin dress with a pale pink ribbon sash, wearing a necklace and small gold hoop earrings, and holding an open book, with a mountainous landscape and clouds seen through a red-curtained window on the right, dust-soiled and some light staining, small closed tear on neck of subject, 57.5 x 68cm (22.25 x 26.75ins), framed (1)

ÂŁ300-500

39

85* English School. The Forge, late 18th/early 19th c., oil on wood panel, interior scene of a smithy, with the blacksmith greeting his wife and baby, remains of an old Manchester label on verso, 30.5 x 34cm (12 x 13.5ins), gilt frame (1)

£300-500

87* English School. Portrait of a lady wearing a blue dress, red shawl and pearl bracelet, 18th c., half length oil on canvas portrait, relined with a few short closed tears, 63 x 76cm (24.75 x 30ins), gilt moulded frame (1)

£200-300

88* English School. A pair of naive portraits of a grey stallion and a bay hunter in a stable, 19th c., together two oils on canvas, some wear with some paint loss, 45.5 x 61cm (18 x 24ins), and 45.5 x 61cm (18 x 24ins) respectively, in matching gilt moulded frames 86* English School. Girl reading in a garden, c.1880, oil on canvas, of a girl in a white dress reading a book, seated in an arbour by an open door showing an interior view, with a large black dog and a white cat beside her, 30.5 x 25.5cm (12 x 10ins), gilt frame (1)

(2)

£200-300

40

£200-300

89* English School. Portrait of Nathaniel Crew, 3rd Baron Crew, Bishop of Durham seated in clerical dress with coronet on table at his side, early 18th c., oil on canvas half length portrait, relined, 76 x 64cm (30 x 25.25ins), stretcher with late 19th c. printed paper label “from T. Rushworth and Son, Carvers and Gilders, Sadler Street, Durham”, gilt frame The portrait is in the manner of and possibly by the artist Jonathan Richardson (1665-1745). There are similar works attributed to him at Auckland Castle and the National Portrait Gallery. Nathanial Crew (1633-1721) was one of the longest serving bishops of the Church of England, being Bishop of Oxford from 1671-74 and then Bishop of Durham from 1674-1721.

(1) £700-1000

41

92* Figel (Albert, 1889-1955). Pope Gregory sending St. Augustine to England to found the Christian Church in 597, oil on canvas, signed and dated 1928 lower right, 112 x 81.5 (44 x 32ins), framed Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£300-500

90* English school. View of Lancaster, 1854, oil on board, 26.5 x 38cms (10.5 x 15ins), near contemp. label on verso with indistinct attribution and date, framed (1)

£100-150

91* English School. Portrait of a middle aged lady, early 19th century, oil on board, 19.5 x 17.5cm, in a gilt frame, verso bearing ‘Alexander Hill, Gallery of the Fine Arts’ label and inscribed ‘Miyo Douglas, Pittenweem May 1st 1834’ (1)

£100-150

93* Figel (Albert, 1889-1955).

Eppsfleet in Kent, and preaching Kent and his wife Bertha, oil on lower left, 112 x 81.5 (44 x 32ins),

The Arrival of St. Augustine at the gospel to King Ethelbert of canvas, signed and dated 1930 framed

Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£300-500

94* Fiversel (Rosa G., late 19th c.). Still life of plums, 1895, oil on wood panel, signed lower right, image size 38 x 23cm (15 x 9ins), mounted on bevelled gilt wood panel acting as a frame, overall size 53.5 x 38cm (21 x 15ins) Exhibited at S.A. Chamber of Manufactures Exhibition of Art and Industry in 1895, according to the remains of a label on reverse, which gives the artist’s address in Adelaide.

(1) £70-100

Lot 92

42

95* Gardner (Hermine, 1846-1905). Bavarian gentleman with a glass of red wine, oil on wood panel, signed lower right, 21 x 16cm (8.25 x 6.25ins), contemp. frame (some damage) (1)

ÂŁ100-150

96* Gianni (Girolamo, 1837-1895). Strada Teatro, Valletta, Malta, oil on board, signed lower left, 17 x 11.5cm (6.75 x 4.5ins), gilt frame, with old typewritten label to verso, and an additional handwritten note indicating that the work was acquired by a previous owner in June 1969 A small-scale animated street scene in Valletta, Malta, looking towards the harbour, with the Manuel Theatre in the foreground.

(1) ÂŁ300-500

43

Lot 97

97* Goodhall (May C., exhib. 1887-1918). ‘Preparing for the festival’, oil on canvas, signed and dated 1893, remains of old manuscript paper label to stretcher, 61 x 85cm (24 x 33.5ins), gilt gesso frame (damaged) (1)

£400-600

98* Herd (R., late 19th c.). The Langdale Pikes, Westmorland, 1891, oil on canvas river scene with Landale pikes in the distance, signed and dated to verso, 46 x 61cm (18 x 24ins), modern gilt moulded frame (1)

£200-300

Lot 98

44

100* Italian school. View in Venice, mid 19th century, oil on board in the style of Canaletto, 29 x 39cms (11.5 x 15.25ins), framed

99* Hunt (Edward Aubrey, 1855-1922). Evening landscape with cattle, oil on wood panel, of cattle in a meadow beside a watering hole, with a folly surrounded by trees in the background, 16.5 x 20.5cm (6.5 x 8ins), framed (1)

(1)

£150-250

£100-150

101* Italian school. Virgin and Child, 18th c., oil on wood panel, of the Madonna and Child in a landscape, 19 x 9cm (7.5 x 3.5ins), carved ebonised wood architectural frame in classical style (1)

Lot 101 45

£300-500

102* Lavarello (E., late 19th c.). Mediterranean Woman, 1895, oil, of a wistful-looking young woman reclining on a marble seat overlooking a wooded hillside and a Mediterranean town, with the sea in the distance, signed and dated lower right, 22 x 32cm (8.75 x 12.5ins), mounted, framed and glazed (1)

£100-150

103* Linnell (James Thomas, 1820-1905). The Thames at Eton, oil on canvas, 50.5 x 71cm (20 x 28ins), framed, with early 20th century Parker Gallery label, and old auction stencil KK78 to verso James Thomas Linnell was the fourth child of the painter John Linnell (17921882). He grew up in the circle of William Blake and the Ancients, and became brother-in-law to Samuel Palmer, when the latter married James’s elder sister Hannah in 1837. He exhibited at the Royal Academy between 1850 and 1888, and is considered the finest of the elder Linnell’s painter sons.

(1) £7000-10000

104* Manner of George Morland (1763-1804). Peasants outside a cottage, mid 19th c., oil on wood panel, of villagers drinking from flagons and smoking pipes around a table in front of a thatched cottage, approx. 44 x 37cm (17.5 x 14.5ins), gilt frame

Lot 102

(1)

£300-400

105* Neelmeyer (Ludwig, 1814-1870). Alpine mountain scene, 1849, oil on canvas, of two small figures and four goats on a mountain, with pine trees and a large rocky outcrop, signed and dated lower right, 28.5 x 36.5cm (11.25 x 14.25ins), gilt moulded frame Ludwig Neelmeyer was a son of the painter Heinrich Neelmeyer. He studied in Munich and worked in Milan as art tutor to the children of the Archduke Rainer. In 1848 he moved with the Archduke to Bolzano, Italy, where he was active as a painter until 1854 when he became blind.

(1) £400-600

Lot 104

46

Lot 103

47

106* After 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)

£400-600

48

107* After Raphael Sanzio (1483-1520). Madonna della Sedia, fine mid-19th century oil on wood panel after Raphael, 73 x 72cm (28.75 x 28.5ins), in 19th c. Florentine hand-carved frame, possibly of the 18th century, some damage and minor loss to each corner, 130 x 130cm (51 x 51ins) Provenance: Formerly in the collection of Charles William Mansel Lewis (1849-1931), the artist and friend and patron of Hubert von Herkomer.

(1)

49

ÂŁ1000-1500

Lot 108

108* Renault (Edmond, 1829-1905). River scene at dusk, 1855, oil on canvas, of a gondola on a wide river with dwellings on a wooded bank, small puncture point towards lower right, signed and dated lower left, 21 x 31cm (8.25 x 12.25ins), gilt frame (with sl. loss of moulding) (1)

£400-600

109* Shakespeare (William). Portrait of William Shakespeare, probably mid-19th century, feigned oval oil on canvas, gilded outer corners renewed, relined, 35 x 27.5cm (14 x 11ins), old gilt frame A 19th century copy, most likely after the so-called Flower portrait of Shakespeare, which itself may have been based on the Droeshout engraving published in the 1623 First Folio of Shakespeare’s works.

(1) £200-300

Lot 109

50

Lot 111

110* Tarrant (Percy, fl.1879-1930). “She gave a sort of shout and ran towards us”, oil on board, of a girl waving a lacrosse stick at two girls in a phaeton, initialled lower left, 23.5 x 16.5cm (9.25 x 6.5ins), framed (1)

£500-800

111* Vollerdt (Johann Christian, 1708-1769). Figures by a river, with buildings on fire on far bank, 1756, oil on canvas (relined), with signature and date ‘Vollerdt p1756’ to lower left, stretcher with paper strip to verso with manuscript price of 32 pounds ten shillings (possibly early 19th c.), 33 x 43.5cm (13 x 17ins) Johann Christian Vollerdt (1708-1769) is well known for his animated landscapes and river scenes, especially views on the Rhine and Switzerland.

(1) £1500-2000

Lot 110

51

Lot 112

Lot 114

52

DRAWINGS 112* Wardle (Arthur, 1864-1949). Haymaking, oil on canvas, signed lower left, relined with green canvas cloth, 61 x 106.5cm (24 x 40ins), recessed gilt frame with gilt-moulded leaf decoration to outer border

115* Drawings & Watercolours. A mixed collection of approx. forty drawings and watercolours, mostly 19th & 20th century, including portraits, topgraphical scenes, genre and classical views, various sizes and condition

Best known for his paintings of domestic and wild animals and sporting scenes, Arthur Wardle was just 16 when he first exhibited at the Royal Academy in 1880 with a work entitled Study of cattle on the banks of the Thames. The present work is believed to have been commissioned by relatives of the present owner.

(1) £400-600

(approx.40)

113* Waring (William Henry, act.1886-1928). Coastal view with cliffs, oil on canvas scene of waves pounding against rocks at the beach edge, with cliffs rising to the left and ships faintly visible in the distance, signed lower right, few old repairs and closed tear, 46 x 84.5cm (18 x 33.25ins), gilt moulded frame, worn with loss (1)

116* Ellenrieder (Marie, 1791-1863). Two Angels on a floating cloud, one playing the tambourine, the other playing cymbals, 1860, fine pencil drawing on wove paper, heightened with gold ink, signed and dated lower right, minor foxing and light mount stains to outer corners, sheet size 153 x 202mm (6 x 8ins)

£300-400

Marie (or Maria) Ellenrieder was born in Konstanz, on the German/Swiss border and following study with the miniature painter Joseph Einsle, became the first woman to be admitted to the Munich Academy of Fine Art. Between 1822 and 1824 she was in Rome, where she was greatly influenced by the German Nazarenes, particularly Friedrich Johann Overbeck.

(1) £200-300

114* Whitford (Richard c.1821 - 90). Mare and Foal, 1860, oil on canvas, restored and relined, signed and dated by artist in lower right, 61.5 x 74.5cms (24 x 29.25ins), framed (1)

£200-300

£300-500

53

Lot 117

Lot 118 54

Lot 119

117* French School. Vue de Ruines Antiques des Environs de Rome, pen, brown ink and wash on laid paper, titled in ink to lower margin, and dated ‘En 1738’ in pencil to lower left corner, 21 x 34cm (8.25 x 13.25ins), framed and glazed

119* After Francesco Guardi (1712-1793). View on the Cannaregio Canal, Venice, pen, brown ink & wash on laid paper, with inscription to left margin (partly illegible due to loss of paper from oxidisation) ‘protestarono, e protestano non solo, ma in Ogni ... 19 Agosto 1765’, sheet size 20.5 x 30cm (8 x 11.75ins), mounted

A fine early 18th century drawing of classical ruins in the Roman Campagna, in the manner of Claude Lorrain.

(1) £100-150

Presumed to be a copy after Guardi’s oil painting of the Cannaregio Canal, Venice of c. 1775-80, now in the National Gallery of Art, Washington.

(1) £200-300

118* Circle of Thomas Gainsborough (1727-1788). The Boar Hunt, fine 18th century pen, ink & watercolour on paper, 18 x 23cm (7 x 9ins), mounted on card, with 19th c. ink inscription to verso ‘Sketch from Recollection of a Picture by Rubens’

120 Italian School. An album containing 33 drawings, c.1840s, including mostly pencil drawings, some with watercolour or wash, subjects include rural scenes, farm animals, drawings of classical friezes or sculpture, views in Pompei, Pozzolo, etc., a few with pencil titles, none bearing artists’ names, sizes vary but typically 16 x 24cm, all images tipped into a contemp. half morocco album with leather title label to upper cover ‘Disegni Diversi 4”, oblong folio (29 x 44cm)

The present work appears to be a copy from memory of the painting entitled ‘The Boar Hunt’ of c. 1625-30, now accepted as the work of Frans Snyders (1579-1657), and held at the Museum of Fine Art in Boston.

(1) £300-500

(1)

55

£200-300

Lot 122 56

121* Neoclassical drawing. Study of a female nude with a male figure resting on a cloud, late 18th c., pencil on paper, with watermark of a bugle and a crown on a shield, incorporating the letter H, 47 x 39cm (18.5 x 15.25ins), tipped onto card Possibly a drawing for a ceiling painting or wall fresco.

(1)

£150-250

123* 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)

122* 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 in German) (1)

(1)

£4000-6000

57

£2000-3000

124* Richmond (George, R.A., 1809-1896). Portrait of a Lady, head-and-shoulders portrait in pencil, with some watercolour, heightened with white, on paper, of a lady in a coat and lace bonnet, contemp. pencil attribution on verso of mount to which paper tipped, 27 x 22cm (10.5 x 8.5ins), framed and glazed (1)

£300-500

125* Richmond (George, R.A., 1809-1896). Portrait of a young girl, 1832, three quarter length portrait in pencil, with some watercolour, heightened with white, of a young girl, framed by a landscape vista seen through a window behind, indistinctly signed and dated in pencil lower right, 26 x 21cm (10.25 x 8.25ins, mounted, framed and glazed (1)

£200-300

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

£70-100

127* School of Richard Wilson (1714-1782). Italianate landscape, later 18th c. pen, ink and wash on laid paper, showing figures by trees in the foreground, with buildings and hills beyond, 27 x 34.5cm (10.5 x 13.5ins), framed and glazed, with Forge House Gallery, Cookham label to verso (1)

£150-200

Lot 124

Lot 125

Lot 127

58

PRINTS

Lot 128 128* Bovi (Mariano, 1758-). Allegory of the Fine Arts, pub. M. Bovi, January 1st 1795, stipple engraving by Bovi after Francesco Bartolozzi and Cipriani, trimmed to margins, some marginal marks and toning to left and right margins, 20 x 48cm (8 x 19ins), together with Levesque (Pierre Charles, 1736-1812), Erigone Vaincue, copper engraving by Levesque after Jean Baptiste Henri Deshays, c. 1768, a good impression, with margins, some spotting to margins, plate size 49 x 34.5cm (19.25 x 13.5ins), plus Tardieu (Nicolas Henri, 1674-1749), Noli me tangere, copper engraving by Tardieu after Titian, some soiling, mostly to margins, and with loss of outer margin to lower left, plate size 43.5 x 33.5cm (17 x 13.25ins) (3)

ÂŁ150-200

129* Goltzius (Hendrik, 1558-1617). The Betrayal of Christ, c.1598, uncoloured engraving on laid, trimmed to image, 19 x 12.5cms (7.5 x 5ins), mounted, together with The Last Supper, 1598 [but later impression], uncoloured engraving on laid, near contemp. manuscript initials below image, slight staining and dust soiling, tipped on to later paper, 21 x 13.5cms (8.25 x 5.25ins) (2)

ÂŁ100-200

Lot 129

59

130* Hollar (Wenceslaus, 1607-1677). The Four Seasons, c. 1650 [but later], together four etchings, Spring with some damage and loss, each trimmed within the plate, each 25 x 18cm (9.75 x 7ins), and slightly smaller, mounted on old cream paper, together with seven various etchings by Claude Lorrain, all mounted on similar old cream paper, various sizes (11)

ÂŁ200-300

131* Hollar (Wenceslaus, 1607-1677). Fire, 1647, etching depicting putti firing a canon, with two others holding pieces from a suit of armour, print signed P. van Avont inu, W. Hollar fecit, 1647, and F. de Widt excudit, 14 x 20.5cm (5.5 x 8ins), (Pennington 523), together with Marshall (William, 17th c.), An armorial bookplate engraved for Sir Edward Littleton, c.1630, etched anonymous armorial bookplate bearing the arms of Edward Littleton (15891645), 19.5 x 14cm (5.5 x 7.75ins), (this bookplate is illustrated and described by Brian North Lee in British Bookplates, 1979, no.7.), plus twenty-one other etchings, mostly 17th/18th c., including two prints by Jan Both and Madonna & Child by Wierix (23)

Lot 131

ÂŁ200-300

60

Lot 132

Lot 133 132* Hollyer (Frederick, 1837-1933). Furor, Dolor, after Edward Burne-Jones, c. 1890s, platinum print, photographer’s blindstamp lower right, 15 x 32.5cm, framed and glazed (1)

133* Hollyer (Frederick, 1837-1933). Crudelitas and Saevita, after platinum print, with the Edward Burne-Jones, c. 1890s, photographer’s blindstamp to lower right, 16 x 31.5cm, framed and glazed

£300-500

(1)

61

£300-500

Lot 134 134* Martin (John, 1789-1854). The Plains of Heaven, pub. Thomas McClean, January 1st. 1857, line engraving by Charles Mottram, early hand colouring, 72 x 103cms (28.5 x 40.5ins), framed and glazed Appears to be in fine condition, although not examined out of frame.

(1) £500-800

135* Piranesi (Giovanni Battista, 1720-1778). Campus Martius Antiquae Urbis, Rome, 1762, b&w etching, plate size 51 x 34cm (20 x 13.5ins), with margins, some soiling, together with Le Rovine del Castello dell’Acqua Giulia situato in Roma, [1761], b&w etching, some soiling, plate size 45 x 29cm (17.75 x 11.5ins), with margins (2)

£100-150

136* Pollard (Robert 1755-1838). To the Right Honorable Horatio Nelson… This Print representing the approach of ye British Squadron to the attack of the French under Admiral De Brueys off the Mouth of the Nile on the Evening of the 1st. August 1798 is Respectfully inscribed by Nicholas Pocock, pub. May 20th. 1799 [but later impression], aquatint with hand colouring, 475 x 630mm, mounted, framed and glazed, together with To Captain Sir H.B. Neale Bart., of His Majesty’s Ship St. Fiorenzo… This Print representing their Engagement with Three French Frigates & a Gun Vessel aided by a Battery on the shore close in with Bellisle, April 9th. 1799, is repectfully Inscribed by Nicholas Pocock, pub. Feb. 12th.

1801, [but later impression], aquatint with hand colouring, mount with some water staining, 475 x 630mm, mounted, framed and glazed, both with Frost & Reed Gallery labels on verso of frames (2)

£150-200

Lot 135 62

137* Rembrandt (Harmensz van Rijn, 1606-1669). Christ and the woman of Samaria: among ruins, c.1634, etching, laid on later card, trimmed with slight loss, image worn, signed and dated on plate, 11 x 9.5cms (4.25 x 3.75ins) (1)

£100-150

138* Saenredam (Jan Pietersz., 1565-1607). Vertumnus and Pomona, 1605, copper engraving after Abraham Bloemaert, published by Robertus de Baudous, trimmed to image, 44.5 x 35.5cm (17.5 x 14ins), framed and glazed (unexamined out of frame) Bartsch III, 27.

(1)

£200-300

139* Stubbs (George). The Anatomy of the Horse, plate 8, 176065 [but later impression], etching on wove, laid on modern card, 380 x 480mm Lennox-Boyd, Dixon & Clayton, George Stubbs, Complete Engraved Works, no.181.

(1) £70-100

Lot 138

63

Lot 140

140* Stubbs (George A.R.A., 1724-1806). Phillis, A Pointer of Lord Clermonts, c.1772, uncoloured mezzotint, slight creasing to image, trimmed to image, 32 x 45cms (12.5 x 17.75ins) mounted, framed and glazed Lennox-Boyd, Dixon & Clayton, George Stubbs, Complete Engraved Works, no.34, state 4. Not examined out of frame.

(1)

64

ÂŁ200-300

ORIENTAL

141* Teniers (David II, 1610-1690). Five peasants gathered round a barrel, etching on laid paper, with watermark of a fleur de lys in a crowned shield, second state, with thread margins, 14.5 x 26cm (5.75 x 10.25ins), framed and glazed, with Christopher Mendez label to verso (1)

£200-300

143* Chinese Rice Paper Drawings. A collection of eight paintings, 19th century, including a pair of botanical bouquets, minor chipping to margins, each approx. 31.5 x 19cms (12.5 x 7.5ins, mounted, framed and glazed, and four paintings of birds, some chipping and slight loss, each approx. 17.5 x 27.5cms (7 x 11ins), mounted, framed and glazed, plus an unframed painting of a boat, 13 x 16cms (5 x 6.25ins), mounted, and an unframed study of moths and butterflies, 14.2 x 22cms (5.75 x 8.75ins), mounted (8)

£300-500

142* Testa (Pietro, 1611-1650). St. Jerome, 1630, etching on laid paper, a later impression (possibly late 17th or early 18th century), with publisher’s name erased of Calisto Servanti erased to lower right corner, some surface soiling and stains, together with Goya (Francisco, 1746-1828), Torero on the shoulders of a Chulo lances a bull, Plate D from the series Tauromaquia (first published 1816), on laid paper, possibly from the 3rd edition of 1876, some toning, and scattered small wormholes, margins trimmed, plate size 24.5 x 35.5cm (9.5 x 14ins), plus two mezzotint engravings by John Martin, one depicting a naked woman by a river, with wall walled city beyond, the other illustrating the story of Tobias and the Angel, both trimmed to image, the first with some marks and damage See Bartsch 15 for the first item.

(4)

£150-200

144* Hiroshige (Ando, 1797-1858). Figures on a mountain path with gorge, woodcut printed in colours, image size 33.5 x 22cm (13.25 x 8.75ins), mounted, framed and glazed (1)

65

£150-200

147* Kasom (Suzuki, 1861-1919). Sailing Boats at Dusk, colour woodblock print, 20.7 x 26.5cm (8.25 x 10.5ins)

145* Indian mica paintings. A collection of approx thirty paintings, 19th century, depicting portraits, costume, genre and social scenes, various sizes and condition, together with three watercolours of Indian genre scenes (approx.30)

With an accompanying typewritten letter relating to this print signed by Basil Gray, keeper in the Department of Oriental Antiquities, British Museum, dated 11th March, 1952.

(1) £50-80

£150-250

146* Indian mica paintings. A collection of ten mica paintings of Indian crafts and professians, mid 19th century, each appprox. 11 x 7.5cms (4.25 x 3ins), together with a Chinese rice paper painting of a melon, 14 x 22cms (5.5 x 8.75ins), mounted, plus seven additional rice paper drawings of costumes and crafts, framed and glazed in two frames

148* Kawano (Kaoru, 1916-1965). Camellia (G), double oban colour woodblock print on Washi paper, signed, titled, and numbered 1/200, image size 56 x 38cm (22 x 15ins), framed and glazed

(13)

(1)

£200-300

66

£100-150

149* Keith (Elizabeth, 1887-1956). Hong Kong Harbour at Night, 1924, fine woodcut printed in colours on cream japan paper with margins, signed within the image lower right in white chalk, titled in pencil to lower left margin, remains of adhesive along top edge, image size 312 x 386mm (12.25 x 15.25ins), sheet size 333 x 408mm (13.1 x 16ins), mounted with tabs to corners Elizabeth Keith (1887-1956) was born in Aberdeenshire, Scotland, and spent her childhood in London. In 1915, she travelled to Japan, and lived with her sister there for 9 years, during which time she sketched extensively in Japan, China, Korea, and the Philippines.

An exhibition of her watercolours held in Tokyo in 1919 was seen by the famous publisher and printmaker Watanabe, and from that time onwards he published colour woodblock prints of her watercolours up until 1939. Her published prints are of a consistently high quality, with a strong sense of colour. A catalogue of her prints was published by Richard Miles in Singapore in 1991. This view of Hong Kong at night was published in 1924, and is the artist’s most famous and sought-after print.

(1) ÂŁ700-1000

67

Lot 152

150* Keith (Elizabeth, 1887-1956). Street Scene, Soochow in Kiang-su, 1924, colour woodcut, signed in pencil within the image to lower right, titled in pencil to lower left margin, some minor marks to blank margins, and remains of adhesive along top edge, image size 37.8 x 25.4cm (15 x 10ins), mounted with tabs to upper outer corners only A good impression, printed in rich dark tones, to strengthen the effect of a nocturne.

(1) £300-500

151* Kunisada (Toyokuni III, 1823-1880). Fight on a bridge, triptych colour woodblock, showing three male figures swordfighting, with two on-lookers, overall image size, 35.5 x 74cm (14 x 29.25ins), laid down on paper, together with The scribe, oban colour woodblock, of a male figure seated on the floor and engaged in writing, image size 35.5 x 25cm (14 x 9.75ins), laid down on paper, plus another similar oban colour woodblock by Yoshikuni, of a male actor with parasol (3)

£100-150

152* Urushibara (Yoshijiro, 1888-1953). Vase of Roses on a table, woodcut printed in colours, signed in pencil, and numbered 65, pale mount stain, image size 39 x 27.5cm (15.25 x 10.75ins), sheet size 440 x 318mm (17.25 x 12.5ins), together with five other early 20th c. colour woodcuts, including two Nocturnes by E. C. Austen Brown (one depicting S. Giorgio Maggiore, Venice, at night, the other a farmhouse by a lake at night, a colour woodcut of Shetland Ponies by A. W. Seaby, Dorothy Langley’s, Eagle & A. Rigden Read’s, Spider’s Web), some marks and surface wear, each signed, the latter two numbered 16/50 and 31/50 respectively

153* Urushibara (Yoshijiro, 1888-1953). Vase of Nasturtiums, woodcut printed in colours, signed in pencil, and numbered 93, image size 30.5 x 20cm (12 x 8ins), mounted, framed and glazed

(6)

(1)

£150-200

68

£100-150

Lot 151

69

ETCHINGS, LITHOGRAPHS & WOODCUTS LATER 19TH & EARLY 20TH CENTURY

Lot 154

154 American Etchers, compiled by The Crafton Collection, vols.

I-II, IV, VI-VII, & IX-X (from the set of 12), together 7 vols., New York/London, T. Spencer Hutson/P. & D. Colnaghi, 1929-30, tippedin b&w plates, with tissue-guards to each, partly untrimmed, orig. cloth with paper label to spine and upper cover of each vol., two with remains of glassine d.j., 4to Each volume numbered 61 from a limited edition of 75 copies, containing an original etching, signed by the artist in pencil. The artists represented are : Ernest D. Roth, Alfred Hutty, Philip Kappel, Arthur William Heintzelman, George Elbert Burr, Troy Kinney and Louis C. Rosenberg.

(7) ÂŁ1500-2000

155* Anderson (Alfred Charles Stanley, 1884-1966). Trimming and Faggoting, copper engraving, from an edition of 50, signed, plate size 19 x 14.5cm (7.5 x 5.75ins), framed and glazed (1)

ÂŁ100-150

Lot 155 70

156* Anderson (Alfred Charles Stanley, 1884-1966). La Lieutenance Honfleur, etching, signed in pencil by artist below image, 19.5 x 37.5cms (7.75 x 14.75ins), mounted, framed and glazed, together with Macleod (William Douglas, 1892 - 1963), The Plough Team, etching, signed in pencil by artist below image, 19 x 32.5cms (7.5 x 12.75ins), mounted, framed and glazed, plus Short (Frank, 1857 - 1945), Snow scene, 1904, mezzotint on india wove, signed in pencil by artist below image, 17 x 37.5cms (6.75 x 14.75ins), mounted, framed and glazed, and another etching similar, plus Brett (Simon & Spencer Keith), Downland Village (Oxfordshire), pub. The Rocket Press, Blewbury, June 1990, broadsheet printed in blue and black, with two wood engravings by Simon Brett, signed in pencil by artist and poet, limited edition of 45/215, 38 x 54.5cms (15 x 21.5ins), framed and glazed

Lot 156

(5)

£150-200

157 Ardizzone (Edward, 1900-1979). Je Demeurai Debout, le Corps a Demi Tourne / Nous Nous Embrassames avec cette Effusion de Tendresse, c.1932, two lithographs illustrating scenes from Prevost’s Manon Lescaut, 20 x 13cm (8 x 5ins), framed and glazed Nicholas Ardizzone, Edward Ardizzone’s World, The Etchings and Lithographs (2000), 6 & 7.

(2) £100-150

158* Ardizzone (Edward, 1900-1979). Christmas card from Catherine & Edward Ardizzone showing a man holding a billboard bearing a seasonal message, c.1970, lithograph, 13.5 x 18cm (5 1/4 x 7ins), together with an original pencil drawing by Ardizzone of three nudes, measuring 14.5 x 12cm (5.75 x 4.75ins) with the studio stamp under the mount, both framed and glazed (2)

Lot 157

71

£100-150

159* Artzybasheff (Boris, 1899-1965). ‘The Last Trumpet’, woodcut on pale cream wove paper, signed and titled in pencil, sheet size 40 x 28.8cm (15.75 x 11.25ins), mounted with tabs to upper corners only (1)

£300-500

160* Bagdatopolous (William Spencer, 1888-1965). North African street scene, etching, signed and numbered 15/75, image size 21 x 30cm (8.25 x 11.75ins), mounted, framed and glazed, together with Sherlock (Marjorie, 1897-1973), “West Side Suburban”, etching, of a crowded train station, image size 27 x 19.5cm (10.5 x 7.5ins), mounted, framed and glazed, plus Souter (John Bulloch, 1890-1972), “Estanella”, 1916, etching, of a Spanish lady holding a fan, signed and titled to lower margin, image size 27 x 21cm (10.5 x 8.25ins), mounted, framed and glazed, plus five other etchings (8)

£150-200

Lot 160

72

162* Benenson (Leslie Charlotte, 20th-c.). A collection of five engravings, five uncoloured wood engravings, each titled, signed and dated by artist in pencil below image, various sizes, mounted Leslie Charlotte Benenson was a sculptor, printmaker, painter and calligrapher, who specialised in animals and birds. She was elected a fellow of the RE in 1978.

(5) £70-100

161* Barker (Anthony Raine, 1880-1963). The First Italian Portfolio. Ten Etchings by Anthony R. Barker, 1912, ten etched plates, each signed and dated in pencil, and each numbered 8/100, and mounted within individual passepartout, 4-page printed introduction loosely inserted, tissue-guard to each plate (torn and frayed), all loosely contained in orig. cloth portfolio gilt, rubbed and some soiling and wear, atlas folio (1)

163* Bergere (Richard, 1912-). Twilight over Brooklyn Bridge, c.

1945, lithograph, signed in pencil, with full margins, image size 23 x 32cm (9 x 12.5ins), sheet size 30 x 42cm (12 x 16.5ins), mounted with tabs to upper corners only

£200-300

(1)

£100-150

164* Bevan (Robert Polhill, 18651925). A London Church, 1924, lithograph, signed and numbered 13/45, several closed marginal tears, with discreet archival restoration, mount aperture 31.5 x 37cm (12 x 14.5ins), framed and glazed Dry 38.

(1)

£700-1000

165* Bone (Sir David Muirhead, 1876-1953). The Reverend Dr. James, [1927], etching, signed in pencil by artist below image, 25 x 18cms (9.75 x 7ins), with Clausen (Sir George), Interior of a Barn, n.d, c.1920, uncoloured lithograph, 32.5 x 25cms (12.75 x 10ins), tipped on to later card (2)

Lot 164 73

£100-150

168* Brockhurst (Gerald Leslie, 1890-1978). Casper, 1933, etching, signed in pencil, an excellent impression with margins, plate size 20 x 15cm (7.75 x 6ins), sheet size 32.5 x 24cm (12.75 x 9.5ins) (1)

166* Brandenburg (Cornelis, 1884-1954). Damrak, Amsterdam, etching, signed & titled in pencil, 12 x 30.5cm (4.75 x 12ins), together with Achtergracht, etching, signed and titled in pencil, 32 x 23cm (12.5 x 9ins), plus four other similar views in Amsterdam, uniformly framed & glazed (6)

169* Cain (Charles W.). Fishing on the Tigris, 1929, etching with drypoint, signed and numbered in ink to lower margin, plate size 20 x 27.5cm (8 x 10.75ins), framed and glazed, with Deighton’s Strand Gallery label to verso (1)

£100-150

£200-300

170* Cameron (David Young, 1865-1945). The Towers of Charterhouse, Goldalming, etching, 13 x 8.3cm (5 x 3.25ins), mounted, together with The Itchen near Winchester, etching, 9 x 15cm (3.5 x 6ins), and a collection of approx. twenty-five etchings

by Cameron, mostly Scottish views, sizes vary, many mounted

167 Brangwyn (Frank, 1867-1956 ). The Etchings of Frank Brangwyn, R.A., A Catalogue Raisonné by W. Gaunt, pub. The Studio, 1926, numerous b&w plates and illusts., t.e.g., orig. qtr. vellum gilt, rubbed and some marks, upper joint partly split at head, 4to (1)

£200-300

(approx. 25)

£100-150

74

£200-300

171* Copley (John, 1875-1950). Lacrosse Players, etching, signed by artist in pencil below image, 35 x 25cms (10 x 13.75ins), mounted, framed and glazed (1)

£300-500

172* Corinth (Lovis, 1858-1925). Umarmung, 1915, etching, signed in pencil, with margins, plate size 18 x 16cm (7 x 6.25ins), together with Standing nude in a bedroom with discarded clothes, etching, signed in pencil, with wide margins, some light spotting, some abrasion to verso of upper outer corners due to tab mounting, plate size 19 x 12.5cm (7.5 x 5ins) Schwarz, IV 203.

(2)

£200-300

173* Coussens (Armand, 1881-1935). La Vieille aux Chevres, colour etching, signed lower left, some overall toning, 29.5 x 41cm (11.5 x 16ins), mounted, together with Balestrieri (Lionello, 18721958), L’Inconnue, colour etching, signed, titled and numbered 3/100 in pencil, some soiling to margins, plate size 34.5 x 51.5cm (13.5 x 20.25ins) (2)

£70-100

Lot 173

75

176* Dawson (Nelson, 1859-1941). A collection of approx. forty etchings, forty unsigned proofs, trials and early states, two with hand colouring, occ. duplicates, various sizes (approx.40)

£200-300

174* Dawson (Nelson, 1859-1941). A North Country Fishing Village, The Mouth of the Mersey, Crossing her Bows, and “Wave” Ashore on Saunton Sands, and others, sixteen marine etchings, all signed in pencil by artist, several with pencil titles, various sizes (16)

£200-300

177* Dixon (Harry, 1861-1942). Revenge, b&w etching on laid paper of two kittens playing, signed in pencil to lower margin, plate size 20 x 30cm (8 x 11.75ins), sheet size 30.5 x 48cm (12 x 18ins), framed and glazed (1)

£70-100

175* Dawson (Nelson, 1859-1941). Campo S. Maria Mater Domini, Venice, The Salute Venice, Metal Workers, Chioggia and others, together thirteen etchings of Venice, signed in pencil below image by artist, several with pencil titles, various sizes (13)

£150-200

178* Figura (Hans, 1898-1978). Dutch Fisher Girls, colour etching, published by the Bromhead Art Gallery, London, signed in pencil, and numbered 80/250, plate size 26.5 x 33cm (10.5 x 13ins), framed and glazed, with orig. printed label to verso, together with Mill Near Schiedam, colour etching, published by Bromhead Art Gallery, London, signed in pencil, plate size 38 x 36cm (15 x 14.25ins), framed and glazed, with orig. printed label to verso (2)

£70-100

179* Freeth (Hubert Andrew, 1912-1986). Le Pere Camille, 1937, etching, signed, dated and titled in pencil, plate size 17 x 15cm (6.75 x 6ins), framed and glazed (1)

Lot 176

76

£100-150

Lot 181

180* Gill (Eric, 1882-1940). Virgin and Child, 1931, wood engraving, signed with initials lower right and additionally inscribed in pencil to lower margin ‘love from Eric & Mary’, mount aperture 165 x 75mm (6.5 x 3ins), framed and glazed Physick 827.

(1)

£200-300

181* Gill (Eric, 1882-1940). Four erotic engravings from The Proceant Hymn, 1926, comprising God Sending, Earth Inviting, Earth Wrestling, Earth Receiving, unsigned, sheet size 28.5 x 22.5cm (11.25 x 9ins) This set are the alternative etchings of a more sexually explicit nature, published by the Golden Cockerel Press in 1926. Physick 364; 365; 366; 367.

(4) £500-800

182* Gill (Eric, 1882-1940). Five erotic engravings from The Proceant Hymn, 1926, comprising God Sending, Earth Awaiting, Earth Inviting, Dalliance, Earth Receiving, unsigned, sheet size 28.5 x 22.5cm (11.25 x 9ins) Published by the Golden Cockerel press in 1926. Physick 359; 360; 361; 362; 363.

(5) £500-800

Lot 182

77

184* Gill (Eric, 1882-1940). Yahoo, 1926, copper engraving, 11.2 x 8.7cm (4.5 x 3.5ins), recently framed & glazed Physick 411 (1)

185* Gill (Eric, 1882-1940). The Way of the Cross, complete series of 14 wood engravings, image size 5.5 x 5.5cm (2.25 x 2.25ins), recently uniformly framed & glazed

183* Gill (Eric, 1882-1940). Chaucer & Cupid / Chaucer Writing, 1927, two wood engravings on one sheet, sheet size 20 x 16.3cm (8 x 6.5ins), recently framed & glazed (1)

£150-200

Physick 93-106.

(14)

£100-150

Lot 184

£200-300

Lot 186 78

Lot 187

186* Greenwood (Marion, 1909-1970). Fringed Scarf, c. 1940, b&w lithograph, signed in pencil, printed in an edition of 250, with margins, light mount stain, image size 29 x 23.5 cm (11.5 x 9.25 ins), sheet size 38.8 x 30 cm (15.25 x 11.75 ins), mounted, together with Mangravite Peppino, 1896-1978), 'Tomorrow's Bread', b&w lithograph, signed in pencil lower right, with margins, light mount stain, image size 21 x 34 cm (8.25 x 13.25 ins), sheet size 30.7 x 40.7 cm (12 x 16 ins), mounted, plus Palenske (Reinhold H., 1884-1954), James Swann, Etcher, etching, unsigned, with margins, plate size 20.2 x 25.2 cm (8 x 10 ins), mounted (3)

187* Hankey (William Lee, 1869-1952). A Flemish Mother, 1915, etching, signed in pencil with artist’s blindstamp, 20 x 16cm (8 x 6.25ins), recently framed & glazed Limited edition of 15 copies.

(1)

ÂŁ100-150

79

ÂŁ150-200

188* Hankey (William Lee, 1869-1952). Mother and Child, etching, of a small girl seated on her mother’s knee in a garden with cottages in the background, signed in pencil below image and with artist’s embossed monogram, 22 x 17.5cm (8.75 x 7ins), mounted, framed and glazed (1)

£200-300

189 Hankey (William Lee, 1869-1952). The Etched Work of W. Lee-Hankey R.E. from 1904 to 1920, by Martin Hardie, [1921], numerous b&w plates, rough-trimmed, orig. white cloth gilt, rubbed and some marks, 4to Limited edition 312/350.

(1)

190* Helleu (Paul Cesar, 1859-1927). Femme au chapeau, drypoint etching printed in colours, plate size 54 x 23.5cm (21.25 x 13.25ins), signed in pencil lower left, some toning and light surface marks, dampstain to lower left corner, with margins (torn with loss to centre of right hand margin), laid down on card, mounted

£150-200

(1)

80

£200-300

191*@ Jones (David, 1895-1974). Everyman, 1929, wood engraving, 13.8 x 16.3cm (5.5 x 6.5ins), recently framed & glazed Limited edition, numbered 17/180.

(1)

£100-150

193* Jones (David, 1895-1974). Nativity with Cross and Star, 1925, wood engraving, numbered 17/100 in pencil, 11 x 7cm (4.25 x 2.75ins), recently framed & glazed No edition was produced during Jones’ lifetime. This copy is from the Centenary edition of 100 copies produced in 1995.

(1) £100-150

192* Jones (David, 1895-1974). Shepherds, c.1925, intaglio wood engraving, 7.3 x 7.3cm (3 x 3ins), recently framed & glazed No prints from Jones’ lifetime are known to exist. This copy is from the first edition produced: The centenary edition of 100 copies produced in 1995.

(1) £100-150

194* Jones (David, 1895-1974). Centenary Edition of Engravings, published Wolseley Fine Art, 1995, containing three wood engravings on handmade Hodomura Japanese paper and one copper engraving on Somerset textured off-white paper, sheet size 35.5 x 25.5cm (14 x 10ins), loose as issued in original printed folder Limited edition 19/100 numbered to the upper cover and with each print numbered in pencil. The prints are titled: Nativity with Cross and Star; Shepherds; The Lancers; Everyman.

(1) £300-400

81

Lot 196

195* Jones (David, 1895-1974). A group of ten wood engravings from the original blocks, Clevedon printing, on six separate sheets, sheet size 30 x 23cm (11.75 x 9ins) Comprising The Annunciation, Transition & Nativity; Christ sends forth his disciples; Nativity with Shepherds; Our Lady was a Milkmaid; The Most Holy Rosary; Ships Longboat in Bay, Gulliver on Bridge, Eagle flies off with Gulliver’s Travelling Box. (6) £100-150

196* Jones (David, 1895-1974). Riding on Pegasus, wood engraved illustration from the Clevedon edition of Libellus Lapidum, published 1985, 12.5 x 9cm (5 x 3.5ins), framed & glazed (1)

£70-100

197* Kappel (A.W., and Kirby, W. Egmont). American Etchers, vol. IV, Philip Kappel, With an Appreciation by Charles William Taussig, compiled by The Crafton Collection, New York/London, T. Spencer Hutson/P. & D. Colnaghi, 1920, tipped-in b&w plates, most with tissue guard to each, partly untrimmed, orig. cloth with paper label to spine and upper cover Limited edition, 23/75 copies, with an original signed etching.

(1)

£200-300

Lot 197

82

198* Laboureur (Jean Emile, 1877-1943). Paysage au Cycliste, 1932, etching, signed in pencil, and numbered 4 from an edition of 32, plate size 25.5 x 30.5cm (10 x 12ins), with margins, framed and glazed Laboureur 449.

(1)

ÂŁ200-300

83

200 Landacre (Paul Hambleton, 1893-1963). Black Stallion, 1940, wood engraving on pale cream japan, published by the Woodcut Society of Kansas City, Missouri, in an edition of 200, signed and titled in pencil, sheet size 20 x 26.5cm (8 x 10.5ins), mounted with tabs to upper corners only (1)

£300-400

201* Lydis (Mariette, 1894-1970). A group of six lithographs and one etching of young women, c. 1940s, three tinted and four signed in pencil (one with initials only), each approx. 29 x 22cm (11 x 9ins) and similar, plus an original lithograph (Madina) and an original etching (Petite Tzigane a Epsom), both in orig. printed folder and each limited to 1000 copies, the second with an autograph letter signed to Johnny dated 11th June 1953 and also including a photograph of the artist in a deck chair, captioned in pencil and dated 1953 to verso, plus an exhibition catalogue for Lydis’s recent work at the Galerie Paul Ambroise (May-June 1955), signed presentation inscription from Lydis ‘To my dearest boyfriend... Paris in August 1955’, orig. pict. wrappers, a few minor marks, slim 4to (10)

£100-150

202* Macbeth (Robert Walker, 1848-1910 ). The Plough, 1887, large mixed method engraving, pub. Thomas Agnew & Sons, January 1st 1887, signed in pencil lower right, plate size 57.5 x 86.5cm (22.5 x 34ins), framed and glazed, with Thomas Agnew labels to verso (1)

£200-300

199* Lalanne (Maxime, 1827-86). Rué des Marmousets (Vieux Paris), Démolitions pour le Percement du Boulevard St. Germain, & Aux Environs de Paris, three etchings, each approx. 260 x 180mm, together with another seventeen etchings by various artists including Hirst, Peter and Robertson, various sizes (20)

£100-150

203* Maillol (Aristide, 1861-1944). Three Nudes (from L’Art d’aimer d’Ovide), 1935, together three lithographs, two printed in black, and one in sanguine, on laid paper, with printed monogram, and Gross Collector’s stamp to verso, a few marks to margins, and tab staining to upper outer corners of each, sheet size 38.5 x 28cm (15.25 x 11ins)

Lot 200

(3)

84

£100-150

Lot 202

205* Mednikoff (Reuben, 1906-75 & Pailthorpe, Grace, 18831971). Birth, c.1935, linocut on tissue thin japan, with full margins, some light creasing mainly to sheet edges, image size 17 x 25.5cm (6.75 x 10ins)

204* Marples (George, 1869-1939). Mayfly Time, original etching with aquatint, signed in pencil below image, plate size 20.5 x 30.5cm (8 x 12ins), sheet size 28.5 x 39.5cm (11.25 x 15.5ins), mounted (1)

(1)

ÂŁ100-150

85

ÂŁ100-150

Lot 207 206* Morisot (Berthe, 1841-95). Fillette au Chat (Julie Monet), drypoint etching, with small circular cancellation mark to head and foot, plate size 15 x 12cm (6 x 4.75ins), with margins, framed and glazed (1)

£150-200

207* Nash (Paul, 1889-1946). A Portfolio of Twenty Four WoodEngravings by Paul Nash, pub. Garton & Cooke, 1985, twenty-four b&w woodcuts on Japanese Hosho paper, each with PNT blindstamp to lower margin, individually mounted and loosely contained in orig. patterned paper drop-over bookbox, with separately printed introductory booklet inserted, bookplate of Raymond & Pamela Lister to inside of upper cover, a little rubbed to extrems., folio Limited edition of 65 copies, this being numbered 26 of 45 copies for sale.

(1) £400-600

208* Nash (Paul, 1889-1946). Genesis, Twelve Woodcuts by Paul Nash, Nonesuch Press, 1924, twelve woodcuts on Zanders handmade paper, contents loose and unbound, colophon leaf with light horizontal creases, sheet size 27 x 19cm (10.6 x 7.5ins) Limited edition 187/375.

(1)

£300-500

Lot 208

86

209* Orlik (Emil, 1870-1932). Women returning home with wood from the forest, 1906, woodcut on wove, signed and dated in pencil lower right, several faint vertical creases (generally in good condition), image size 46 x 46cm (18 x 18ins), sheet size 51.5 x 49.5cm (20.25 x 19.5ins) (1)

ÂŁ200-300

210* Osborne (Malcolm, 1880-1963). Twelve etched portraits of distinguished men of the 1930s/1940s, subjects incl. George Beharrell, Walter Hargreaves, Herbert Thompson (x2), Lord Braintree, Francis Joseph, J. Ernest Jarratt, Herbert Denison, C. Creighton, Charles John Vint, Alexander Low, Alexander Greig Anderson, signed in pencil, plate size typically 37 x 30cm (14.5 x 12ins), together with a lithograph portrait by William Rothenstein of Seymour Hayden, and an etched portrait by Francis Dodd (14)

Lot 210

ÂŁ200-300

87

211* Palmer (Samuel, 1805-1888). The Skylark, 1850, etching on chine applique, seventh state (of eight), with printed signature lower left and numbered 17, as published in Etchings for the Art Union of London, by the Etching Club, 1857, plate size 113 x 90mm (4.5 x 3.5ins), sheet size 122 x 100mm (4.8 x 3.9ins) Lister E2.

(1)

ÂŁ300-500

88

212* Palmer (Samuel, 1805-1888). The Herdsman’s Cottage, Sunset, 1850, etching on pale cream laid paper, with initials SP to lower left, the second state, as published in The Portfolio, in 1872, Examples of Modern Etching in 1875, and Etching and Etchers in 1880, plate size 122 x 100mm (4.75 x 4ins), sheet size 183 x 140mm (7.25 x 5.5ins) Lister E3.

(1)

ÂŁ300-500

89

214* Pann (Abel Pfeffermann, 1883-1963). In The Garden of Eden, from Genesis, pub. Jerusalem, Palestine Art Publishing Co., 1923, colour lithograph, signed in pencil lower left, with additional stamped signature lower right, and printed title to extreme lower left, rubbed and some minor marks to margins, one or two short closed tears, sheet size 44 x 31cm (17.25 x 12.25ins) (1)

£70-100

213* Palmer (Samuel, 1805-1888). The Early Ploughman, 1861, etching on pale cream laid paper, with partial watermark to left hand margin, state 5/8, some light soiling to margins, image size 131 x 198mm (5.2 x 7.75ins), sheet size 163 x 252mm (6.5 x 10ins), together with The Cypress Grove, 1880/83, etching, on laid paper, the full sheet, state 2/4, plate size 133 x 189mm (5.25 x 7.5ins), sheet size 210 x 312mm (8.25 x 12.25ins), mounted, plus Samuel Palmer, A Vision Recaptured: The Complete Etchings and The Paintings for Milton and for Virgil, pub. Trianon Press Facsimiles for the William Blake Trust, 1978, colour and b&w plts. and illusts., one b&w facsimile of a Palmer etching loosely inserted, orig. printed wrappers, with pubs. chemise, 4to Lister E9, state 5 of 8 & E15, state 2/4.

(3)

£200-300

215* Pellew (Claughton, 1890-1966). ‘Interior’, 1928, woodcut, signed, dated, titled and numbered 5/55, image size 127 x 140mm (5 x 5.5ins), sheet size 385 x 255mm (15.25 x 10ins), with full margins, some light scattered spotting (1)

£300-400

216* Pellew (Claughton, 1890-1966). Claughton Pellew, Five wood engravings printed from the original blocks with a biographical note by Anne Stevens, The Fleece Press, 1987, five b&w wood engravings, each with original printed wrapper, loosely contained, with introductory booklet of text in drop-over cloth bookbox, with paper label to upper cover and spine, large folil Printed in a limited edition of 150 copies.

(1)

Lot 214

90

£100-150

217* Pellew (Claughton, 1890-1966). The Cow, 1925, b&w woodcut, signed, dated, and numbered state 2, no. 18/25, image size 48 x 72mm, sheet size 28 x 20cm (11 x 8ins), some foxing and light creasing to margins, and horizontal crease towards to edge of the sheet and to the lower third of the sheet where previously folded, framed and glazed (1)

Lot 218

£150-200

218* Rops (Felicien, 1833-1898). Cigogne Japonaise, aquatint, signed beneath with initials in red pencil, 80 x 68mm (3 x 2.75ins), some light spotting and marks to sheet outside of the plate impression, tipped onto mount with pencil title and reference E583 to lower corner Exteens 583.

(1)

£200-300

219* Rops (Felicien, 1833-1898). Lezard Japonais ou Salamandre et scarabee, aquatint, signed beneath with initials in pencil, 98 x 68mm (4 x 2.75ins), a little spotting and soiling to sheet margins, tipped onto a mount with pencil title and reference no. E558 at foot Exteens 558.

(1)

£200-300

Lot 219

91

222* Royds (Mabel Alington, 1874-1941). Dandelions, colour woodcut, signed in pencil, with good margins, image size 21.5 x 16.5cm (8.5 x 6.5ins), mounted with tabs to upper outer corners only

220* Rops (Felicien, 1833-1898). Une Pianiste Shaker, 1888, etching, initialled and dated in the plate impression, light marks to sheet outside of plate impression, pencil reference E274 at foot, 168 x 118mm (6.5 x 4.75ins), together with ‘Le Sire de Lumey’, c.

1869, etching on india, mount sl. spotted, reference Exsteens 469 at foot, 225 x 150mm (9 x 6ins), plus eighteen other mostly proof impressions, including some erotica interest Exteens 274 and 469.

(20)

(1)

£100-150

£200-300

221* Rops (Felicien, 1833-1898). Two autograph receipts signed, Paris, 23rd December 1876, & 1st January 1887, both for money received from Jeanne Blanc, the first with an etched vignette by Rops to verso, the second with an etched vignette to recto, plus a third similar manuscript cheque made out to Felicien Rops by Francoise Ness (?), endorsed by Rops to verso and with various bank stamps, each approx. 10 x 24cm, plus related ephemera including two printed programmes by La Plume with vignette illusts. by Rops, a photograph of a pencil portrait of Rodrigues by Rops, and a fragment of manuscript listing colours (in the holograph of Rops) (10)

£100-150

223* Royds (Mabel Alington, 1874-1941). ‘The House-top’, ‘Sword-grinders’ (Jodbur), & ‘Boat builders’, together three colour woodcuts, each signed in pencil, the first two titled in pencil, each with full margins, 27 x 24cm (10.5 x 9.5ins), for the first work and 26.5 x 33cm (10.5 x 13ins) and similar for the second and third works (3)

92

£150-200

224* Rushbury (Sir Henry George, 1889-1968 ). St. Mary-le-Bow, 1944, etching with drypoint, signed in pencil, plate size 28 x 21cm (11 x 8.25ins), framed and glazed (1)

£70-100

225 Rushbury (Sir Henry George, 1889-1968 ). Harbour scene, 1927, etching, signed in pencil by artist below image, 23.5 x 32.5cms (9.25 x 12.75ins), together with Detmold (E.J.), Desert scene, n.d.. c.1920, etching, signed by artist in pencil below image, 26.5 x 42.5cms (10.5 x 16.75ins), mounted (2)

£100-150

226* Shannon (Charles, 1863-1937). Biondina, 1894, lithograph, printed on pale cream japan, published by L’Estampe Originale, Paris, signed in pencil to extreme lower right, the full untrimmed sheet as issued, 29 x 46.5cm (11.4 x 18.25ins) Delaney 24.

(1)

Lot 227

£100-150

227* Shannon (Charles Haslewood, 1863-1937). Autumn, 1917, lithograph, signed in pencil and numbered 14/50, 48 x 33cm (19 x 13ins), together with The Infancy of Bacchus, 1897, circular lithograph, diameter 25.5cm (10ins), and one other circular lithograph titled The Infancy of Bacchus, all framed and glazed (3)

£100-200

228* Sickert (Walter, 1860-1942). Barnett’s Veterans, or They also serve, 1920, etching on laid paper, watermarked J Whatman, state 2 (of two), plate size 137 x 210mm, sheet size 197 x 317mm (7.75 x 12.5ins) Bromberg 189.

(1)

£200-300

Lot 228

93

Lot 229

229* Sickert (Walter Richard, 1860-1942). In Memoriam, T. W. Barrett, c. 1922, etching, initialled in ink, and inscribed to Robert ... (?), some pale mount toning, with full margins, laid on card, and with track of adhesive to top margin, plate size 112 x 87mm (4.5 x 3.5ins), sheet size 275 x 195mm (10.75 x 7.75ins) Bromberg 206, state 2 (of two) with lettering added.

(1)

230* Tallberg (Axel, 1860-1928). Portraits of Fishermen, 1892/93, together two etchings on india paper, with margins, some scattered spotting, plate size 20 x 12.5cm (8 x 5ins) and sl., smaller, matching frames, glazed (2)

ÂŁ300-500

94

ÂŁ50-80

231* Tanner (Robin, 1904-1988). The Old Road: Elegy for the English Elm, 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 (1)

£100-150

232* Tidemand-Johannessen (Frithjof, 1916-1958). Fiske nflote med Lofstveggen, colour woodcut, signed and titled, image size 22.4 x 28.3cm (8.75 x 11.1ins), framed and glazed (1)

£50-80

Lot 234

233* Underwood (Leon, 1890-1975). The Three Graces, etching, signed and dated 1921 in pencil, numbered 5/14, 19.2 x 14.3cm (7.5 x 5.75ins), recently framed & glazed (1)

£300-400

234* Underwood (Leon, 1890-1975). The Banjoist, etching, signed and dated 1921 in pencil, numbered 3/35, image size 20.2 x 15.8cm (8 x 6.25ins), recently framed & glazed (1)

£300-400

235* Underwood (Leon, 1890-1975). Granny Ashdown, etching on laid paper, signed, titled and dated 1922 in pencil, 22.4 x 15cm (8.75 x 6ins), recently framed & glazed Thought to have been drawn onto the plate from life, this work is considered one of Underwood’s masterpieces.

(1) £300-400

Lot 235

95

238* Walter (Winfried, 20th century). Totentanz, 1945, a set of eleven b&w woodcuts on pale brown tissue, consisting of title and ten plates numbered I-X, the main series signed, titled, dated and numbered in pencil, sheet size 38.5 x 25.5 cm (15 x 10 ins) (11)

£70-100

239* Weidenaar (Reynold Henry, 1915-1985). Ten o’Clock in Taxco, c. 1945, etching with aquatint, published by Alfred Fowler, 1244 Martha Custis Drive, Alexandria, Virginia (with his printed label to mount), signed and titled in pencil, some pale overall foxing, plate size 43.5 x 33cm (17 x 13ins), sheet size 51 x 39.5cm (20 x 15.5ins), mounted with tabs to upper corners only (1)

£100-150

240* Weidenaar (Reynold Henry, 1915-1985). It Was a Terrible Day!, 1949, etching with aquatint, signed and titled in pencil, plate size 33 x 43cm (13 x 17ins), sheet size 38.5 x 51cm (15.25 x 20ins), mounted with tabs to upper corners only (1)

£100-150

236* Underwood (Leon, 1890-1975). St Sebastian, (Self-Portrait), etching, signed and dated 1921 in pencil, numbered 23/25, 11.7 x 7.5cm (4.5 x 3ins), recently framed & glazed (1)

£300-400

241* Weidenaar (Reynold Henry, 1915-1985). Market Place, etching, signed and titled in pencil to lower margin, plate size 25.5 x 15.8cm (10 x 6.25ins), sheet size 32 x 22.5cm (12.5 x 8.75ins), tab mounted to upper corners only

237* Underwood (Leon, 1890-1975). Mukul Dey, etching, unsigned, numbered 11/20 in pencil, 12.8 x 8.5cm (5 x 3.25ins), recently framed & glazed (1)

(1)

£100-150

96

£150-200

Lot 238

Lot 239

Lot 240 97

Lot 242 242* Weidenaar (Reynold Henry, 1915-1985). Grain Thrashers, Old Mexico, mezzotint, signed and titled in pencil to lower margin, plate size 25.5 x 38cm (10 x 15ins), sheet size 32 x 45cm (12.5 x 17.75ins), tab mounted to upper outer corners only (1)

£150-200

243* Weidenaar (Reynold Henry, 1915-1985). Shored for Winter, 1975, etching, signed and titled in pencil to lower margin, plate size 22.8 x 17.7cm (9 x 7ins), sheet size 30.5 x 23.8cm (12 x 9.4ins), tab mounted to upper corners only, together with Toxco Bluffs, etching, plate size 22.8 x 28cm (9 x 11ins), sheet size 28 x 33.5cm (11 x 13.25ins), tab mounted to upper corners only (2)

£100-150

244* Weidenaar (Reynold Henry, 1915-1985. Old Schooner, etching, signed and titled in pencil to lower margin,plate size 23 x 17.5 cm (9 x 7 ins), mounted, together with two small-scale etchings by Weidenaar, one entitled Eighth St. Market, the other The Creamery, each signed and titled in pencil, plus an unsigned miniature etching by John Taylor Arms of Chartres Cathedral, another small-scale etching by Margaret Ann Gaug, entitled Dian, all mounted, and a woodcut printed in green and black by Allen Lewis, entitled St. Francis preaching to the birds, published by the Woodcut Society, Kansas City, in 1933, signed in pencil, in orig. printed wrappers (6)

£100-150

Lot 243

98

245* Whistler (James Abbott MacNeill, 1834-1903). The Shoemaker, 1896, lithograph printed by Lemercier, Paris, on chine volant, mount aperture 20 x 25.5cm (8 x 10ins), sheet size 36.5 x 32.5cm (14.25 x 12.75ins), framed and glazed Way 151. Levey 129. Spink-Stratis-Tedeschi 169. Believed to have been printed in an edition of 56 impressions, before the reprint by Goulding in 1904.

(1) £500-800

246* Wilkinson (Norman, 1878-1971). Spanish three-deck man o’ war, with captain’s barge approaching, uncol. etching, signed in pencil beneath image, image size 30 x 30cm (11.75 x 11.75ins), laid down on card, mounted (1)

£70-100

247* Wyllie (William Lionel, R.A. 1851-1931). Victoria Victrix, 1901, etching, published by The Art Union, signed by artist in pencil below image, slight scuffing and creasing, 44 x 59cms (17.25 x 23.25ins), mounted, framed and glazed (1)

Lot 245

Lot 247

99

£100-150

MODERN PRINTS

249* Ackroyd (Norman, 1938- ). Woolstone Down, 1980, etching with aquatint, signed, dated, titled and numbered 22/90, the full sheet in generally very good condition, faint tab stains to upper outer corners, sheet size51 x 64.5cm (20 x 25.5ins), framed and glazed, with Pallas Gallery label to verso (1)

£100-150

248* Zorn (Anders, 1860-1920). “Dans i Gopsmor”, 1917, etching, signed in pencil lower right beneath image, image size 28.5 x 19.5cm (11.25 x 7.75ins), mounted, framed and glazed, with contemp. art dealer’s ms. label on verso (1)

£300-400

250* Aitchison (Craigie, 1926-2009). Still Life with Bird Vase, 2004, colour screenprint on thick deckle edge paper, numbered 38/50 and inscribed A/P to verso, 28 x 22cm (11 x 8.75ins) (1)

100

£300-500

251* Aitchison (Craigie, 1926-2009). Canaries in a Tree, 2003, colour screenprint on thick deckle edge paper, signed and numbered 291/300, 28 x 23.75cm (11 x 9.4ins) (1)

£300-500

253 Alva (1901-). Images, Sérigraphies Originales d’Alva, Introduction de R.V. Gindertael, New York: Serigraph Galleries, 1954, title printed in red & black, twelve full-page colour screen prints, with an additional original acrylic on paper by the artist bound in at front, signed and inscribed ‘to Barbara’ to lower margin, sheet size 39 x 28cm (15.25 x 11ins), edges untrimmed, orig. cloth in d.j., slightly frayed & torn to edges of d.j., folio, (limited edition 1/160), together with Alva, Recent Paintings and Drawings, Forward by Herbert Read, Introduction by Maurice Collis, pub.

Bodley Head, 1951, twenty col. and b & w plts. (some tipped-in), front free endpaper signed & inscribed ‘to Barbara’, orig. qtr. cloth in d.j., spine of d.j. torn with loss & edges frayed, 4to (2)

252* Almaraz (Carlos, 1941-1989). Moonlight Theatre, 1988, colour etching, signed, dated, and numbered 2/60, plate size 25 x 33cm (10 x 13ins), sheet size 54.5 x 61cm (21.5 x 24ins), framed and glazed, with label of the Jan Turner Gallery, Los Angeles to verso A selection of prints and other work by Carlos Almaraz was published under the title Moonlight Theater by the Grunwald Center for the Graphic Arts, University of California, Los Angeles, in 1991.

(1) £400-600

101

£100-150

Lot 254

254* Ardizzone (Edward, 1900-1979). Shelter Scene, pub.

National Gallery, 1941, colour lithograph, 75 x 100cm (29.5 x 39.5ins), framed and glazed NAP 72. This view was of ‘The Tilbury’ - a huge series of wine cellars underneath railway arches at Stepney that were popular shelters during the war.

(1) £200-300

255* Ayrton (Michael, 1921-1975). Boy with Goat, 1951, lithograph, signed and dated in ink lower right, image size 23.5 x 18cm (9.25 x 7ins), framed and glazed (1)

£200-300

Lot 255

102

257* Barlach (Ernst, 1870-1938). Der Kopf, Ein Gedicht von Reinhold von Walter, Mit zehn holzschnitten von Ernst Barlach, Berlin, Paul Cassirer, 1919, ten b&w woodcut illusts., text printed in black letter, untrimmed, orig. printed boards, rubbed and some marks, slim folio, limited edition of 210 copies, together with Die Wandlungen Gottes, Sieben Holzschnitte, Berlin, Paul Cassirer, 1922, seven full-page b&w woodcuts, several plates strengthened to inner margins or outer edges, with non-matching white paper, orig. printed wrappers, rubbed and marked, large oblong folio, plus Schiller, An die Freude mit 9 holzschnitten von Ernst Barlach, Berlin, Paul Cassirer, [1927], nine b&w woodcut plates, text printed in black letter, some light scattered spotting, orig. printed boards with cloth backstrip, rubbed and some marks, large oblong folio, and one other related (Ernst Barlach, Ein Selbsterzahltes Leben, Munich, 1948) (4)

£150-200

256 Ayrton (Michael, 1921-1975). Paul Verlaine / Femmes/Hombres with Fifteen Etchings by Michael Ayrton, Douglas Cleverdon for the Arcadia Press, 1972, text in French and English, fifteen erotic etched plates, t.e.g. remainder rough-trimmed, orig. green qtr. morocco gilt, contained in orig. cloth slipcase with paper label (some finger soiling and marks), oblong folio Limited edition 55/100. This copy one of 85 numbered copies signed by the artist and bound in quarter morocco.

(1) £700-1000

258* Chapman (Jake, 1966-). “Thank you for our Lovely House...”, c. 2008, etching on paper, inscribed in ink to lower mount: “To Stan, all my love, kisses, spunk and puss”, signed in pencil by the artist, plate size 20 x 15.5cm (8 x 6.25ins), framed and glazed (1)

Lot 257

103

£300-400

259* Chapman (Jake, 1966-). Primitive figure, c. 2008, etching on paper, plate size 15 x 20.5cm (6 x 8.25ins), framed and glazed Similar in style to the Chapman’s ‘Exquisite Corpse’ portfolio published in 2000.

(1) £200-300

260 Chapman (Jake). The Marriage of Reason & Squalor, proof copy, 2008, illustrations, original wrapper, 8vo, presentation copy, inscribed to title: “To Stan, with love and respect, Jake xxx”, together with Memoirs of My Writer’s Block, 1st ed., 2010, original wrapper, 8vo, inscribed to title: “To Stan with all my love and kisses and snot and shit, love Jake xxx”, plus an unopened copy of The Marriage of Reason & Squalor, 2008 (3)

£100-150

261* Dali (Salvador, 1904-1989). Cloaked figure on a cloud above a barren landscape, colour etching, signed in pencil and numbered 142/175, plate size 48 x 38.5cm (19 x 15ins), framed & glazed (1)

Lot 259

Lot 261

£300-400

262* Dali (Salvador, 1904-1989). Two-headed hermaphrodite in a landscape, colour etching on japan, printed in pale blue and cream, with hand-stencilling in gold, signed to lower margin, plate size 34.5 x 25cm (13.5 x 9.75ins), framed and glazed (1)

104

£200-300

263* Dyf (Marcel Dreyfus, 1899-1985). Paysage en été, colour reproduction print, signed in pencil, with pencil remarque, numbered 340/500, image size 46 x 56cm (18 x 22ins), with margins, framed and glazed (1)

£70-100

264 Ferrero (Roger, 1915-). Paul Verlaine, Romances et la Bonne Chanson, Zurich: Louis Grosclaude, [1944], lithograph illustrations throughout, unsewn as issued in orig. wrappers, contained within card folder and slipcase, slipcase a little stained and cracking at joints, folio Number 7 of 10 copies signed by the publisher and artist, with the plates hand finished in watercolour by Ferraro and with two original crayon drawings by him, plus a suite of additonal plates “sur Japon” loosely inserted.

(1) £400-600

265 Fini (Leonor, 1908-1996). Jean Potocki, Manuscrit Trouvéa Saragosse, Paris: Le Compagnie des Bibliophiles du Livre d’Art et de l’Amerique Latine, [1961], 21 full-page etchings by Fini, unsewn as issued in orig. morocco-backed portfolio, scuffed with some fraying at extrems., with defective orig. slipcase, folio Limited edition of 150 copies.

(1)

Lot 265

£400-600

266* Flint (Sir William Russell, 1880-1969). Le Quatorze Juillet, pub. Frost & Reed, 1956, colour print, signed in pencil and with publisher’s blindstamp, 47 x 61cm (18.5 x 24ins), framed & glazed Gardner & Clark 53.

(1)

£250-300

Lot 266

105

270* Heindorff (Michael, 1949-). Interior in Evelyn Gardens, SW7 III, 1977, drypoint etching on wove paper, signed and inscribed ‘a.p.’ in pencil, full margins, plate size 238 x 180mm (9.3 x 7.1ins) (1)

£150-200

267* Games (Abram, 1914-1996). Danger Don’t Touch, c. 1943, colour lithograph poster, 101.5 x 62.5cm (40 x 24.5ins), creased where previously folded, short closed tear to one fold, short closed tear to top margin, without loss, with orig. printed Board of Education Memorandum entitled Accidents to Children, Dangerous Military Objects, dated 30th October 1942 stapled to upper left corner verso, plus two additional printed notices, similar (loose) (1)

£300-500

268* Gentleman (David, 1930-). Views of Covent Garden, a pair of colour lithographs, each signed and numbered 26/70 and 69/70 respectively, one or two minor marks to extreme margins, sheet size 49.5 x 60.5cm (19.5 x 23.75ins) (1)

£70-100

269* Hayter (Stanley William, 1901-88). Nageuse, 1958, etching with aquatint in colours, printed on BFK Rives by Atelier 17, signed, titled and numbered 5/50, plate size 40.5 x 33cm (16 x 13ins), sheet size 68 x 51cm (26.75 x 20ins) Black & Moorhead 241.

(1)

271* Heindorff (Michael, 1949-). Interior of the Artist's Studio with Tea Chest, etching with drypoint, signed in pencil, and marked a.p., plate size 24 x 18 cm (9.5 x 7 ins), with full margins, sheet size 38 x 28.5 cm (15 x 11.25 ins)

£400-600

(1)

106

£150-200

Lot 269

107

273* Hilder (Rowland, 1905-1993). Winter landscape in Kent, with Oasthouses, colour screenprint, signed in pencil to lower margin, and numbered 188/325, image size 40.5 x 62cm (16 x 24.5ins), framed and glazed (1)

£100-150

274* Hockney (David, 1937-). Montcalm Interior at Seven O’clock, 1853 Gallery, Salts Mill, Bradford, 1988, colour reproduction poster, signed, 70 x 83cm (27.5 x 32.75ins), framed and glazed (1)

£400-600

272* Heindorff (Michael, 1949-). -). Interior of the Artist's Studio, with Chair and Table, etching with drypoint, signed in pencil, and marked a.p., plate size 18 x 24 cm (7 x 9.5 ins), with full margins, sheet size 28.5 x 38 cm (11.25 x 15 ins) (1)

£150-200

275* Hodgkin (Howard, 1932-). Winter Sports, 1983, colour lithograph on BFK Rives, initialled, dated, and numbered 95/150 to lower margin, 85 x 62cm (33.5 x 24.5ins) This image was commissioned for use as one of the official posters for the Winter Olympics, held in Sarajevo in 1984.

(1) £400-600

Lot 273

108

Lot 274

109

Lot 279

276* Hughes (Patrick, 1939-). “Midnight Blue”, 1974, colour screenprint on wove, signed, titled & numbered 11/75 in pencil, slightly marked to margins, image size 81 x 61cm (32 x 24ins) (1)

£100-150

277* Hughes (Patrick, 1939-). Upturned Rainbows, 1973, colour screenprint on wove, signed & numbered 34/75 in pencil, slightly creased to left margin and slight yellowing to lower left corner, image size 76.5 x 101.5cm (30 x 40ins) (1)

£100-150

278* Hughes (Patrick, 1939-). Rainbow through Windows, 1975, colour screenprint on wove, signed & numbered 2/75 in pencil, with wide margins, image size 57.5 x 85cm (22.5 x 33.5ins) (1)

£100-150

279* Hughes (Patrick, 1939-). “Leaf Art”, 1975, colour screen print on wove, signed, titled & numbered 1/50 in pencil, image size 81.5 x 61cm (32 x 24ins) (1)

£100-150

280* Hughes (Patrick, 1939-). “Pink Art”, 1975, colour screen print on wove, signed, titled & numbered 1/50 in pencil, image size 81.5 x 61cm (32 x 24ins) (1)

£100-150

Lot 280 110

Lot 277

Lot 278 111

282* Keely (Pat, -1970). ARP Calling You. Get Into Touch with Your Local Council, 1938, colour lithograph poster, 76 x 50.5cm (30 x 20ins)

281* Kauffer (Edward McKnight, 1890/91-1954). ARP. Air Raid Precautions Calling You, Get In Touch With Your Local Council, 1938, colour lithograph poster, printed by Fosh & Cross for H.M.S.O., 76 x 50.5cm (30 x 20ins) (1)

(1)

£200-300

112

£200-300

283* Kissmer (Willi, 1951-). Female nude, 1976, etching, signed, dated and numbered 1/10 in pencil, printed using two plates one above the other with total image size 30 x 20.5cm (11.75 x 8ins) Willi Kissmer was born in Duisburg, Nordrhein Westfalia, Germany in 1951.

In 1971 he enrolled at the Folkwangschule, Essen, studying etching, lithography, printmaking and fine art. He lives and works in Duisburg with his wife and model, Beate.

(1) £100-150

284* Kissmer (Willi, 1951-). Im Kimono, 1988, colour etching, signed & titled, and numbered 31/199 in pencil, plate size 19.8 x 13.7cm (7.75 x 5.4ins), framed & glazed, together with Kleiner Torso, 1997, colour etching, signed & titled, and numbered 100/199 in pencil, plate size 25.6 x 13.2cm (10 x 5.25ins) (2)

£150-200

Lot 283

285* Kissmer (Willi, 1951-). Triangle, 1993, colour etching, artist’s proof marked eprúve d’artiste, signed & titled in pencil, plate size 31 x 19cm (12.25 x 7.5ins), framed & glazed (1)

Lot 284

113

£100-150

286* Kissmer (Willi, 1951-). Zwei Tücher, 1996, colour etching, artist’s proof marked eprúve d’artiste, signed & titled in pencil, plate size 39.5 x 43.3cm (15.5 x 17ins), framed & glazed (1)

£200-300

287* Kissmer (Willi, 1951-). Kleine Freiheit No.1, colour etching, artist’s proof marked eprúve d’artiste, signed & titled in pencil, plate size 60 x 39.5cm (23.75 x 15.5ins), framed & glazed (1)

£200-300

Lot 286

288* Kissmer (Willi, 1951-). Rote Seide II, 1995, untitled colour etching, artist’s proof marked eprúve d’artiste, signed in pencil, plate size 59.3 x 37cm (23.5 x 14.5ins), framed & glazed (1)

Lot 287

114

£200-300

Lot 290

289* Kokoschka (Oskar, 1886-1980). Golda Meir, 1973, lithograph, published for The Jerusalem Foundation by Marlborough Graphics/Weidenfeld & Nicolson, printed in light brown on handmade paper, signed in pencil, numbered from an edition of 150, 650 x 500mm (25.5 x 19.75ins), contained in orig. pubs. cardboard tube and protective packaging (4)

290* Lowry (Laurence Stephen, 1887-1976). Industrial Scene, 1947, colour lithograph, printed by Chromo Works Ltd. for J. Lyons & Co. Ltd., in an edition of 1500, numbered 12 from the series to lower right corner, a few minor marks to edges, short closed tear to margin at lower left, slight fraying and paper loss to extreme upper right margin (not affecting image), 74.5 x 98cm (29.25 x 38.5ins)

ÂŁ200-300

Scarce. The twelfth print from the first series of three commissioned by Lyons Tea Shops between 1947 and 1955 for display in their premises.

(1) ÂŁ300-500

115

291 Marchand (Andre, 1907-1997). Armand Lunel, La Maison de la Femme Peinte, Lithographes Originales et Ornements par André Marchand, Monaco: A la Voile Latine, 1946, six full-page lithographs, unsewn as issued in orig. paper wrappers and glassine wrapper, preserved in orig. card folder and slipcase (splitting to joints), folio Number 16 of 16 copies with an additional suite of six lithographs contained within a loosely inserted folder, from a limited edition of 250 copies. Signed by the artist in red crayon.

(1) £300-400

292* Millar (Alexander, 1960-). Me & Him, 2003, colour giclée printed on Hahnemuhle paper, signed in pencil, and numbered 134/295, image size 46 x 56cm (18 x 22ins), framed and glazed, with Washington Green Fine Art certificate of authenticity to verso, together with Every Pillar Every Post, 2003, colour giclée print on Hahnemuhle paper, signed and numbered 105/295, image size 51 x 40.5cm (20 x 16ins), framed and glazed, with Washington Green Fine Art certificate of authenticity to verso, plus Bring Me Sunshine, 2004, colour giclée print on Hahnemuhle paper, signed and numbered 193/395, damp stain to centre of image, image size 50.5 x 42cm (20 x 16.5ins), framed and glazed, with Washington Green Fine Art certificate of authenticity to verso (3)

£200-300

Lot 291

293 Miro (Joan, 1893-1983). Miro Artigas (Derriere le Miroir 139140), & L’Oiseau Solaire, L’Oiseau Lunaire, Etincelles (Derriere le Miroir 164-165), June-July 1963 & April-May 1967, first work with six orig. colour lithos. by Miro, b&w illusts., orig. colour litho. wrappers, some light handling marks, and a little rubbed to spine, second work with five orig. colour lithos. by Miro, b&w illusts., orig. colour litho. wrappers, some light handling marks, together with three other issues of Derriere le Miroir (Chillida, no. 143, April 1964, Tapies, no. 168, November 1967 & Tapies, no. 175, December 1968), each with colour lithos., all orig. printed wrappers, slim folio, generally G/VG (5)

Lot 292

116

£200-300

294* Miro (Joan, 1893-1983). Lithographs by Joan Miro, Gallerie Hachette, London, 22 January-20 February 1971, colour lithograph poster, some light creases, and light marks to surface and margins, 76 x 56cm (30 x 22ins), framed and glazed, together with with an abstract colour lithograph by Paul Lillesoe, signed in pencil and numbered 288/485, sheet size 56 x 75.5cm (22 x 29.75ins), framed and glazed (2)

£70-100

295* Moore (Henry, 1831-1895). Three reclining figures, 1973, lithograph, printed on Arches, signed in pencil, and numbered 62 from the edition of 75, the full sheet in excellent condition, 66 x 50.5cm (26 x 20ins) (1)

£400-600

Lot 294

296* Native Indian Prints. A collection of sixteen colour prints

by Northwest Coast Native Indian artists, including Tim Paul, Richard Hunt, Enook Manomie, Doug LaFortune, Noreen Hunt, c.

1970s-80s, colour and black and white screenprints, mostly signed and titled in pencil, approx. 22 x 14cm (8.5 x 5.5ins), mounted, and a folder of approx. thirty prints similar (approx. 46)

£200-300

297* Oldenburg (Klaus, 1942-). Berlin, 1988, lithograph, signed, titled and dated, from an edition of 100, sheet size 32.5 x 50cm (12.75 x 19.75ins) (1)

Lot 295

117

£150-200

298*@ Oliveira (Nathan, 1928-2010). Figures: Summer 1988, No. 1, 1988, large-scale monotype printed in colours on heavy handmade paper, published by Experimental Workshop, signed and dated lower right, 121 x 106.5cm (47.5 x 42ins), framed and glazed, with labels of the Experimental Workshop and John Berggruen Gallery to verso (1)

ÂŁ1500-2000

118

Lot 300

299* Opalka (Roman, 1931-2011). From Inside, etching, signed, titled, and numbered 1/50, some spotting to blank margins, with label of Richard Demarco Gallery, Edinburgh, to verso (1)

ÂŁ300-500

300* Piper (John, 1903-1992). Avoncroft Museum, 1976, colour lithograph on Arches, printed by The Curwen Press, signed and numbered 43/75, in excellent condition, sheet size 56 x 76cm (22 x 30ins), framed and glazed, with photocopied letter from the Avoncroft Museum of Buildings, dated 1984 referring to this work (1)

Lot 299 119

ÂŁ300-400

Lot 301

301* Proctor (Patrick, 1936-2003). Nocturne, colour etching on wove, signed & numbered 32/60 in pencil, with wide margins, image size 43.5 x 61.8cm (17 x 24.25ins) (1)

£100-150

302* Proctor (Patrick, 1936-2003). Marcus and a pink, colour aquatint etching, signed & numbered 427/500 in pencil, with wide margins, plate size 54 x 34.5cm (21.25 x 13.5ins), together with Marson (Helena, 20th c.), The High Street, col. screen print on wove, artist proof, signed & titled in pencil, image size 48 x 35.5cm (19 x 14ins), plus five other modern prints (7)

£150-250

303* Sharp (Martin, 1942-). ‘Vincent’, 1990, colour screenprint, signed, dated and titled by the artist, numbered 15/99, image size 93.5 x 63.5cm (36.75 x 25ins), sheet size 101.5 x 73.5cm (40 x 29ins), one or two minor marks to edges (generally in very good condition) Provenance: Josef Lebovic Gallery; Dekker & Millard Collection, 1990; Millard Collection, 1991. Martin Sharp is an Australian artist and graphic designer who moved to London where he produced posters for clubs such as UFO and Middle Earth, and for Big O Posters, including artwork for Oz Magazine.

(1) £200-300

Lot 303 120

305* Sutherland (Graham, 1903-1980). Cathedral I, colour lithograph, signed and numbered 18/75 in pencil, 31 x 24cm (12 x 9.5ins), framed & glazed Tassi 160.

(1)

£150-200

304* Skeaping (John Rattenbury, 1901-1980). Mare and Foal, 1945, colour lithograph, published by The Baynard Press for School Prints Limited, 1945, 49.5 x 76cm (19.5 x 30ins), framed and glazed (1)

£100-150

306* Sutherland (Graham, 1903-1980). Untitled, colour lithograph, signed in pencil and numbered 70/75, 61 x 51cm (24 x 20ins), framed & glazed (1)

£200-300

307* Terechkovitch (Constantin Andreevitch, 1902-1978). Le Lit-Cage, colour lithograph, signed in pencil to lower right, pale mount stain, 33.3 x 45.8cm (13 x 18ins), mounted (1)

Lot 305

121

£70-100

MODERN DRAWINGS

310* Ardizzone (Edward, 1900-1979). Female nude sat on bed, c.1965, pencil on paper, signed with initials, 19 x 19cm (7.5 x 7.5ins), framed and glazed

308* Tillyer (William, 1938-). The Indicator, black & white screenprint, signed titled & marked A/P (artist’s proof) in pencil, image size 45.3 x 45.5cm (17.75 x 18ins), together with An Arrangement I, etching on wove, signed titled & marked A/P (artist’s proof) in pencil, plate size 50 x 50cm (19.75 x 19.75ins) (2)

(1)

£200-300

£150-200

311* Ardizzone (Edward, 1900-1979). Original drawing illustrating a story from “Italian Peepshow” by Eleanor Farjeon (published 1960), pen & ink, titled “The Story of Mrs Ringdaly” in pencil, sheet size 19.5 x 29.5cm (7.75 x 11.5ins), framed & glazed (1)

£200-300

312*@ Bone (Sir David Muirhead, 1876-1953). St. Catarina, St. Drotten and St. Lars Churches, Wisby, Gotland, Sweden, c. 1923, fine black crayon drawing on paper, signed lower left, 24 x 31cm (9.5 x 12.25ins), mounted (1)

£800-1200

313* Chandra (Avinash, 1931-1991). Untitled, 1963, Reclining Nudes, 1965, pen & black ink on paper, folded to form a greetings card, signed and dated lower left, image size 11 x 28cm (4.25 x 11ins) Sent by the artist from NewYork and inscribed by him to Barbara and Philip Rawson 'Best Wishes, Kind Regards, Season's Greetings, Happy New Year', and with a note in the artist's hand saying 'My painting has been going well... But, I have not yet started sharing or selling, or social life!', going on to say 'I have a feeling that, important and valuable though this American interlude may be, I will probably only feel properly organised again when we are back in London. It will be good, however, if I can fix up a thoroughly good and efficient gallery for my work in New York.'

(1) £200-300

309* Wunderlich (Paul, 1927-2010). Nightmare, 1966, colour lithograph, with publisher’s blindstamp to lower right, signed and numbered 21/100 in pencil to lower margin, image size 55 x 41cm (21.5 x 16ins), sheet size 65 x 50cm (25.5 x 19.75ins) (1)

£150-200

122

Lot 312

Lot 313

123

Lot 314

314* Craemer (Kurt, 1912-1961). Reclining Figure, 1948, bistre chalk on pale brown paper, signed and dated in pencil lower right, 44 x 62.5cm (17.25 x 24.5ins), framed and glazed Provenance: Patrick and Joan Leigh-Fermor Collection.

(1)

£200-300

315* Gage (Edward, 1925-2000). ‘Metamorphosis’, 1951, pencil on paper, signed and dated, 23.5 x 32cm (9.25 x 12.75ins), framed and glazed, Aitken Dott (The Scottish Gallery) label to verso, together with other related photocopied text Edward Gage was born in Gullane, East Lothian and studied at the Edinburgh College of Art. He produced theatre designs and illustration work, particularly for the Radio Times, from the 1950s onwards. The present work was included in the exhibition Beyond Illustration, held at the Scottish Gallery in February 1988.

(1) £100-150

Lot 315

124

Lot 317 316* Helleu (Paul Cesar, 1859-1927). Young lady seated, reading a notice, bistre crayon on French laid paper, with indistinct watermark, with pencil inscription to the notice area now faint from erasure 'The favour of your company is desired to see the Exhibition of Dry points by Paul Helleu ... Gallery ... Paris', signed in pencil towards centre left margin, some marks to margins, including small paper loss to extreme upper right corner, 31 x 22cm (12.25 x 8.75ins) Provenance: Formerly in the collection of Philip Rawson, the Writer and art historian.

(1) £300-500

317* Matthew (Robert, 1906-75). Building under Construction, untitled charcoal drawing on paper, signed, 51 x 76cm (20 x 30ins), mounted, framed and glazed This drawing was exhibited at the now defunct Gallery 13, Dundas Street, Edinburgh, and illustrated in the catalogue. Sir Robert Matthew (1906-1975) was one of the most distinguished architects of his generation. President of the International Union of Architects, the Commonwealth Association of Architects and the British Institute of Architects. He is probably best known for the masterplan of Pakistan’s new capital Islamabad. He was appointed architect to London County Council in 1946 and designed iconic buildings such as New Zealand House and the Festival Hall. He returned to Edinburgh in 1953 to become the first Professor of Architecture at Edinburgh University, his most notable buildings being the sleek David Hume Tower and the ultra-modernist Commonwealth Pool. As a student in the 1920s he won the Drawing Prize and continued to draw creatively all his life. His work displays a thorough understanding of the modernist movement and reflects the same aesthetic concerns as his friends and contemporaries Le Corbusier, Picasso and Moore.

(1) £500-700

Lot 316 125

Lot 318

Lot 319

126

Lot 320

318* Matthew (Robert, 1906-75).

Abstract Composition (street scene), untitled charcoal drawing on paper, signed Matthew 1962, approx. 51 x 76cm (20 x 30ins), mounted, framed and glazed

319* Matthew (Robert, 1906-75). Still Life of Cocktail Glasses, untitled charcoal drawing, signed and dated 1962, approx.

51 x 76cm (20 x 30ins), mounted, framed and glazed

(1)

(1)

ÂŁ500-700

ÂŁ400-500

127

320* Matthew (Robert, 1906-75).

Abstract Composition, charcoal drawing on paper, signed and dated 1962, approx.

46 x 64 (18 x 25ins) (1)

ÂŁ400-500

Lot 321 321* Newbolt (Thomas, 1951-). Charlottesville, 1982, black charcoal on paper, signed, titled and dated lower right, 50 x 100.5cm (19.75 x 39.5ins), framed and glazed Thomas Newbolt studied at Camberwell School of Art from 1970 to 1974, won an Italian Government Scholarship in 1974-75, and a French Government Scholarship in 1977-78. He held Fellowships at Cambridge University (1979-81), and the University of Virginia, Harkness Visiting Scholar (1981-83). He has exhibited at Browse & Darby from 1986 onwards, at the Tatischeff Gallery, New York and the Belloc Lownds Gallery, Chicago.

(1) £100-150

322* Rops (Felicien, 1833-1898). Portrait of a Swordsman, c.

1890, pen and ink finished sketch, signed to the right, with a second full-length sketch of the same man to verso, a little soiling and creasing, 185 x 125mm (7.5 x 5ins) (1)

£200-300

323* Smith (Norman, 1910-). Study after Hobbema, pencil on paper, initialled and titled to lower left, 20.5 x 20.5cm (8 x 8ins), framed and glazed, with additional title and artist’s name and address in ink to verso, together with Study of a Teapot, pen, brown ink and wash on paper, signed lower left, and additionally inscribed to verso, 13.5 x 15cm (5.25 x 6ins), mounted, together with another pencil study by Norman Smith entitled Two Studies of an Architect, signed, 17.5 x 25.5cm (7 x 10ins), framed and glazed with original label for the New English Art Club Exhibition at the Mall Galleries in 1993 (3)

£70-100

324* Manner of Feliks Topolski (1907-1989). Drunken couple in a bar, c. 1950, pen, ink & wash on paper, unsigned, 20 x 33cm (8 x 13ins), tipped-on to backing paper (1)

£100-150

Lot 322

128

Lot 324

MODERN WATERCOLOURS 325* Barrie (Mardi, 1931-2004). Parkway, pastel & crylic, 34 x 30cm (13.5 x 12ins), framed & glazed Gallery label to verso dated 1989.

(1)

ÂŁ150-200

326* Burn (Rodney Joseph, 1899-1984). Disagreement at Wittering, watercolour, signed with initials lower right, sheet size 18 x 26cm (7 x 10.25ins), framed and glazed (1)

Lot 325

129

ÂŁ70-100

Lot 327

327* Butler (Mildred Anne, 1858-1941). Peacock, watercolour and gouache on paper, initialled lower right, 17 x 22cm (6.75 x 8.75ins), gilt frame, glazed Mildred Butler, an Irish artist born in Kilmurry, County Kilkenny, was particularly associated with the Newlyn School in Cornwall. She stayed at Newlyn during the summers of 1894 and 1895, and was influenced by Norman Garstin and Stanhope Forbes.

(1) ÂŁ800-1200

130

Lot 328

Lot 329 328* Chandra (Avinash, 1931-1991). Untitled, 1963, pen, ink & watercolour on wove paper, 25.5 x 73cm (10 x 28.75ins), inscribed by the artist on the verso 'Barbara & Philip Rawson 63'

329* Chandra (Avinash, 1931-1991). ). 'Couplings', 1964, black ink and red gouache on black folding card, left hand margin signed and inscribed by the artist to Barbara and Philip Rawson 'Greetings Best Wishes Happy New Year', 26 x 65cm (10.25 x 25.5ins)

Avinash Chandra was born in Simla, India, in 1931. He studied at Delhi Polytechnic Art School from 1947-1951, subsequently becoming a tutor there. As a young artist, he began painting landscapes which were highly acclaimed, using vibrant colours to depict the landscape of the Simla hills. One of his first paintings, 'Trees', was bought by the Museum of Modern Art in Delhi, and was awarded first prize in the first National Exhibition of Indian Art at the Lalit Kala Akademi in 1955. In an attempt to broaden his horizons, Chandra moved to the London in 1956 to study at the Central School of Art. The 1960s brought Avinash Chandra great public success and critical acclaim. In 1965, Chandra became the first Indian artist to be represented at the Tate Gallery.In 1967 Chandra moved to New York following an award by the Fairfield Foundation Fellowship for Travel and Study. Chandra returned to London in 1973. By now his main theme was the female body; he began with elegant line drawings which evolved throughout the 1970s to subtle, erotic coloured drawings. However, by the mid-1980s his paintings gradually returned to landscapes and nature. By 1991, Avinash Chandra had held over thirty-two individual shows and participated in over thirtyfive group exhibitions in many countries. Chandra's work is represented in hundreds of public and private collections in Europe.

(1) ÂŁ400-600

(1)

131

ÂŁ300-500

Lot 331 330* Clements (William C., 1903-1983). “‘High & Dry’ London Docks”, 1944, pen, ink, and watercolour, showing a large merchant shipping vessel with barges alongside, signed and dated lower left, 19.5 x 24cm (7.5 x 9.5ins), mounted, framed and glazed (1)

£80-120

331*@ Dunoyer de Segonzac (Andre, 1884-1974). Le Blond Vapoureuse, pen & ink with watercolour, signed, 31 x 41cm (12.25 x 16ins), framed and glazed (1)

£800-1200

332* Eastlake (Mary Alexandra Bell, 1864-1951). Mediterranean Hilltop Town, coloured chalks on pale brown paper, initialled lower right, 24 x 25.5cm (9.5 x 10ins), framed and glazed, with old label for William C. Price, framer, Croydon, to verso Mary Alexandra Eastlake was born in Douglas, Ontario in 1864, and studied in Montreal with Robert Harris, at the Art Students League in New York with William Chase, and at the Académie Colarossi in Paris. She travelled to England and settled in St. Ives where she met and married the English painter H. Eastlake. She was a member of the Royal Canadian Academy, as well as the Pastel Society of London, the Women’s International Art Club and the Boston Water-colour Society. She exhibited extensively in Montreal, Ontario, Toronto and in the United States, as well as the Royal Academy, Royal Institute of Painters in Oils, and the London Pastel Society.

(1) £200-300

Lot 332

132

Lot 333

Lot 334

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

£100-150

334*@ Flint (Sir William Russell, 1880-1969). “The Sleeping Girl”, 1904, pencil drawing with monochrome wash, of a supine girl with dark flowing locks, initialled and dated lower left, 10 x 12cm (4 x 4.75ins), mounted, framed and glazed Published in ‘The Idler’ according to manuscript label on reverse.

(1) £500-800

335*@ Flint (Sir William Russell, 1880-1969). “My own costume was much handsomer said Edward regretfully”, 1907, monochrome watercolour, of a male figure in a monk’s habit and a lady in shepherdess garb with bonnet and be-ribboned crook, signed and dated in lower margin, 29 x 18.5cm (11.5 x 7.25ins), mounted, framed and glazed According to a manuscript label on the verso of the frame this work was produced for ‘A Monk was He’ published in Cassell’s Magazine.

(1) £300-500

Lot 335 133

337* Freemantle (Chloe, 1950-). “Vacant House Prayer, No. 27”, gouache, 32.5 x 24cm (12.75 x 9.5ins), together with another (untitled) gouache painting similar, both mounted, framed and glazed, first item with New Academy Gallery label to verso

336* Flint (Francis Russell, 1915-1977). Two albums of pencil sketches and notes relating to the film Storm over the Nile, 1955, together two sketchbooks, containing numerous pencil drawings and annotations on 143pp., with sketches of frogmen and diving (diving dress and equipment, etc.), incl. Davis (submarine) escape equipment, and drawings of natives, soldiers, landscapes, interiors, camels, film cameras, battle scenes, etc., with annotations such as: Mahdi’s Camp on Nile... Tony and Lawrence in coracle; Tarifa, Arab Market; Arrest of Zanak; Mountain location, Tarzut; Hananghai Village; Police Posts N.W. Frontier; Antibes; Mohamid Mahti; After mail coach raid - walking down country road, etc., several pages dated 1955, one album with Flint’s pencilled initials on front pastedown, orig. boards, spines broken and one vol. lacking upper board, 4to (sheet size 22.5 x 17cm/8.75 x 6.5ins), together with twelve b & w photographs from the shooting of the film, incl. one signed by Anthony Steel, approx. 20.5 x 26cm (8.25 x 10ins)

(2)

Provenance: acquired by the vendor from the widow of a gentleman who was present at the home of the artist’s father, William Russell Flint (Peel Cottage, Kensington), during the disposal of personal effects. The 1955 film ‘Storm over the Nile’ was a remake of the classic 1930s movie ‘The Four Feathers’. It was directed by Zoltan Korda and Terence Young, and starred Anthony Steel, Laurence Harvey and James Robertson Justice, with Mary Ure, Christopher Lee, Ian Carmichael, Michael Hordern, and others. A number of the cast are mentioned in Flint’s annotations, in reference to costume, scenes, etc.

(14) £200-300

£70-100

338* Gribbons (Ron, 20th century). Chopwell Mine, Co. Durham, crayon and watercolour, signed and dated 1943, 33 x 40.5cm (13 x 16ins), framed and glazed, together with five others similar, including scenes at Calverton Colliery, some with titles to verso, all signed and dated between 1942-1980 (6)

134

£500-800

339*@ Grosz (George, 1893-1959). Coal Silos, New York City, pen, ink & watercolour on laid paper, 168 x 107mm (6.6 x 4.25ins), signed in blue ink to backing paper, contained in George Grosz Drawings with an introduction by the artist, New York, H. Bittner and Company, 1944, colour and b&w plts., t.e.g., orig. three-quarter blue morocco, rubbed and some wear to spine, with upper portion missing, and upper joint near-detached, 4to Number 4 of a limited edition of twelve copies, inscribed by the artist in blue ink to the leaf facing the watercolour, at the front of the volume.

(1) £500-800

340* Holmes (Kenneth, A.R.C.A., 1902-1994). Coastal landscape, watercolour, of a beach with small boating craft on shallow water, signed lower right, 23 x 30.5cm (9 x 12ins), mounted, framed and glazed, together with “Genoa”, 1927, pencil drawing with watercolour, of buildings, and horse-drawn vehicles, signed, titled, and dated lower right, 27.5 x 24.5cm (10.75 x 9.5ins), mounted, framed and glazed (2)

135

£100-150

341* Style of Felix Kelly (1917-1994). Two young women in a canopied gazebo with landscape beyond, gouache and black ink on card, unsigned, 50.5 x 37.5cm (20 x 14.75ins) (1)

£150-200

342* Manaure (Mateo, 1926-). Head of a girl, 1947, black charcoal on paper, signed and dated to card mount, 24 x 17.2cm (9.5 x 6.75ins), framed and glazed The Venezuelan artist Mateo Manaure was a student at the Caracas Art School, and in 1947 won the National Plastic Arts Prize, enabling him to travel to Paris. He is best known for his abstract work, although a similar early charcoal drawing dated 1948 appeared for auction at Odalys in Caracas in July 1998.

(1) £100-150

343*@ McBey (James, 1883-1959). Moroccan street scene with figures entering through a portal, pen, ink, and watercolour, inscribed lower left ‘For Maud Bryce, James McBey’, 35.5 x 26cm (14 x 10.25ins), mounted, framed and glazed Painter and etcher James McBey was one of Scotland’s best known artists.

He set up a studio in Aberdeen in 1910 and became a full-time artist. His main influences were Whistler and Rembrandt, and many of his early works were of coastal scenes in the area. During the First World War he was an official war artist in France and Palestine. After the war McBey took over a studio in London and he exhibited in galleries across the country, including the Royal Glasgow Institute of the Fine Arts. He spent much time travelling in the United States, North Africa and the Middle East, buying a house in Tangiers where he died.

(1) £1000-1500

344* Middleton (Alan James, 1926-1998). The Abdullaziz-Khan Medresseh & Tahl-Zargaran covered market, Bukhara, watercolour with pen and ink, heightened with gouache, signed lower left, 25 x 33.5cm (10 x 13.25ins), framed and glazed Lot 341

(1)

£70-100

345* Nixon (Kathleen Irene, 1895-1988). A mute swan gliding through water, watercolour heightened with bodycolour, signed to lower margin, 42.5 x 60.5cm (16.75 x 23.75ins), framed and glazed (1)

Lot 342 136

£100-150

Lot 343 137

348*@ Richter (Herbert Davis, 1874-1955). The Terrace, gouache and black chalk on paper, being a view through a portico with stone balustrade beyond, and extensive foreground of hydrangeas, delphiniums, hollyhocks, wisteria, and other flowers, signed lower right, 91.5 x 132cm (36 x 52ins), period gilt frame, glazed, with Royal Institute of Painters in Water Colours label to verso Provenance: According to the label on the reverse, the work was lent to the Royal Institute of Painters in Water Colours exhibition by W. Martin Harvey Esq. (1) £500-800

346* Norman (Michael, 20th c.). “Snipe Reedbeds”, 1986, pen, ink, and watercolour landscape, titled lower left, signed and dated lower right, 32 x 45.5cm (12.5 x 18ins), together with “Walberswick”, 1985, pen, ink, and watercolour, showing a ramshackle boat house with yachts and masts on the beach, titled lower left, signed and dated lower right, 11.5 x 19cm (4.5 x 7.5ins), mounted, framed and glazed (2)

£100-150

349* Skeaping (John Rattenbury, 1901-1980). Study of two deer, pen, ink and black charcoal on paper, signed lower right, a few spots, 28 x 40cm (11 x 15.75ins), framed and glazed (1)

£150-200

347* Princess Alice (Duchess of Gloucester, 1901-2004). “Lake Victoria and the Nandi Escarpment from Songhor”, 1935, watercolour, of a landscape with sunrise, 26.5 x 34cm (10.5 x 13.25ins), mounted, framed and glazed, with pencil inscription on verso The third daughter of the Duke of Buccleuch, Lady Alice Montagu Douglas Scott married Henry, Duke of Gloucester, the third son of King George V, and younger brother of King George VI, in 1935. An avid skier and an accomplished watercolour painter, Princess Alice travelled widely. From 1945 to 1947, she lived in Australia, where her husband served as governorgeneral. She also lived in Kenya for a few months, and loved it for its wide, open spaces, and possibilities for freedom. She developed a talent for watercolours, concentrating on landscapes and animal pictures, the latter often portrayed with touching humour. She held an exhibition in London selling sixty-four pictures for 190 guineas. She was 102 when she died, the longest living member of the British royal family.

(1) £80-120

350* Steinlen (Theophile Alexandre, 1851-1923). Head of a young woman, charcoal on paper, signed ST. lower right, 56 x 51mm, framed and glazed (1)

138

£150-200

Lot 348 351* White (Caroline, 20th c.). “Le Tholonet”, 1986, mixed media on intricately cut and pierced card with scoring, showing steps up to an arched doorway, signed and dated lower right, inscribed by the artist on the verso, 55 x 22cm (21.75 x 8.75ins), framed and double-glazed Caroline White has been a professional artist for over 30 years.

She studied at St. Martin’s School of Art from 1969, and subsequently lectured on sculpture at Bristol from 1974 until 1990.

She left England in 1990 to live in France where a life of rural isolation allows her to concentrate on her work. Her paintings and sculptures are in many public and private collections, notably in England, the USA, France, Germany, Spain, South Africa and Japan. Architecture, particularly Romanesque architecture, is a great influence on her work, and she writes: ‘All my work is principally a process of evolution, beginning with drawings made in situ in which I attempt to understand the structure and content of a subject, and developing into forms of two or three dimensions which are increasingly abstract in nature. Underlying all these forms is a strongly geometric structure of arcs, circles and ellipses drawn through the space in an attempt to reflect the infinite possibilities of form, light and colour.’

(1) £150-200

352* White (Caroline, 20th c.). “Street in Callian”, mixed media on intricately cut and pierced card with scoring, showing a narrow street with tall buildings on either side, signed and dated lower right, inscribed by the artist on the verso, 54.5 x 22cm (21.5 x 8.75ins), framed and double-glazed (1)

Lot 351

£150-200

139

Lot 352

Lot 353

353* Wright (Bert, 1930-). View of St. Paul’s and the River Thames at Night, watercolour, with pen & ink, heightened with white bodycolour, signed lower right, 35.5 x 63.5cm (14 x 25ins), framed and glazed, with Wapping Group of Artists label to verso (1)

£200-300

354* Wright (Bert, 1930-). Chiswick Mall, pen, ink & watercolour, signed lower left, 38 x 53cm (15 x 21ins), framed and glazed, with Wapping Group of Artists label to verso (1)

£100-150

Lot 354

140

MODERN PAINTINGS

Lot 355

355* Aldridge (John A. Malcolm, 1905-1984). The Place Farm Yard, oil on board, dated 1956, and signed with initials lower left, 26 x 35cm (10.25 x 14.25ins), framed and glazed, with remains of handwritten label exposed to verso (1)

ÂŁ300-500

356* Balmford (Hurst, 1871-1950). Snowscape, Great Ecclestone, Lancashire, oil on canvas, signed, 55 x 80cm (21.5 x 31.5ins), framed & glazed (1)

ÂŁ200-300

Lot 356

141

357* Beaumont (Frederick Samuel, 1861-1950). Philip and Denise Bates, portrait of Philip and Denise Bates, September 1932, oil on canvas, signed lower left, additionally inscribed to verso in brown paint, ‘Philip and Denise Bates. Painted at Chorlton Hall, Malpas, Sept. 1932’, 142 x 104cm (56 x 41ins), gilt moulded frame Chorlton Hall is a Jacobean country house near Malpas, in Cheshire, which was extensively remodelled in the 1840s. Frederick Samuel Beaumont was born in Huddersfield and studied at the Royal Academy Schools from 1882 to 1888, where he won a silver medal in Life Study, and at the Academie Julian in Paris. During the first world war, he settled in St. Ives and took a studio at Porthmeor. In later years, he lived in Kensington.

(1) £400-600

142

358*@ Bierk (David, 1944-2002). Two Views, Kawartha Dusk, oil on paper, signed, titled and dated 20 February 1989, sheet size 76 x 56cm (30 x 22ins), framed and glazed David Bierk was born in Appleton, Minnesota, and grew up in the San Francisco Bay area. He studied at the California College of Arts and Crafts in Oakland, and emigrated to Canada in 1972 to take up a teaching position in Peterborough, Ontario. He was elected a member of the Royal Canadian Academy of Arts in 1998 and was awarded the Queen’s Golden Jubilee Medal posthumously in 2002. The Kawartha Lakes are located in Ontaria, Canada, and feature in a number of paintings by David Bierk.

(1) ÂŁ700-1000

143

Lot 360 359* British Impressionist School. Study of clouds on a summers day, oil study on wood panel, 20 x 27.5cm (8 x 10.75ins), framed Reminiscent of the work of Sir John Arnesby Brown (1866-1955) or the Irish artist Nathaniel Home (1831-1917).

(1) £200-300

360* Bronchi (Fausto, 1938-). Abstract Composition, c. 1960, oil on canvas, signed lower right, additionally inscribed by the artist to verso, with address (indistinct) Via C. Kitto 3 Spoleto, 74 x 100cm (29 x 39.25ins), contemp. white and gold painted frame Provenance: Patrick and Joan Leigh-Fermor Collection. Fausto Bronchi was born in Spoleto, Umbria, and studied at the Fine Arts Academy in Perugia. A member of the Spoleto Group of Abstract Artists including De Gregorio, Raspi, Marignoli and others, Bronchi established his own abstract language which he continued to explore for the rest of his career. His work is held by the Getty Foundation, the Guggenheim Collection and elsewhere.

(1) £300-500

361* Clark (Paul, 20th century). Pearl Diving / Rivers Edge, 1989, mixed media, titled and dated to verso, each 27.5 x 20.5cm (10.75 x 8ins), framed and glazed

Lot 359

(2)

144

£150-200

362* Attributed to George Clausen (1852-1944). Landscape with country lane, oil on board, 16 x 23cm (6.25 x 9ins), with typewritten label to verso, framed (1)

£200-300

363* Coates (Thomas John, 1941-). Cadet Paul, TS ‘Guardian’, Henley Sea Cadets, 1972, oil on canvas, signed with monogram lower left, 76 x 40.5cm (30 x 16ins), framed (1)

£200-300

Lot 362

364* Colmo (Giovanni, 1867-1947). Italian street scene, 1923, oil painting, showing two figures in a sunlit lane between dwellings, with trees and a campanile, signed lower right, dated 25.iv.1923 lower left, 38 x 27.5cm (15 x 10.75ins), gilt moulded frame, glazed (1)

Lot 363 145

£500-600

Lot 365

365* Continental School. Mediterranean Alley, large-scale 20th c. oil on canvas, with heavy impasto, possibly signed (indistinctly) lower right, 81.5 x 91cm (32 x 36ins), framed (1)

ÂŁ100-150

366 Coverley Price (Victor, 1901-1988). The Windrush, 1964, oil on board of the River with trees and fields, signed & dated lower right, label to verso, 40.5 x 61cm (16 x 24ins), framed (1)

ÂŁ150-200

Lot 366 146

367* Craemer (Kurt, 1912-1961). Street in Southern Italy, 1959, oil on board, signed and dated lower left, 60.5 x 82cm (23.75 x 32.25ins), contemporary white and gold painted frame Provenance: The Hon. Graham Eyres Monsell, Dumbleton, Evesham; Patrick and Joan Leigh-Fermor Collection. Illustrated in Kurt Craemer zur erinnerung, Gewidmet von seinen freunden, Hamburg, Ernst Hauswedell, 1963, plate 43.

(1) ÂŁ300-500

147

368* Daintrey (Adrian Maurice, 1902-1988). Herne Street, Chelsea, London, 1937, oil on board, signed and dated lower right, 48 x 39cm (19 x 15.5ins), framed (1)

£300-500

Lot 368

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

Lot 369 148

£200-300

370*@ Demsteader (Mark, 1963-). Mathilda Seated No.1, oil on canvas, initialled lower right, 110 x 80cm (43.25 x 31.5ins), signed artist’s studio label to verso Born in Manchester, where he still lives and works, Mark Demsteader has become one of Britain’s leading figurative artists. He recently painted a series of portraits of the actress Emma Watson to mark her 21st birthday.

(1) ÂŁ700-1000

149

Lot 371

Lot 372

Lot 373

150

371* Despierre (Jacques, 1912-1995). Ile de France, oil on canvas, signed lower right, 27 x 46cm (10.5 x 18ins), framed Provenance: Previously sold at Christies, 28 September 1989, lot 39 (according to pencil inscription to verso).

(1) £300-500

372* Dison (M., 20th century). Grancey-le-Chateau, Burgundy, oil on board, 24 x 19cm (9.6 x 7.5ins), framed (1)

£70-100

373* Ecuador. View of Quito, with snow-capped mountain beyond, oil on canvas board, inscribed lower right A.V Quito, 55 x 40cm (21.5 x 15.75ins) (1)

£70-100

374* English school. Seated nude. c.1920, oil on board, 74 x 60cms (29 x 23. 75ins), framed (1)

£200-300

375* Fisher-Prout (Margaret, 1875-1963). Mark Fisher at work, oil on board, unsigned, 45 x 34cm (17.75 x 13.5ins), framed (1)

£200-400

376* Fraser (Colin, 1956-). The Wood Store. egg tempera on board, signed and dated 1985 lower left, 31 x 27.5cm (12.25 x 10.75ins), framed and glazed, with Montpellier Gallery, Cheltenham label to verso

Lot 374

Colin Fraser was born in Glasgow in 1956, and studied fine art in Brighton.

He exhibits annually at the Royal Academy Summer Show, the Royal Scottish Academy, and at the Catto Gallery in London, Gallery Odelhorn, Lund, Sweden, the Gatehouse Gallery, Glasgow, and the Mira Godard Gallery, Toronto, Canada. Fraser’s work concentrates on the effects of light and air, producing a quiet, meditative quality recalling the work of Scandinavian painters of the 19th century, such as Hammershoi and Ilsted. A book of the artist’s work, entitled Inner Light, was recently published by the Catto Gallery alongside a solo exhibition entitled Places in Time, 7th-31st May 2009.

(1) £150-200

377* French School. Jungle Scene with leaping leopard and parrot in alarm, early 20th c. art deco oil on panel, some discoloration and flaking of paint, 65 x 109cm (25.5 x 43ins), framed (1)

Lot 375 151

£200-300

378*@ Gear (William, 1915-1997 ). Broken Structure, June 1965, oil on canvas, signed and dated lower right, 122 x 81.3cm (48 x 32ins), additionally signed, titled and dated to reverse, framed (1)

ÂŁ4000-6000

152

379*@ Georges (Claude, 1929-1988). Composition, 1970, oil on canvas, signed and dated lower right, 81 x 65cm (32 x 25.5ins), framed The French abstract artist Claude Georges is represented in the collections of the Musée Nationale d’Art Moderne, Paris, the Peter Stuyvesant Collection, Amsterdam, and elsewhere.

(1) £800-1200

153

381* Goffe (Toni, 20th c.). “Green Hill”, acrylic on canvas, of a brightly-coloured landscape with fields and houses, signed lower left, 40 x 61cm (15.75 x 24ins) Toni Goffe studied painting and illustration at Southampton College of Art in Hampshire between 1952 and 1956. On completing the course, he moved to London where he freelanced as an illustrator and studied painting with a number of private tutors. In 1960, Toni married and moved back to Hampshire where he started The Pendulum Gallery in Selborne, exhibiting his own oil paintings, watercolours, gouaches and pastels, as well as those of other local artists. In 1982, he moved to Boston, USA, to direct The John Stobart Gallery. He exhibited in numerous galleries along the East Coast of America between 1982 and 1985. Toni returned to Hampshire in England with his family in 1985, continuing to work freelance as an illustrator and painter, and holding exhibitions both in the UK and Ireland. Toni received formal recognition for his work in 1993 when he received the Gold Medallion Book Award for his illustrations for the children’s book, ‘Just In Case You Ever Wonder’.

(1) £150-200

382*@ Grant (Duncan James Corrour, 1885-1978). Still life of a decorative plaque, kilim and a pot plant, oil on canvas, signed, 68 x 84cm (26.75 x 33ins), framed A central figure in the Bloomsbury group, Duncan Grant was encouraged at a young age by his art teacher and aunt Lady Strachey, and Westminster School of Art and the Slade School of Art. Despite his homosexuality, he became involved with the artist Vanessa Bell, sister of Virginia Woolf who was herself already married to Clive Bell. During the first world war, Vanessa and Duncan Grant moved to Charlston Farmhouse in the Sussex countryside so that Grant could avoid conscription, and their home became a focal point for the Bloomsbury group from then on.

(1) £4000-6000

380* Ghilchik (David Louis, 1892-1974). Seated nude, oil in canvas board, 34 x 24cm (13.5 x 9.5 in), 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: Artist’s studio stamp to verso.

(2)

£200-400

Lot 381 383 Halliday (Edward Irvine, 1902-1984). Portrait of HRH Prince Philip, Duke of Edinburgh, seated in naval officer’s uniform, half length oil on canvas portrait, signed lower left, 102 x 76cm (40.25 x 30ins), gilt frame (1)

154

£200-300

Lot 382

155

386* 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)

£500-800

387* Lechay (James, 1907-2001). A tramp steamer at sea, oil on wood panel, signed lower right, 30 x 40.5cm (11.75 x 16ins), framed James Lechay was an American painter of seascapes, figures, landscapes, cityscapes and still lifes who played a notable role in the tradition of avantgarde painting in New York and in the Midwest. He defied characterization and called himself an ‘abstract impressionist’. He developed a distinctive use of colour, simplified forms and strong outlines. His early paintings consisted of landscapes, street scenes and marines, often, as here, rendered in muted tones of blue and grey, that evoke a sense of man’s isolation in his environment. By the mid-1950s, Lechay was incorporating brighter, more intense colours into his palette.

(1) £250-300

384* Hampton (David, 20th century). Abstract, oil on board, signed, 21 x 34cm (8.25 x 13.25ins) (1)

£200-300

388* Maclean (Alexander, 1867-1940). Trees in Blossom by Water, oil on canvas, 61 x 45.5cm (24 x 18ins), framed, with partial early handwritten label to verso 385* Jagger (David, 1891-1958). Portrait of a Lady, oil on canvas, unsigned, 61 x 46cm (24 x 18ins), framed, with remains of old label to verso, giving the artist’s name (1)

(1)

£200-300

156

£300-400

Lot 386

Lot 387 157

389* Marshall (W., late 19th/early 20th c.). Summer landscape, oil on canvas (relined), signed and dated lower right, 24.5 x 35xm (9.5 x 13.75ins), framed (1)

391* Masefield (Eric, 20th/21st c. ). The Beach from the Dunes, oil on canvas board, signed lower left, 29.5 x 39.5cm (11.5 x 15.5ins), framed

£150-200

(1)

£150-200

390* Masefield (Eric, 20th/21st c. ). A Friendly Game, oil on board, signed lower right, 39.5 x 49.5cm (15.5 x 19.5ins), framed

392* Masefield (Eric, 20th/21st c. ). Sandcastle, oil on canvas board, signed lower right, 29.5 x 39.5cm (11.5 x 15.5ins), framed

(1)

(1)

£150-200

158

£150-200

393* Masefield (Eric, 20th/21st c. ). Landfall, oil on canvas board, signed lower right, 34.5 x 44.5cm (13.5 x 17.5ins), framed

395* Masefield (Eric, 20th/21st c. ). Shrimping, oil on board, signed lower right, 35 x 45cm (13.75 x 17.5ins), framed

(1)

(1)

£150-200

396* Muncaster (Claude, 1903-1974). A Lane in Sunlight, Bignor, oil on board, signed and dated Feb 1924, 25 x 34.5cm (10 x 13 1/2ins), framed with original artist’s label to verso

394* Masefield (Eric, 20th/21st c. ). A Friendly Game, oil on board, signed lower right, 39.5 x 49.5cm (15.5 x 19.5ins), framed (1)

£150-200

(1)

£150-200

159

£150-200

Lot 398 397* Nimr (Amy, 1898-). Abstract Composition, c. 1950s, oil on canvas, signed lower right, 61 x 46cm (24 x 18ins), contemporary frame The Anglo-Egyptian Amy Nimr was the daughter of the famous Arab newspaper mogul Faris Nimr, the pro-British Syrian Nationalist. She studied Fine Art at the Slade in London, and held her first exhibition in 1925. In 1932 she married the English Walter Smollett, the Oriental Secretary at the British Residency, and brother-in-law of George Antonius, author of The Arab Awakening. The tragic loss of the couple’s only son in 1943 was recounted in disguised form in Olivia Manning’s The Danger Tree, the first of her Levant Triology.

(1) £200-300

398* Ollivary (Annette, 1926-). La Sieste II, oil on canvas, signed, 32.5 x 23cm (13 x 9ins), framed (1)

£300-500

399* Ormrod (Frank, 1896-1988). Still life of flowers in a vase including daffodils and irises, oil on canvas, signed, 52 x 37cm (20.5 x 14.5ins), framed (1)

£200-300

Lot 399

160

402* Purvis (Tom, 1888-1957). Foundry scene, oil on canvas, 55 x 75cm (21.75 x 29.5ins), puncture holes and some flaking, framed In need of restoration.

(1)

£100-150

400* Ormrod (Frank, 1896-1988). Stanford Dingley, Berkshire, oil on board, signed, 56 x 58cm (22 x 23ins), framed (1)

£200-300

403* Robinson (Sonia, 20th century). St. Flour, oil on canvas board, signed with initials lower right, 51 x 40.5cm (20 x 16ins), framed, additionally signed by the artist to verso, and with label of the Society of Women Artists, dated 1994, giving the artist’s address as 3 Paul Lane, Mousehole, Penzance, Cornwall (1)

401* Palmieri (Frank, 20th c.). Child on the Beach, oil on board, signed, 40.5 x 30.5cm (16 x 12ins), together with Little Girl in Tall Grass, oil on board, signed, 61 x 30.5cm (24 x 12ins), framed (2)

£200-300

161

£70-100

404* Sauter (Rudolph Helmut). Self Portrait, 1922, oil on canvas, signed upper left, and with monogram upper right, with original handwritten label to verso giving title, address and the owner Mrs. R. Sauter, 51 x 41cm (20 x 16ins), framed and glazed (1)

£200-300

405* Sims (Charles, 1873-1928). Landscape with river and tree in foreground, oil on board, signed, 25 x 34cm (10 x 13.5ins), together with an oil on board of a Middle Eastern street scene with minarets signed Tosconi, measuring 27 x 16cm (10.5 x 6.25ins) and an oil on board of a horse and cart, indistinctly signed, all framed (3)

Lot 405

£150-200

406* Sofronoff (Alexander, fl. 1950’s-70’s). Ceylon coastal scene, c. 1960, oil on canvas, signed lower right, 42 x 55cm (16.5 x 21.75ins), framed, together with A Himalayan scene, by Alexander Sofronoff, c. 1960, oil on board, signed lower right, 37 x 43cm (14.5 x 16.75ins), framed Alexander Sofronoff, a 20th century Russian Impressionist artist and interior decorator, who spent some time living in Sri Lanka from the 1950’s onwards.

(2) £300-500

162

Lot 406

408* Steer (Philip Wilson, 1860-1942, attrib.). View of Greenwich, oil on wood panel, signed lower right, 13 x 23cm (5 x 9ins), framed Provenance: From a private collection, Bath.

(1)

407* South Africa. View of the Drakensberg Mountains, South Africa, early to mid 20th c. oil on board, indistinctly signed lower right J. Smit (?), framed, with label of E. Schweickerot, Fine Art Dealers, Pretoria, to verso (1)

ÂŁ200-300

163

ÂŁ200-300

Lot 409 410* Vyatkin (Aleksandr V., 1922-). Russian Airman, c. 1950, oil on card, signed A. V. Vyatkin with pencil inscription in Russian to verso, approx. 410 x 330mm, framed and glazed

409* Stained Glass. An Art Deco stained glass triptych, French, 1938, the three sections reverse painted with vibrant colours depicting two part-dressed maidens reclining in a boat amongst waves and mountainous landscape, indistinctly signed ‘L. de Marguerie’(?) and dated ‘1938’, the central panel arched with two further rectangular supports, 68 x 144cm, in metal hinged frame (rusted) (1)

(1)

£200-300

£200-300

411* Wesson (Edward, 1910-1983). Fishing Boats in a Harbour, oil on board, signed lower left, 24 x 25cm (9.5 x 10ins), framed (1)

Lot 410

164

£200-300

412*@ Wolmark (Alfred Aaron, 1877-1961). Trees in sunlight, oil on canvas, signed lower left, inscribed to verso (presumably in the artist’s hand) ‘1st painted 1910. Finished re-painting 1939’, 51 x 41cm (20 x 16ins), framed Recognised as one of the leading British post-impressionist painters of the first half of the twentieth century, Wolmark was one of the ‘Whitechapel Boys’, an influential group of modernist Jewish artists, which included Bernard Meninsky, Mark Gertler, Jacob Kramer and William Roberts. He is best known for his vibrant landscapes and still lifes. A major retrospective of his work was held at the Ben Uri Gallery in the Autumn of 2004, entitled Redisovering Wolmark: A Pioneer of British Modernism.

(1) £1000-1500

165

Lot 413

Lot 414 166

Lot 415 413* Wood (Robert Sydney Rendle, 1894-1987). Cornish Fishing Village, Polperro, oil on canvas, signed lower left, original typed label to stretcher verso, 38 x 51cm (15 x 20ins), framed

414* Wood (Robert Sydney Rendle, 1894-1987). By the Shore of Lough Neagh, oil on board, signed lower left, original artist’s handwritten label to verso addressed to the Royal Hibernian Academy, giving the title and price of the work, on letterhead with the address of the Ulster Arts Club, 122 Great Victoria Street, Belfast, 51 x 38cm (15 x 20ins), framed

Rendle Wood was born in Plymouth, and studied at Plymouth School of Art, and Edinburgh College of Art under David Foggie, where he is likely to have become acquainted with the work of the Scottish Colourists. He exhibited at the Royal West of England Academy, Royal Hibernian Academy, Royal Society of Scottish Painters in Watercolours, Glasgow Institute, Society of Scottish Artists, and with the National Society of Painters and Engravers. He lived in Northern Ireland for a number of years, and became Secretary of the Ulster Arts Society in the late 1920s.

(1) £200-300

(1)

£200-300

415* Wood (Robert Sydney Rendle, 1894-1987). Harbour Scene in summer, with figures by the rocks, possibly Cornwall, oil on board, signed lower left, 38 x 51cm (15 x 20ins), framed (1)

167

£200-300

SCULPTURE

416* Zinkeisen (Anna Katrina, 1901-1976). Portrait of the artist’s daughter, oil on canvas, of Julia Zinkeisen as a baby, dressed in a white gown with blue ribbon, and lying on a lace-trimmed pillow, with a silver rattle, signed lower right, 71 x 61cm (28 x 24ins), moulded frame Anna Zinkeisen was a portrait painter and muralist. Moving from Scotland when she was eight, she grew up in the London suburb of Harrow. At the Royal Academy Schools she studied painting under Sir George Clausen, Glyn Philpot, and Charles Sims. She went on to design ceramics for Wedgwood, as well as many book covers and illustrations. Zinkeisen was commissioned to produce a mural for the ballroom of the Queen Mary liner in 1934, entitled ‘The Four Seasons’. During the Second World War she was a volunteer with the St John Ambulance Brigade. She produced a number of paintings of people attending her first aid post. Her sister, Doris, was also an artist.

(1) £400-600

417* Hersh (Sally, 20th c.). Kneeling Lady, 1989, alabaster sculpture on granite base, signed & dated, height including base 27cm (10.5ins) Sally Hersh has been a sculptor for over forty years, working mainly in stone and bronze. Her work has been widely exhibited and are held in private collections in UK, Europe and USA. (1) £200-300

168

DAY TWO To commence at 12noon

A Brief History of Ramsgate Abbey One of four Benedictine Monasteries in Great Britain, St. Augustine’s Abbey, Ramsgate, was founded in 1856, and was the first to be built in England since the Reformation.

Designed by Edward Welby Pugin (1834-1875) and substantially complete by 1860-61, there was an addition in 1871, and an east wing added by Peter Paul Pugin in 1904. A large library was added in 1926 by Charles Purcell (1874-1958) which includes galleries on two levels, a spiral staircase and open timber-framed vaulted roof.

The abbey is part of a group of buildings that includes The Grange, the home that Augustus Welby Pugin built for himself and his family, together with St. Augustine’s Abbey Church, which Augustus Pugin built at his own expense. The church was described by Charles Eastlake in 1872 as ‘one of his most successful achievements’ adding ‘no student or lover of old English Architecture can examine this interesting little church without perceiving the thoughtful, earnest care with which it has been designed and executed, down to the minutest detail’. Lot 35 in the current catalogue is an original watercolour view of the interior of St. Augustine’s church by Augustus Welby Pugin. Lot 631 is an original pen and ink bird’s-eye view of St. Augustine’s Abbey, executed in 1873, showing the building before the addition of the Library.

After careful deliberation, the community have decided to vacate the Monastery which had been their home for 149 years, and move to smaller premises at Chilworth, near Farnham, Surrey

For Display Only On temporary loan from St. Augustine’s Abbey, Ramsgate A highly important electroplated and enamelled altar cross and candlesticks designed by Augustus Pugin and bearing the arms of his close friend Alfred Luck, circa 1851.

Pugin, often feted as the greatest architect of the 19th century, was very involved in the Great Exhibition of 1851where he was in charge of what was called the Medieval Court. Most of the metalwork exhibited there was made by John Hardman & Co. of Birmingham and these pieces were displayed in the Court.

Albert Luck was a close friend of Pugin and they both lived in Ramsgate, where they purchased a boat together called the "Caroline", a lugger for which they paid ÂŁ70. Pugin designed a house there called The Grange and purchased the land opposite in 1847 which is where the Abbey now stands. It was the first Abbey to be built since the Reformation. It was Luck who supplied the funds for its construction which was begun in 1860, some eight years after Pugin's death.

Luck purchased The Grange after the death of his friend in 1852 and his son, John, was appointed Bishop of Auckland, New Zealand and moved there in 1882.

170

IMPORTANT CHURCH PLATE FROM ST. AUGUSTINE’S ABBEY, RAMSGATE PART I: PLATED WARE To commence at 12noon 420* A large 20th century ciborium, circa 1960, upon a plain trumpet foot, the rounded circular bowl with hammered finish and the cover with recumbent cross finial, 20cm high, 15.5cm diam. at rim, together with a ciborium upon a plain circular base with milled band, knopped stem and spherical bowl and cover, 22cm high, and a ciborium upon a hexafoil base, plain knopped stem and moulded domed cover, the latter with intersecting cross finial, 20cm high, probably late 19th century

This section of the catalogue has been compiled by Alastair Dickenson of Jermyn Street, London, formerly head of Antique Silver at Asprey. The auctioneers would like to express their sincere thanks to Alastair for his help and expertise. We are also indebted to David Beasley, Librarian of the Worshipful Company of Goldsmiths, for his valuable assistance.

An example very similar to the third item in this lot is illustrated in the John Hardman & Co. Pattern book, circa 1875, no. 5.

(3) £80-120

421* A 19th century pyx, unmarked, but probably by John Hardman & Co. Ltd., circa 1870, the circular base with 6 engraved foliate segments surrounding a hexafoil stem, the circular hinged front engraved with a Gothic style Cross, each end dividing into 3 leafy branches upon a dotted ground, 15cm high (1)

£80-120

422* An altar jug of vase shape, probably 20th century, with fluted lid and scroll handle, 20cm high, brass ciborium on flat circular base and with a tapering knopped stem, circular bowl with cover, 19cm high, circa 1970, a cup with trumpet shaped foot and plain tapering bowl, 10cm high, circa 1900, a French chalice with bell shaped base and bowl and baluster stem, engraved underneath “Oeuvre Apostolique”, 21cm high, late 19th century, and a circular dish engraved with a cross, 17cm diam.

(5)

Lot 420

171

£80-120

424* An interesting plain chalice, possibly early 20th century, on double knopped stem and the trumpet foot with beaded border, unmarked, 17 3/4cm high Accompanying this lot is a note which states “This chalice which was consecrated by Cardinal Bourne was used in the following celebrated sanctuaries... the list includes over 15 different churches and venues including St. Peter’s Rome, Monte Cassino, Sabiaco, Monte Vergine, Assissi, Florence, Montserrat, Lourdes and Walsingham.

(1) £40-60

423* A good early 20th century chalice, possibly Dutch, circa 1909, with wide spreading base chased with 12 leaves and applied with a black enamelled cross and 3 copper and blue and white enamel panels depicting Christ, St. Peter and The Madonna and Child, the unusual stem with a large stone knop, probably basalt, and the tapering bowl set within a stylized crown mount, the underside of the base inscribed “Familia Vanderveeren Offert Dom Odilo Hunc Calcem Die Consecrationis Sacerdotabis Ejus 18-XII-1909”, 21cm high, together with a 20th century gilt metal chalice with a hammered finish, the conical base applied with an elaborate beaded cross and stamped “Jerusalem”, the central section formed as a large plain bone knop supporting a shallow wide bowl, probably circa 1960, 15cm high, 15cm diam.

(2)

425* A good Victorian hand candlestick, probably designed by Pugin, circa 1850, the cylindrical sconce with flared rim and the dished base with raised edges and flat rim, engraved with a running band of clover on a pricked ground interspersed with 3 flowerheads and 3 terracotta coloured enamelled bosses probably of the Sacred monogram, the long slender handle with further foliate motifs and the hexafoil end with a blue enamel shield with a cross and “Pax”, circa 1850, 29.5cm long For similar candlesticks by Pugin see Brian Andrews, “Creating a Gothic Paradise, Pugin at the Antipodes”, no. D12, p.95 and no. F30, p. 188.

(1) £300-500

£100-200

172

Lot 425

Lot 426 426* A good 19th century altar cruet, French, circa 1870, the shaped oval copper stand with wavy beaded border applied with 4 roundels, enamelled in dark blue and with a light blue border, surrounded by filigree style scrolls and pellets and with 4 purple pastes set within similar filigree scroll mounts, the gilt metal mounted glass pots with partly enamelled bases and the bodies engraved with a running band of leaves and vines also set with paste finials, 29cm long (1)

ÂŁ80-120

173

427* A Victorian altar cruet after Hardman, circa 1870, the base of oblong form with two shaped trefoil ends and flared edges, each supporting a mounted glass jug of small pear shape with wavy edged collars, skirted bases and scroll handles, the centre engraved with a quatrefoil of foliate scrolls, 24cm long See John Hardman & Co. Pattern book, circa 1875, no. 4.

(1) £150-250

Lot 427

428* A late Victorian thurible in the Gothic style after Hardman, circa 1900, the spreading foot supporting a hemispherical lower section and applied with 3 suspension rings on a trefoil mount, the upper part formed as 6 pierced triangles separated by similarly pierced quatrefoils below a hexagonal section with conical panelled top, complete with 4 chains and main suspension ring, overall height with chains extended approx. 90cm See John Hardman & Co. Pattern book, circa 1875, no. 6.

(1)

£80-120

429* An incense boat upon a hexagonal skirted foot, probably after Hardman, late 19th century, the boat shaped body with central transverse hinge and stamped with pattern no. 20, also two other incense boats, 20th century For the first item see John Hardman & Co. Pattern book, circa 1875, no. 10.

(3)

Lot 428

174

£80-120

430* An interesting copper cross, probably Italian, 14th century, the top chased with a bird in its nest feeding its chicks, the centre with a later 19th century plated brass figure of Christ on the Cross flanked by two figures, the base with skull and bones, the reverse with a Bishop flanked by four further figures, 37cm high (1)

£150-250

431* A salver with stamped shell border, together with 4 various patens, 7 other similar dishes, a small oval dish and 3 large dishes, one pierced with 2 crosses, the other 2 engraved with the same, a brass dish, a travelling altar set, cased, and a pewter beaker (18)

£60-80

432* A Victorian Gothic nickel offertory bowl, possibly designed by Pugin, of deep circular shape with an inner band of trefoil leaf motifs and pellets surrounded by 8 roundels each enclosing a cross with trefoil ends and 4 pellets, 28 3/4cm diam., together with a French dish with a chased arabesque border by Chertier and another dish in the Gothic style with an animal’s head spout to one side For a similar offertory bowl see Brian Andrews, “Creating a Gothic Paradise, Pugin at the Antipodes”, no. D6, p.91.

(3) £100-200

433* A Victorian sanctuary lamp in the Gothic style, the plain and moulded dropped centre with swivel ring beneath, the sides engraved with quatrefoil leaf motifs on a lined ground with cut out fleurs-de-lis above and below after Pugin, together with another plainer but larger and each with 3 suspension chains (2)

175

£150-200

Lot 434

434* An interesting Victorian sanctuary lamp, probably designed

by Pugin, circa 1845, the circular bowl with pierced and cut out rim of fleurs de lis, the centre with fruit finial surrounded by spiral lobed fluting, the underside with pendant fixed ring, complete with original suspension chains and bracket, height approx. 93cm

439* A pair of 19th century brass six-light candelabra, on arched triform bases with openwork flowers, leaves and scrolls, the columnar stems with 3 vertical bands of fleurs-de-lis rising to foliate knops beneath flared leafy collars, the branches with further openwork foliate scrolls and the dished drip pans with wavy edges, 62cm high

See John Hardman & Co. Pattern book, circa 1875, no. 6. Accompanying this lot is an early 20th century b & w photograph of the interior of the Chapel at The Grange, which was designed by A.W.N. Pugin, circa 1845, showing a very similar (possibly the same) sanctuary lamp.

(2) £300-500

(2)

440* A pair of 20th century gilt brass five-light candelabra, on circular bases supporting a lozenge shaped frame enclosing a quatrefoil with 5 vertical branches above, 40cm high (2)

435* A metal thurible with presentation inscription, together with a pair of wine cups in the Charles I style by Mappin & Webb, another pair smaller, a travelling altar, chalice and altar cruet, a large meat dish cover converted into a bowl, a brass travelling altar set of a cross and two small candlesticks, a pair of chambersticks, a glass holder, a brass pyx and miscellaneous oddments (-)

£200-300

£20-40

£40-60

436 A collection of 24 various trophy cups and 9 presentation shields, mostly mounted on wood, one with a silver shield in the centre (33)

£30-50

437* A Continental plated and gilt metal chalice, late 19th or early 20th century, the shaped circular base embossed with six oval frames, three enclosing flowers and three with various symbols, the hexagonal stem with central knop and the tapering bowl with a holder embossed with matching designs to the base, complete with original fitted leather case and documentation from Hayes & Finch, height of chalice 23cm (1)

£30-50

441* A pair of Victorian Gothic electroplated monstrances by Hardman & Co., circa 1870, each on an octafoil spreading base, the panelled stem engraved with fleur-de-lis below a foliate knop with 8 protruding circular bosses each engraved with a crest, the upper section with pull-out glass fronted cylindrical container with ropework border below a large clear paste cabochon within a gilt mount, the triangular top engraved with overlapping leaves below a pierced band of fleurs-de-lis, surmounted by a cross, the sides engraved with panels resembling a church window, 48cm See John Hardman & Co. Pattern book, circa 1875, no. 10.

(2)

£300-500

442* A pair of Victorian monstrances, after a design by Pugin, late 19th century, on plain trumpet shaped bases, each engraved with a cross, the stems formed as vertical flat panels pierced in the centres with a fleur-de-lis surrounded by 4 smaller discs of a fleur-de-lis within black enamel, the 2 lower discs with an ‘M’ and an ‘A’ , the rectangular upper sections with glass fronted cylindrical containers each below a cross centred by a red paste cabochon all upon a triangular shaped top, 43cm high

438* A pair of Victorian Gothic vases, after a design by Pugin, circa 1870s, each on a skirted quatrefoil foot, the similarly lobed pearshaped bodies each set with a quatrefoil shaped protruding cartouche engraved with the arms of St. Augustine’s Abbey, the waisted necks with an engraved band of running arches, flowers and leaves upon a lined ground, 23 3/4cm high See “Designs for Gold & Silversmiths” by A.W Pugin, 1836, where a flagon of similar form is illustrated.

(2) £300-400

There is evidence to suggest that these were originally gilded on copper but apparently chromed or tinned at a later date.

(2) £300-500

177

443* A pair of altar candlesticks, after a design by Pugin, circa 1870, on trumpet shaped bases, each engraved with a band of 4 petalled flowers separated by a lozenge and on a cross hatched ground, the front with a cross within a quatrefoil, the tubular stems with plain knops each with 4 circular bosses enclosing an engraved flower with 6 petals, the upper part of the stems with applied blue enamel shields, one with O.S.B. (Order of St. Benedict) and the other PAX (Peace), the tops with wide circular drip pans and the tapering sides engraved with a band of similar to those on the bases, circa 1870, 57cm (2)

ÂŁ600-800

444 A set of four Victorian Gothic altar candlesticks, after a design

by Hardman, circa 1870, each on a moulded domed and stepped base, pierced with 6 lozenge shaped groups of circles, the plain baluster stems with knops in 3 sizes and the tops with crenellated drip pans above further pierced groups of circles of lozenge shape, 51cm high. These appear to be made in brass and then tinned See John Hardman & Co. Pattern book, circa 1875, candlesticks no. 6.

(4) ÂŁ600-800

Lot 443

Lot 444

178

445* A matching pair, smaller, 40cm high (2)

448* A similar but smaller altar cross, probably by Hardman & Co., circa 1870, on a plain spreading base, the knopped quilted stem without enamel, 60.5cm

£300-400

(1)

446* A pair of Victorian Gothic altar candlesticks, in the style of Hardman, circa 1870, the domed bases with moulded edges and each raised on 4 paw feet, the tubular stems with plain knops and the dish-shaped drip pans with pierced fleur-de-lis borders, 45cm high

449* A large altar cross probably by Hardman & Co., circa 1880, the moulded and stepped conical base upon 3 stud feet, the tubular column with plain knop rising to a further octagonal knop, the upper section of Christ on the Cross above a vacant hexafoil cartouche, 102cm high

See John Hardman & Co. Pattern book, circa 1875, for similar designs.

(2) £300-400

(1)

447* A Victorian altar cross, probably by Harman & Co., circa 1860, the moulded domed base raised on 3 cast lion couchant feet, the quilted tubular stem with plain knop set with 4 blue enamel bosses, all supporting a cast figure of Christ on the Cross, 68cm (1)

£200-300

£400-600

£300-500

Lot 447

Lot 448

179

Lot 449

Lot 450

180

450* An important pair of large Victorian fivelight altar candelabra, by Hardman & Co., circa 1860, the conical bases on 3 bun feet supporting plain single knopped columns below a large dish shaped drip pan, the upper sections of open triangular shape formed by two sloping tubular branches each supporting two sconces and applied to a central branch with further sconce and with blue and white enamelled shield depicting the arms of St. Augustine’s Abbey, flanked by strapwork scrolls, 92.5cm high See John Hardman & Co. Pattern book, circa 1875, no. 10.

(2) £800-1200

451* A large pair of Victorian Gothic altar candlesticks after a design by Pugin, circa 1860, on plain trumpet shaped bases, the quilted stems with plain knops and the hexafoil and lobed drip pans with pierced fleur-de-lis borders, 70cm high (2)

£800-1200

Lot 451

181

452* A fine Victorian Gothic gilt metal monstrance, circa 1864, the hexagonal base set with 3 cabochon amethysts and 3 garnets within applied leafy mounts, the incurved edges with a crozier shaped foliate scroll at each angle descending to a simple scroll foot chased with a flower, the cylindrical stem engraved with ovals and lozenges enclosing leafage above and below an elaborate knop of 6 chased foliate rosettes separated by 6 lozenge shaped bosses alternatively set with blue and green enamel surrounded by white 4 petalled flowers, the glass fronted holder of circular shape and set at the front with 8 red glass cabochons with rope twist wires and surrounded by a sun in splendour, all upon an octagonal trumpet support with 8 further cabochons and a shaped oval stand, the latter with a cast angel with arms raised in adoration at each end, the pitched top enamelled in dark blue around the sacred monogram, flanked by 3 more cabochons above an arch and supported by 4 plain square columns and with another smaller to the side, each column terminating in an elaborate spire of regularly spaced foliage, the top with a cross set with red glass beads, the underside inscribed “EST MONASTERII S. AUGUSTINI APOD RAMSGATE IN FESTO SS. P.N.B. BENEDICTI 1864”, 71cm high A monstrance of a similar form is illustrated in the John Hardman & Co. Pattern book and probably derived from a design by Pugin.

(1) £800-1200

Lot 452

182

Lot 454

Lot 453 453* An interesting Victorian Gothic gilt metal monstrance, probably designed by Pugin, circa 1850, upon a hexafoil base chased with scrolling leaves upon a matted ground and set with 6 discs of dark blue, turquoise, red, green and white enamel forming stylized crosses, the cluster column with angular knop set with 6 cabochon garnets, the glass fronted holder within a sun in splendor and the arched surround within a band of dark blue enamel and gilt leaves flanked by further enamelled triangular panels of different shades of blue, the top with a cross set with a further cabochon garnet, 45.5 high (1)

ÂŁ400-600

454* A Victorian Gothic brass monstrance, probably by Hardman & co., circa 1875, upon a shaped hexafoil base with stepped edges, the hexagonal stem with moulded knop chased with 6 small masks, the glass fronted holder within a sun in splendour and bordered by elaborate arches, trefoils and leaves, the top with later replacement cross, 53cm high (1)

ÂŁ100-150

455* A Victorian Gothic electroplated brass monstrance, possibly by Hardman & Co., circa 1870, the tapering hexafoil base engraved around the edge with stiff leafage, trefoils and arches, the tubular stem with an 8 lobed knop engraved with 4 Tudor style roses, the central holder with flamboyant surround of wheatears and stylized vine leaves with a sun in splendour behind, the top with foliate cross and set with a pale foiled citrine, 61cm high (1)

ÂŁ200-250

183

Lot 455

PART II: SILVER & GOLD

456* A late 19th century French chalice, circa 1880, the trumpet shaped foot chased with a band of leaves and berries upon a matted ground surmounted by 3 oval medallions depicting Christ, The Virgin Mary and possibly Joseph holding a lily (for chastity) in his left hand and the infant Jesus in his right arm, the baluster stem with a central knop chased with fruiting vines on the upper section and wheatears below, the tapering bowl engraved on an outer sleeve at the bottom with a band of foliage and crosses below an applied band of thorns, 21 3/4cm high, weighable silver 12 oz

457* A late 19th century French chalice, maker’s mark VF, upon a trumpet shaped base embossed with a band of intersecting strapwork, foliage and a cross, the baluster stem with central knop engraved with matting, scrolls and leaves and the tapering bowl with a similar band to the base, 21.5cm high, also with associated paten of circular dished form with applied wire around an engraved sacred monogram, 13 1/4 diameter, weighable silver 12 oz The underside with a brass inset inscribed “Rev. Erkenwald Egan O.S.B.” and stamped “Societe Catholique A. Cabaret 8 R. du Vieux Colombier Paris”.

(2) £200-250

The base with brass disc inscribed “Herbert Smith ordained 3rd March 1928” and stamped with a lozenge inscribed “Maison Cabaret, M Cheret, 8 Rue du Vieux Colombier Paris”.

(1) £250-350

184

459* A 19th century French chalice and paten, circa 1850, on moulded and domed base chased with 3 fluted leaves dividing engraved panels of the Cross with buildings behind, a spray of wheat ears and a vine with grapes, the baluster stem with stiff leafage, the plain screw-off bowl of bell shape, 25 1/4cm high, the circular paten with dished centre engraved with the Sacred monogram, by Hippolyte Puche, 13.5cm diam., 11oz

458* A 19th century French chalice and paten, by Placide Poussielgue-Rusand, circa 1870, the moulded and domed base chased with sprays of wheat below a band of stiff leafage and berries, the upper part with a cross, fruiting vines and scrolls, the tall baluster stem with further foliage and scrolls, fluting and narrow gadrooned bands, the screw off silver-gilt bowl of plain bell shape, 25.5cm high, the paten of dished circular shape engraved with the sacred monogram 13.5cm diam.

(2)

Placide Poussielgue-Rusand (1824-1889) was the most important maker of Church silver in the second half of the 19th century in France, 19th century in France, receiving the title of “Manufacturer to the Holy Father The Pope”.

(2) £200-300

185

£200-300

460* A good 19th century French silver-gilt chalice and paten in the Gothic style, by Placide PoussielgueRusand, circa 1870, the wide trumpet foot with a blue enamelled and colonnaded band around the outer edge, the upper edge with a further blue enamelled band and gilt lettering “CALICEM SALUTARIS ACCIPIAM ET NOMEN DOMINI INVOCABO”, all between white enamelled lines and below an enamelled cross, the stem with bands of circles enclosing flowers and with leaves in turquoise, blue and green above and below with large knop of 6 enamelled quatrefoils each with a letter (spelling Jesus) and surrounded by turquoise beads, the bowl of plain tapering shape, the underside inscribed “ORATE PRO SIGEBERTO SANDERS MONACHO OSB”, the paten of large size the centre finely engraved with Christ on the Cross flanked by The Virgin and St. John, upon a blue ground with gilt scrolls all within a green hexafoil beaded border and surrounded by a red band and lettering “BONA PASTOR, PANIS VERE: JESU NOSTRI MISERERE”, 16.5cm, 25oz Placide Poussielgue-Rusand (1824-1889) was the most important maker of Church silver in the second half of the 19th century in France, 19th century in France, receiving the title of “Manufacturer to the Holy Father The Pope”.

(2) £600-800

186

463* A Greek Icon, probably silver, late 19th century, embossed with 2 figures in front of a temple, each corner set with a red paste, 39.5 x 29.5cm 461* A Continental silver-gilt chalice, circa 1860, the wide spreading base with plain moulded edge and embossed with alternate long and short stylized and angled leaf motifs, the central knop with similar ribbed fluting flanked by 2 bands of basketweave strapwork, the tapering bowl with a calyx of further ribbed fluting, 24cm high, also with plain associated paten engraved with a stylized cross motif, 13 1/4cm, 17oz (2)

(1)

£150-200

£200-300

462* A large hand candlestick by Robert Pringle & Sons, 1922, the campana shaped sconce partly fluted and upon a domed circular base with raised edges, the long waisted handle engraved with armorials flanked by tassels and above the motto “Fidelia Deus”, the base with candle ejector, 32cm long, 9oz

464* A large two-handled trophy cup, engraved “Challenge Cup. Presented to St. Augustine’s College, Ramsgate. For the Best Athlete of Each Year, by F. Stanley-Cary, Esq., a former pupil of the same, July 1904”, London 1904, 36cm high, 63oz

(1)

(1)

£100-150

187

£700-900

469* A Victorian two handled cup, by E.E.J. & W. Barnard, 1840, of campana shape with two foliate and fluted ‘S’ scroll handles, the sides embossed with ‘C’ scrolls, leaves, flowers and matting around two cartouches, one vacant, the other later inscribed Challenge Cup for Rugby Football”, upon a spreading base with similar foliate borders, 19.5cm high, 13oz (1)

£180-250

465* A trophy cup supported by three rifles on a circular leafy base, Chester 1911, 23cm high, 16oz (1)

£150-200

470* A silver bladed trowel, by Burns, Oates & Washbourne Ltd., 1937, with ebony handle, together with two mounted glass whisky tots, Birmingham 1917 and 1931, also a foreign hand candlestick, unmarked, possibly South American, the vase shaped sconce seated on a domed and fluted dished base and with a long waisted handle sparsely chased with flowers, leaves and scrolls, 28.5cm long, weighable silver 5oz

466* Five various trophy cups, 57oz (5)

£600-700

467* Four various trophy cups, 20th century, 63 oz (4)

£700-900

468* A George III goblet by Henry Chawner, 1795, of urn shape upon a trumpet foot with reeded border, later engraved with a crest, arms and inscription “The Bishop’s Cup for Athletic Sports”, 17cm high, 8oz (1)

(4)

£150-200

188

£100-150

Lot 471 473* A Primrose League neck badge, silver and enamel, in leather case of issue, together with a communion spoon with twisted stem and cross terminal by Levi & Solomon, Birmingham 1915, two cylindrical communion pots, each with screw cap enclosing gilded interior, engraved ‘B’ the other ‘C’, by Burns, Oates & Washbourne, London 1963, in fitted box, approx. 3 ounces

471* A cased communion set by J. Wippell & Co Ltd., London, 1934, comprising, two glass baluster bottles, one with silver screw top, the other with cork, circular wafer box, spoon, chalice, and paten, the base with presentation inscription, approx. 5 ounces (1)

£200-300

(4)

474* A good silver-gilt pectoral cross, by JW&S, Birmingham, 1908, with quatrefoil ends, one side engraved with central armorials with 4 other coats-of-arms, one in each quatrefoil and all surrounded by a pricked surface, 10.5cm high, also with fine and heavy chain, approx. 79cm long, 7oz

472* An exorcism kit, comprising crucifix, and other exorcism apparatus in a black case, together with a holy water bottle (1)

£70-100

£30-50

(1)

189

£150-200

475* A set of 24 silver medallions celebrating “The Life of Jesus”, issued by the Danbury Mint, being set number 176 and registered 1st April 1972, maker’s mark of the Mint Birmingham Ltd, Birmingham 1971-1973, all in fitted wooden case, approx. 32oz (1)

477* A late Victorian paten, by J. Whitehouse & Sons, Birmingham 1897, engraved with an elaborate cross with leafy ends, 13.5cm diam., another larger engraved with a small cross above the sacred monogram, no maker’s mark, 1928, 15 1/4cm diameter, a third engraved with the sacred monogram by F. Osborne & Co. Ltd, 1927, 14cm, a fourth of small size also with the sacred monogram by FDW, 1915, 9 3/4cm diam., a fifth, silver-gilt, engraved with a Cross, by Hardman, Powell & Co., Birmingham 1904, 12.5cm, 16oz

£300-500

(5)

£200-250

478* A Victorian paten by John Hardman & Co., Birmingham 1849, of plain circular shape engraved with a stylized cross within a matted quatrefoil, 13cm diam., another, partly gilt, with similar stylized cross within a lined quatrefoil, 12cm (2)

476* A 20th century frosted silver-gilt ciborium and cover, of French manufacture but with English import marks for 1930, the hexagonal stem with fluted and leafy straps running up each angle and bordered by 6 panels of chased oak leaves and acorns on a matted ground, the same decoration being on the detachable holder to the bowl, the cover and the knop, the latter set with 6 stones, probably emeralds, the cover of similar design to the stem and the central dome set with 3 diamonds surmounted by a Cross, 23cm high, gross weight 23oz

£100-200

479* A Victorian silver-gilt pyx by John Hardman & Co., Birmingham 1867, upon a circular base with a rope twist border, the hexafoil stem supporting a cylindrical container with hinged door and engraved with a stylized cross with foliate ends upon a pricked ground within a quatrefoil, complete with removable holder, the handle with trefoil end, 15cm high, 11oz (1)

The base with applied plaque inscribed “Church Ornaments Vanpoulle Brothers London S.W.”.

(1) £400-600

190

£300-500

480* An unusual presentation dish of oblong shape, maker’s mark rubbed, Birmingham, 1911, with random wavy end inscribed “Presented to The Right Revd. Dom H. Gregory Thompson OSB Bishop of Gibraltar, 1911 on the first anniversary of his episcopal consecration by A.E. Ferrary”, together with an oval paten, partly gilt, inscribed “Ecclesia Sci Francisi Apvd Maidstone”, by Robert Pringle, 1929, also an unmarked paten engraved with a stylized cross, probably silver-gilt, a French silver paten engraved with the sacred monogram and a partly gilt Continental silver paten, with another smaller with worn marks. Weight (without unmarked example) 18oz (6)

£200-300

482* A 20th century chalice by R.M., possibly for R. Massey, 1930, of plain form, the spreading base with moulded edge and engraved with a cross, the knopped stem supporting a tapering bowl with gilt interior, 20cm high, 10oz, complete with original velvet lined leather case (1)

481* A 20th century chalice by F. Osborne & Co. Ltd., 1924, of plain design with spreading base engraved with a cross, the knopped stem supporting a tapering bowl with slightly flared rim and gilt interior, the underside inscribed “In Loving Memory of Rev. H. Aldersey OSB, who died Nov. 11th 1924 from The Disabled Exservice Men, Preston Hall”, 8cms high, 8.5 oz

£150-180

483* A 20th century silver-gilt chalice in the Arts & Crafts manner,

by F. Osborne & Co. Ltd., 1945, the trumpet shaped base embossed with a cross and with hammered finish rising to a medieval style knop chased with lozenges, lines and pellets within rope wires, the hemispherical bowl also with hammered finish, 17.5cm high, 13.5oz

The firm of F. Osborne & Co. was founded in 1874 and run by Mrs. Frances Osborne from 1895 to 1900. After this date it was run by Frank Osborne and listed as engravers. By 1904 it was styled Frank Osborne & Co. and diversified to heraldic work, piercing and seal cutting. In 1906 they became a limited company with two other directors, James Hunt and Herbert Wauthier. They eventually specialized in the manufacture of a wide range of church plate.

See John Culme, “The Dictionary of Gold and Silversmiths”, vol. I, p. 353.

(1) £150-180

The underside inscribed “Presented on the occasion of the Ordination of Dom Paul Browne, Monk at Ramsgate by his parents, relatives and friends, Feast of the Ascension May 15th 1947”.

(1) £240-280

191

484* A fine and rare Arts & Crafts 15ct gold chalice and paten by Omar Ramsden, 1927, the trumpet shaped stem rising to a compressed spherical and ribbed ivory knop banded with 12 beaded straps, the hemispherical bowl with engraved line below the rim, the underside inscribed “DNO. RAYMVNDO. A. SCO. IACOBO. SACERDOTI. IN. ETERNVM. A. PATRE. ET. MATRE. IN FESTO. DNI. NRI. IHV. +PI. REGIS. AN. AB IN CARNACOE. EIVSDEN. MCMXXVII. LAVS. TIBI. DNE. REX ETERNI. GLORIE.”, also inscribed “Omar Ramsden Me Fecit”, complete with matching paten of circular plain form with sunken centre, 16.5cm high, paten 14 3/4cm diam., 24oz Accompanying this lot is a photocopy of the original design drawing and a note with precise instructions for its manufacture. This is not Ramsden’s handwriting suggesting it was designed by someone else.

(2) £12000-18000

192

485* A good and heavy 20th century chalice in the Arts & Crafts style, by F. Osborne & Co. Ltd., 1933, the domed hexagonal and hammered base with stepped edge and applied with a beaded wire, embossed with a cross enclosing further beading, the knop with beaded edges separating six geometric lozenge motifs and the hammered bowl of plain tapering shape, 20.5cm high, 22oz

486* A fine 20th century silver-gilt and gem set chalice, by F. Osborne & Co. Ltd., 1946, also stamped “Wauthier” 1946, the hexagonal trumpet shaped base bordered by 2 running bands of 5 pink paste, each surrounded by 4 white pastes terminating in 3 flower motifs of 8 pearls around a central diamond and one larger quatrefoil of 4 pearls around a diamond with a black enamel surround, the front also set with a single large diamond flanked by 2 smaller clusters of a central diamond surrounded by 8 smaller rose diamonds and with a quatrefoil paste cluster of 5 stones above and 3 further pastes below, the back with a swooping bird (probably a dove) set with paste, above a ‘U’ shaped branch also set with paste,the hammered tapering stem rising to a plain knop set above and below with a band of pearls, the hemispherical bowl also hammered, the underside inscribed “XP I. SANGUINEM FREQUENS FUNDAT ROMANO RIOS MONACHO RAMSGATEN. DONO DEDIT. ANNO 1945” and “HUNC CALICEM GEMMIS AVITIS ORNATUM GEORGINA RABY UT PRO EJUSDEM ANIMAE BONO AC PRO ANIMABUS FRATRIS J.RABY AMICIQ. VENERATISSIMI A. VONIER ABB. BUCKFASTRIEN”, 18.5cm high, weight all in 20oz

The underside inscribed “Dom Charles” “Van Cauwenberche. O.S.B.”.

(1) £300-400

The whole piece is silver with a gilt finish despite the appearance of copper on the bowl which is part of the gilding process. Herbert Wauthier was a book plate engraver as well as being a Director of F. Osborne & Co. He was also responsible for a number of designs for the Company. By the late 1950’s Osborne’s were trading in association with the Wauthier Osborne Guild Ltd. (1) £800-1200

193

487* An important Victorian chalice in the Gothic style, by John Hardman & Co., Birmingham, 1860, hexafoil base with beaded edge and engraved with a double thread border scrolling to six double leaf motifs and an ornate cross within a circle, the knopped stem chased with six panels of foliage on a matted ground above and below 6 foliate lozenge shaped bosses, the bowl of plain tapering shape, the base with an inset plated disc inscribed “Orate Pro Ioanne Hardman”, 17cm high, weight (all in) 8oz

489* A 20th century ciborium by Edgar Davis of The Art Metal Guild Ltd., 1957, with hammered finish, the wide hexagonal foot set with 3 pink gemstones each surrounded by rose diamonds and with gold ropework mount, the knopped stem supporting a near hemispherical bowl and the slightly domed cover with pierced out cross finial within a circular frame and set with a red paste at the centre, the interior gilt, 22cm high, 18 oz The underside inscribed “Presented to D Wilfred Emery OSB by his Parishioners July 17th 1957”.

(1) £300-400

The applied plaque when translated reads “Pray for John Hardman”. This is a somewhat intriguing inscription as John Hardman Senior died in 1844 and his son, also John, died in 1867. As the chalice is made in 1860 it might suggest that the plated plate may have been added by a member of the family or close friend on Hardman Junior’s death in 1867.

(1) £600-800

488* A 20th century ciborium by Blunt & Wray Ltd., 1929, circular base with moulded edge and milled band enclosing 4 cabochon garnets within ropework mounts, the knopped stem with further milled bands supporting a cylindrical bowl, the moulded cover with cross finial, 19cm high, 8oz (1)

£200-250

194

492* A 20th century chalice and paten by Arthur Charles Pruden, 1932, upon a wide octagonal base with zigzag engraved edge, one panel chased with a cross, the tapering stem rising to a knop, probably ivory, of compressed spherical form carved with Celtic style scrollwork, the hammered bowl of plain flared shape, the paten of plain dished circular shape, 16.5cm high, the paten 12.5cm diam., 17oz

490* A 20th century ciborium by B. Ltd., 1966, with hammered finish, the trumpet shaped foot rising to a knop chased with simple oblongs and ‘C’ scrolls, the wide bowl with flared lower section and with plain tapering sides, the slightly sunken cover with cross finial and with gilded interior, 21cm high, 18oz (1)

The underside inscribed “In Thanksgiving for the Love of HWOH, who died May 12th 1919”.

(2) £250-350

£250-300

491* A good late Victorian silver-gilt chalice and paten in the Gothic taste, by Hardman, Powell & Co., Birmingham, 1904, the hexagonal base with incurved edges and milled border, the domed centre with one panel engraved with a depiction of Christ as if on the cross flanked by symmetrical scrolls and on a red enamel ground, the hexagonal tubular stem with pierced and embossed knop and with 6 lozenge shaped bosses engraved with the letter ‘F’, the bowl of plain flared form, complete with matching paten, the centre engraved with the sacred monogram, 16.5cm high, paten 13cm diam., 14oz, with orig. oak plush-lined carrying case bearing manufacturer’s label

493* A 20th century ciborium, maker’s mark not clear but possibly L(?) over GR, 1950, with hammered finish upon a wide hexagonal base with knopped stem, the wide and near hemispherical bowl with double ropework border and with gilt interior, the slightly domed cover with single ropework border and pierced cross within a circular frame and set with 2 cabochon amethysts, 21cm high, 18oz

The underside inscribed “Pray for the Souls of BenJn and Sarah Feasey and all Christian Souls. R.I.P. Donum Dedit HPF, 1904”.

(2) £300-500

The side of the bowl inscribed “Presented by Mr and Mrs A.J. Badenoch 1955”.

(1) £250-350

195

494* A 20th century chalice and paten by Vanpoulles Ltd., 1961, with hammered finish upon a large octagonal domed base, one panel chased with a cross and with circular and flattened edge, the central knop with 4 plain straps and 4 panels chased with stylized berries and leaves, the hemispherical bowl with gilt interior, the paten of plain slightly domed form engraved with the sacred monogram, 18cm high, paten 15cm diam., 21 oz

496* A large 20th century chalice by Mappin & Webb, 1918, upon a domed hexafoil base, the hexagonal stem with pierced and moulded knop and with 6 lozenge shaped bosses in the Gothic style, the plain bowl of hemispherical shape and with gilt interior, 22 3/4cm high, 18 oz

The underside inscribed “In Loving Memory of Vincent and Josephine Riordan. R.I.P. Donated by their sister Elsie”.

(2) £280-350

The underside inscribed “Presented to Father Dunstan Pragnall OSB by Mrs Fulcher and Mrs Lewis Lloyd on the day of his first Mass, May 26th 1929”.

(1) £250-350

495* A fine and rare Charles I recusant silver-gilt chalice by William Rainbow, 1633, the hexafoil base engraved with The Passion of Christ, all six panels within engraved gadroon borders, the domed centre rising to a hexagonal disc and with a similar stem divided by a fluted and pierced knop with 6 lozenge shaped bosses, the tapering bowl with later Latin inscription “MOMENTO DOMINE GENTIS CANTUAR : HALES AVITIS ARIS SAVA” “PER TEMPORA FIDELIS ERTINCTA A.C. MDCCCLXXXV”, 19 3/4cm high, 11oz Fully marked on the bowl and with a lion passant under the base. It is extremely rare to find fully hallmarked English recusant chalices at this period as it was illegal to practice Catholicism.

(1) £3000-5000

196

Lot 495

197

499* A Victorian silver-gilt ciborium in the Gothic taste by John Hardman & Co., Birmingham, 1860, the hexafoil base with beaded edge below engraved panels of symmetrical intersecting branches and leaves, the central knop with clover leaves upon a matted ground above and below 6 bosses engraved with 4 petalled flowers surrounded by blue enamel, the tapering bowl with a calyx of engraved scrolling foliage and the slightly domed cover with a finial of 2 intersecting crosses surrounded by an engraved band of foliage, 22cm high, 11oz.

497* A 20th century ciborium by Francis Tucker & Co. Ltd., 1940, the hexafoil base with embossed border of fruiting vines the hexagonal knop with a band of foliage and the wide circular bowl with applied wire just below the rim, the interior gilt and the slightly domed cover with a Cross finial, 22cm high, 19 oz The underside of the base inscribed “Pray for the Soul of Patrick John Brady R.A.F. Killed in Action 9th August 1941”.

(1) £250-350

A very similar design appears in the John Hardman & Co. Pattern book, circa 1865, no. 1.

(1) £300-400

498* A fine 20th century Arts & Crafts chalice and paten by Guild of Handicrafts, 1935, the conical stem set with 12 cabochon garnets beneath engraved loops to symbolize the blood of Christ, the upper part of the base with a further engraved band of loops but the other way up, the knop formed as a squat circular piece of glass overlaid with a central band of alternating garnets and silver beads and with openwork lobes with beaded edges above and below, the lower part of the hemispherical bowl with further engraved loops and the upper rim with plain thread, the circular paten with sunken centre and matching looped drops, chalice height 18cm, paten 14cm diam., 24.5 oz The underside of the base inscribed “ORA PRO HL 1935”.

(2)

£600-900

198

CERAMICS, METALWARE & OBJETS D’ART

500* A collection of antiquities and ethnographic items, including two strings of missionary beads, probably 19th century, a Byzantine bronze ring, string of turquoise beads, two terracotta oil lamps, one modelled as a classical mask 8cm long, a terracotta amphora pot 17cm tall, three ancient hammered bronze coins (probably Roman), a Grand Tour bronze figure of a male 6cm tall, two agate rings, lapis lazuli eye of horus pendant, a marble make-up bowl from Abydos, (dated 500 BC by the Ashmolean Museum, Oxford), 4.5cm diameter with collection label (19)

502* A Japanese bronze charger, Meiji period, cast with figures fishing before a lake with prunus blossom tree and crane, 37.5cm diameter (1)

£200-300

501* An Edwardian electroplated cracker box by Mappin and Webb, of oval form, the hinged lid with sphinx finial engraved with scrolls over Egyptian masks, on a flared base with four paw feet, manufacturer’s mark to base, 20cm high x 24cm wide (1)

£100-150

503* A pair of Victorian bronze plaques, circa 1880, each cast with classical figures in relief, 13cm x 8cm, within ebonised and gilt frames (2)

£70-100

199

£100-150

506* A pair of Coalport porcelain cabinet plates circa 1800, each painted with a pastoral landscape scene of figures before a church, on a white ground, within finely gilded oak leaf and bay leaf border, 23cm diameter Provenance: E & N.R. Charlton, Fine Art & Porcelain 1989.

(2)

£200-300

504* A Victorian ivory tusk dagger brooch, with silver coloured metal hilt inlaid with turquoise cabochon and garnets (1)

£80-120

507* A scarce pre-war Art Deco style avian car mascot by the Humber Car Company, c. 1938, chrome-plated bronze with Humber “Snipe” mascot, integral base-plate, never previously fitted to a car This mascot was retained in the styling department for many years and given to a long-serving design employee upon his retirement.

(1) £100-150

508* A collection of Oriental and European ceramics, including an early 19th c. blue & white dish, decorated with birds within foliage, 29cm diam., a Japanese Meiji period lobed blue & white charger, decorated with Prunus blossom within panelled fans, 31cm diam. and other ceramics of differing periods

505* A 9 carat gold bar brooch, modelled as a bee, with amethyst and garnet facet cut body, 6cm wide, another 9 carat gold bee brooch, with opal and marquisite cabochon body, 2.5cm wide, a 9 carat gold brooch, damaged, and a silver gilt bee brooch, with garnet and turquoise cabochon body, 5cm wide, together with three other costume jewellery bee brooches (7)

(8)

£100-150

200

£50-70

512* A collection of Mauchline Ware, comprising an egg timer, printed with a view of the exterior of Crystal Palace, together with a cylindrical box, an egg-shaped thimble holder containing a spool and thimble and a barrel-shaped money box, each with Mauchline decoration of the exterior view of Crystal Palace, plus a Mauchline Ware money box in the form of castle, printed Crystal Palace, 8.5cm high, another egg timer printed with an exterior view of Crystal Palace an egg, ‘The Nave, Crystal Palace’, and a barrel-shaped money box, printed exterior view Crystal Palace Sydenham, the latter manufactured abroad

509* An early 20th century humorous Chinese bronze figural group, modelled as an elder smacking a boy’s bottom with his slipper, 18cm high (1)

(8)

510* Mixed collection of coinage, including a George III gold 1/4 guinea 1762, drilled and misshaped, English milled silver coinage (pre 1947), two Victorian silver crowns, 1890, 1892 (weighable silver approximately 8.5oz) copper coinage, together with Rathbone & Sons pocket callipers (a box)

513* An attractive woolwork picture of a young girl, early 19th c., painted silk, embroidered in wool in long and short satin stitch and stumpwork, depicting a young girl holding a basket and a pitcher, walking in the countryside, with a thatched cottage in the background, 29 x 24cm (11.5 x 9.5ins), framed and glazed, with old framer’s label verso

£100-150

511* An early 20th century Chinese cork landscape diorama , of pagoda, bridge and trees under an ebonised and glazed display case, 30cm x 24cm x 20cm (1)

£100-150

£200-300

(1)

£100-150

514* A Victorian feather and bone fan, the obverse painted with exotic birds and floral sprays, supported twenty-two bone sticks, approximately 44cm wide, in a modern glazed case, 37cm x 56.5cm

£50-80

(1)

201

£50-80

Lot 517

Lot 518

Lot 519

517* A 19th century Dieppe ivory carved figure of Christ, on an ebonised cross, with ivory scroll plaque engraved ‘Inri’, reverse of cross inscribed ‘Antionette Van Kerckhoff, Marie Serruys, Juin 1875’, the ivory 24cm high, the cross 53cm high Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£200-300

518* A finely carved 19th century Dieppe ivory figure of Christ, on an oak cross, the ivory 26cm, the cross 57cm Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£300-500

519* A 19th century Dieppe ivory figure of Christ, on a rosewood cross,, with ivory scroll plaque engraved ‘Inri’, the ivory 15cm high, the cross 35cm high Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

520* A pair of 20th c. carved mahogany Japanese figures, each carved with an elder, ivory eyes, holding a purse, against a staff of twigs, on a pierced carved base, 33cm high, together with another Japanese mahogany figure of a recumbant figure holding a lidded bowl, enclosing a bat, with a further bat resting on his knee, on a detachable pierced base, 36cm wide, and a small treen figure of a buddah, 10cm high

515* A Japanese Imari goldfish bowl, Meiji period, painted with iron red and cobalt blue floral bird decoration, 30cm high (1)

£200-300

516* Two Japanese Imari lobed plates, each with iron red and blue panels, a Victorian part dessert service, painted with floral sprays within pink borders, a Victorian print on glass titled ‘Presentation in the Temple’, in a simulated burr walnut frame, an oil on board, landscape scene, monogrammed EP, and other items Provenance: St. Augustine’s Abbey, Ramsgate. (a carton)

£100-150

(4)

£50-80

202

£70-100

521* A German Hanau faience jug, probably 18th century, the cream coloured body painted in blue and black foliate decoration, the lid supported by pewter thumb-piece, 14cm high (1)

£100-150

522 A rare Liverpool creamware pitcher commemorating the American Revolution, c.1790s, one side with black transfer heightened with colour, depicting an oval map of the Eastern United States flanked by George Washington standing next to ‘Liberty’, and Benjamin Frankin holding a book marked ‘American Independence, 4 July 1776’ seated beside two maidens, with winged angel blowing a trumpet above and a scroll marked ‘Washington’, the other side depicting ‘O Liberty thou Goddess! heav’nly bright, Profuse of bliss, and pregnant with delight, Eternal pleasures in thy presence reign, and smiling plenty leads thy wanton train’, enclosed in oval border incorporating fifteen states of America, with third transfer beneath spout of a compass, handle sometime restored and re-attached, height 24cm (9.5ins) (1)

£700-1000

523* A Lladro porcelain figural group, modelled as a girl with goose in basket with two further integral geese, 25cm high (1)

£50-80

524* A 19th c. blue and white oversized pottery loving cup, transfer printed with boats before a landscape, printed mark to base, possibly the ‘Albion’ pattern, 17cm high (1)

£30-50

Lot 521

525* A Mackintosh’s “Beehive” toffee tin, c. 1920, printed in colours with straw hive, honey bees and flowers, 9cm high x 10cm diam.

(1)

Lot 522

203

£100-150

526* A white metal medal, medallists initials for E.J.P., 1880, 11.4cm diameter, obverse, bust Grecian Goddess, reverse, latin inscription within laurel wreath, dated 1889, 11.4cm, in black case with gold tooled lid ‘Prince Consort Prize 1920, Frederick Lewis Taylor B.A., of St. Johns College Frederick Lewis Taylor was awarded the Prince Consort Prize for his essay titled ‘The Art of War in Italy 1494-1529’ which he wrote in 1920. The Prince Consort Prize was instituted on the condition that a foundation medal was awarded in alternate years for the best dissertation involving original research, together with prize money to defray the expenses of the publication.

Provenance: St. Augustine’s Abbey, Ramsgate.

(1) £70-100

529* A large oval wax seal of Pope Pius IX, dated A.N. XII 1858, one side with symbol of the Lamb of God holding a Christian banner and Pope Pius IX’s armorial beneath, and the other side with a figure of Mary standing on a globe representing the earth with putto & lions in profile beneath, seal dimensions approx. 16 x 12.5cm, set within a gilt mounted double-glazed gilt frame, overall dimensions 42 x 37cm (16.5 x 14.5ins) Pope Pius IX (1792-1878), was born Giovanni Maria Mastai-Ferretti. He was the longest-reigning elected Pope, serving for nearly 32 years from 16 June 1846 until his death. Provenance: St. Augustine’s Abbey, Ramsgate.

(1) £150-200

527* A collection of Middle Eastern copper and brassware, mainly of souvenir quality including a copper and zinc Benares coffee pot engraved with roaming deer, 35cm high, a copper spittoon, circular with lobed rim and pierced cover, 27cm diameter, brass spice grinder, etc.

(22)

530* A collection of twenty-one early 20th century paperweights, each with coloured and black and white images of Crystal Palace, interior and exterior, including a paperweight in the form of an obelisk, together with an early 20th century oval glass ashtray, with an exterior view of Crystal Palace, plus a pair of Victorian glass tumblers, ruby red, each engraved ‘A Present from The Crystal Palace’ within grape and vine border, 12cm high, and six Victorian glass mugs, each with ‘A Present from The Crystal Palace’ decoration

£70-100

(29)

531* A late Victorian Parian figure of a classical robed female, holding a stringed instrument, on a socle base, 38cm tall, together with a Derby porcelain vase, c. 1880, square with painted panels of cattle, riverside and landscape views, with faux handles, sky blue and gilt painted ground, printed mark to base, 10cm high, plus Carlton Ware pottery biscuit barrel, c. 1910, printed floral decoration on a blush ground with plated lid and handle, three piece electroplated tea set and a pair of Continental pottery figures of children

528* A miniature portrait of a Victorian lady on ivory, in a glazed oval pinchbeck pendant, 5.5cm x 3.5cm, in a fitted leather and velvet case (1)

£70-100

(8)

£100-150

204

£80-120

533* A large plaster figure of a Grecian stonemason, painted terracotta wash, the robed gentleman holding a hammer and stone pillar, on a square block plinth, 120cm high Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£70-100

532* Pius IX Medal by Bianchi, silver coloured metal, 7.4cm diameter, obverse, bust with inscription, reverse, figure of Christ handing the key to the kneeling figure surrounded by disciples, dated December 1869, in red leather case with gold tooled lid, 6 oz This medal was struck in 1869 to commemorate the First Ecumenical Council in Rome by Giuseppe Bianchi (1808-77) and his son Francesco Bianchi (18421918), who were both papal engravers. Giuseppe was the chief engraver at the Pontifical Mint from 1852, and Francesco was a professor at the Accademia di S. Luca and chief engraver for the Vatican from 1876 onwards.

Provenance: St. Augustine’s Abbey, Ramsgate.

(1) £70-100

534* Four Victorian pottery plates, each with border in relief ‘In All Thy Days Honour Thy Father and Mother’, printed design, two with Britannia and the Nations outside Crystal Palace, ‘Boy with Punchinello’ 1851 Exhibition’ (printed in red), the last printed ‘Massacre of the Innocence’ 1851 Exhibition, 18.5cm diameter, together with two clay pipes, each with Crystal Palace Exhibition in relief within scrolls, one by W. T. Blake, both 20cm long, and other plates (13)

£100-150

535* A Waltham open face pocket watch, circa 1920, 9ct gold (1)

Lot 533

205

£100-150

536* A rare Chinese famille-verte porcelain figure of a lady, Kangxi circa 1690, modelled as recumbent lady holding and fan and reclining on a leaf, finely polychrome decorated, 24cm long, some minor old damage (1)

206

ÂŁ5000-8000

537* A Chinese blue and white porcelain bowl, panels decorated with a figure by a tree, within a geometric design, 27cm diameter

541* An Italian pottery plaque, the blue and white arched panel modelled with Mary, the baby Jesus and angels in relief, various decorators marks verso, 50cm x 34cm

By repute, recovered from the wreck of the Royal George, which sunk whilst work was being carried out on her whilst laying off Spithead Anchorage, Portsmouth, August 1782.

(1) £100-150

(1)

542 No lot

538* An Islamic pottery bowl and cover, geometrically decorated in the Damascus palette, 22cm high, together with an Islamic blue soda glass Mosque lamp vase, painted in gold Arabic script, 23cm high, plus a soda glass pedestal vase, decorated with a geometric design, 24cm high, and a 20th century Chinese bowl, decorated with a flambé glaze with ten children peering in, 20cm wide, an olive wood Koran stand inlaid with bone and ebony mosaic work star motif, 31cm high, a 20th century Indian inlaid rectangular box, and three souvenir icons, together with a Chinese laquer jewellery box, late 19th c., of cabinet form with laquered panel double doors with brass hinges and mounts, revealing a three-drawer interior with foliate decoration, lacking handles and one knob, minor chips or surface abrasions, 15 x 15.5cm (10)

£70-100

543* A Roman terracotta hollow female votive head, c. 100 A.D., with hole at top of headdress, some rubbed areas, 6 x 4cm (1)

£70-100

544* A 19th century French coquilla nut snuff box, of navette form finely carved with a basket of fruit surrounded by harvesting tools and floral swags, 8cm wide (1)

£200-300

£100-150

539* A collection of Victorian and later pottery and enamelware chamberpots, bed and douche pans, stoneware, waterbottle and similar items Provenance: St. Augustine’s Abbey, Ramsgate.

(14)

£50-80

540* A Doulton Burslem blue and white pottery jug, of tapering form, decorated with blue and gilt painted floral sprays on a cream ground, with scroll handle, printed mark to base, artists monogram ‘HB’, 33cm high, together with a pair of ovoid pottery vases by Gibson & Sons, Burslem, each with printed budgerigar and floral decoration on a black ground, printed marks to base, 18cm tall (3)

545* A Gold Sovereign E.II.R., 1963, good very fine Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£70-100

Lot 544

207

£150-200

549* A pair of early 20th-century Continental porcelain pedestal vases and covers, each with transfer printed depictions of courting couples (after Boucher) and panels of royal blue and gilt decorated ground, each 37cm high, together with a porcelain comport, probably Sitzendorf, modelled as a pierced floral encrusted basket over a conforming column flanked by a pair of cherubs (3)

£70-100

546* A Victorian saltglaze stoneware spirit barrel, with grape and vine decoration, applied with Royal coat of arms, 37cm high, together with a collection of saltglaze stoneware including a stoneware barrel, 40cm high, advertising two-tone flagons, including ‘R.A. Timmins & Co.’, ‘Botanical Brewers, Birmingham’, ‘Empire Wine & Spirit Vaults, Tamworth’ and ‘Howarth Brothers, Birmingham’, two mixing bowls, ginger beer bottles and similar items (20)

£70-100

550* A pair of 19th century Dresden porcelain double gourd vases, each painted with panels of courting couples within gilt borders on a turquoise ground, blue ‘Augustus Rex’ monogram to base, 18cm high, one with hairline crack to inner neck (2)

£80-120

547* An early 20th century electroplated model of the Taj Mahal, engraved ‘Souvenir from Indian Association, Dubai’ (1)

£100-150

551* An unusual Oriental bronze table vessel, possibly Indian origin, modelled as a carp with characterful face, the body raised on three wheeled supports, and having pivot-hinged opening cover, revealing assymetric compartmented interior, approx. 10in (26cm) length

548* A studio pottery celadon triple-gourd vase, impressed marked base, 36cm high, together with a studio pottery bowl, and three others (5)

£30-50

(1)

208

£70-100

A PRIVATE COLLECTION OF NUTCRACKERS 552* A collection of metal nutcrackers, including ships wheel nutcracker, on a turned walnut base, 13cm diameter, cast iron dog and skull and crossbones nutcrackers, and others (8)

£80-120

555* A nutcracker carved as Otto von Bismarck, 20cm tall, together with a similar pair, 21cm tall (2)

£100-150

553* A nutcracker carved as a hand holding a nut, 19cm tall, another intricately carved as a dog smoking a pipe, 19.5cm tall, another carved as a mythical beast, 17cm tall, each with screw mechanism (3)

£100-150

556* A nutcracker carved as a full bodied gnome, 26cm tall, and two others pairs each carved with gnomes head but one wearing a pair of spectacles (3)

554* A nutcracker carved as a gnome’s head, 18.5cm tall, another carved with a Germanic robed head, 22cm tall and two others, one carved ‘Mer de Glace’ (4)

£100-150

209

£100-150

557* A nutcracker finely carved as a monkey’s head with glass eyes, 19cm tall, together with a pair of nutcrackers carved with rabbit’s head with glass eyes, 22cm tall and another smaller pair (3)

559* Four pairs of nutcrackers each carved with gnome’s heads, the largest carved ‘St Gothard’, 20cm and smaller (3)

£100-150

£100-150

558* A nutcracker finely carved as a Black Forest bear’s head, 20cm tall, with another carved with a cat’s head, and another carved with a monkey’s head, each with glass eyes (3)

£100-150

560* An unusual table nutcracker carved as a head of a gnome with a large beard and hat, 12cm tall, another table pair carved as a gnome-like man smoking a pipe standing on a mound, 18cm tall, and another carved with Germanic robed female’s head (3)

210

£100-150

561* Three nutcrackers each carved as a squirrel eating a nut, with screw mechanism, 20cm and two 18cm tall, together with a treen desk clip carved as a swan’s head, 19cm long

563* A pocket nutcracker of bulbous form, profusely carved with circles and geometric decoration, with screw mechanism, terminating in ring turned handle, 12cm tall, with a similar one, 10cm tall, plus a pair of steel and brass sprung action nutcrackers, 10cm long, and a similar pair

(4)

(4)

£100-150

£100-150

562* Two Zoomorphic nutcrackers each carved as half crocodile/half duck, each approx. 20cm long, another nut cracker carved as a long tailed bird, 18cm long, each with screw mechanism, plus a treen desk clip carved as a swan’s head, 18cm long

564* A collection of treen nutcrackers, including a nutcracker carved as a cockerel’s head, 21cm tall, another carved as a rabbit with neck scarf and waistcoat, 24cm tall, nutcrackers carved with man’s head, probably French, 20cm tall

(4)

(3)

£100-150

£100-150

565* A collection of treen nutcrackers, including a nutcracker carved as a Dutch gentleman wearing a brimmed hat and clogs, 20cm tall, with two similar pairs, plus three gnome head nutcrackers and humorous boy’s head nutcrackers (7)

£80-120

566* A collection of treen nutcrackers, including a pair of kitchen nutcrackers, with turned handles and mallet head cracking device joined by steel hinge, 26cm long, plus three other pairs of ornately carved nutcrackers (8)

211

£80-120

INDIAN TEXTILES 567* A set of six beetle wing Indian doilies, late 19th c., six circular net doilies embroidered with gold metal couched thread and iridesent green beetles wings, edged with a fringe, diameter approx.

17cm (6.75ins), together with five other similar sized pieces of Indian embroidery, one circular and the others square, expertly worked on satin in gold and silver metal threads and coloured threads Towards the end of the 19th century, Indian embroiderers turned towards exotic forms of decoration to satisfy the European demand for novelty. In Madras and Hyderabad, embroiderers began to use iridescent green beetle wings as spangles on a variety of textiles, including table linen and women’s garments. The fragile wings were usually pierced with a fine retaining thread to secure them to the fabric. Ellen Terry famously wore a dress decorated with 1000 iridescent wings when she played Lady Macbeth; the design was inspired by a dress worn by Lady Randolph Churchill which was also trimmed with green beetle wings.

(11) £200-300

569* An Indian hand-embroidered panel, late 19th c., cream silk backed with muslin, heavily and expertly embroidered with an elaborate stylised design of a stork against a tree, worked mostly in bullion stitch with couching and padded satin stitch, in silver metal thread, with coloured thread infills, and embellished with sequins, 100 x 53cm (39.25 x 21ins) (1)

568* An Indian hand-embroidered panel, late 19th c., pale pink silk backed with muslin, heavily and expertly embroidered with an elaborate stylised design of a peacock against a tree, worked mostly in bullion stitch with couching and padded satin stitch, in silver metal thread and gold thread, with coloured thread infills, and embellished with sequins, 106 x 53cm (41.75 x 21ins) (1)

£400-600

570* An Indian hand-embroidered table runner, late 19th c., beige silk backed with red muslin, expertly embroidered with a wide elaborate border design of scrolling flowers and leaves, mostly couched, using yellow and gold metal thread, with some brown thread infills, and embellished with sequins and seed beads, machine-stitched at edge, water-stained, some minor damage, 62 x 120cm (24.5 x 47.25ins)

£400-600

(1)

212

£200-300

573* Rahman (Surayia, 20th c.). ‘Two For Joy’, an embroidered picture of Indian figures and symbols, Bangladesh, hand-stitched in vibrant coloured threads on cream silk, depicting several male and female Indian figures, and a variety of symbols (fish, moths, lamps, flowers, etc.), with Surayia’s signature and symbol embroidered below image lower left, and with the names of the women who stitched the work lower right, image size 35 x 41.5cm (13.75 x 16.25ins), framed

571* An Indian hand-embroidered table runner, late 19th c., mustard yellow silk backed with muslin, expertly embroidered with a wide elaborate border design of scrolling flowers and fleurons, worked mostly in bullion stitch with some couching, using gold metal thread, and embellished with sequins, edged with a fringe, some minor loss and damage, 43 x 86cm (17 x 34ins) (1)

£200-300

With original typewritten description of the work on ARSHI, Bangladesh letterhead, attached to reverse.

(1) £150-200

572* Rahman (Surayia, 20th c.). ‘First Glance’, an embroidered picture of Indian figures and flowers, Bangladesh, hand-stitched in vibrant coloured threads on cream silk, depicting five Indian women carrying pots on their heads, watched by a male figure, and surrounded by stylised flowers, with Surayia’s signature and symbol embroidered below image lower left, and with the names of the women who stitched the work lower right, image size 31.5 x 56cm (12.5 x 22ins), framed Surayia Rahman is a self-taught Bangladeshi artist, now retired, who shared her skills with destitute young women, whom she called her ‘living paintbrushes’. She did not initially set out to help these women saying: ‘I didn’t plan to do it for the women. They just started coming.’ The women came from miles away, by boat, train and bus, and when floods covered the roads, they would wade into the water and swim. Surayia would trace her designs onto the cloth, which would then be stitched by the women. The wages earned by the women was sufficient to feed their families and send their children to school. Exquisite embroidered and highly collectable works of art were produced by Surayia and her workers, some of which have been presented as gifts to royalty and heads of government, and are found today in museums and private collections around the world. Her embroidered quilts - known as nakshi kanthas could take eight women a year to stitch; one is apparently is used on a bed at Windsor Castle after being gifted to the Queen. right, image size 35 x 41.5cm (13.75 x 16.25ins), framed. Original typewritten description of the work on ARSHI, Bangladesh letterhead, attached to reverse.

(1) £150-200

574* Rahman (Surayia, 20th c.). ‘The Mask Seller’, an embroidered picture of Indian figures, Bangladesh, hand-stitched in vibrant coloured threads on cream silk, depicting an Indian mask seller surrounded by children, with Surayia’s signature and symbol embroidered below image lower left, and with the names of the women who stitched the work lower right, image size 38 x 30cm (15 x 11.75ins), framed With original typewritten description of the work on ARSHI, Bangladesh letterhead, attached to reverse.

(1) £150-200

213

FURNITURE

Lot 576

Lot 577

575* A 19th century mahogany armchair, with arched back over three shaped vertical back splats, shaped arms over solid seat and turned supports united by cross stretchers on tapering block supports, 107cm x 56cm wide Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

580* A Victorian ebonised stick barometer by Negretti & Zambra, with manufacturer’s plaque to arched top, ‘Negretti & Zambra, 1 Hatton Gardens, 122 Regent Street, 59 Cornhill, 153 Fleet Street, London’, housed in orig. mahogany and glazed cabinet (glass tube broken), 108cm high

£70-100

Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

576* A 19th century oak Glastonbury armchair, the solid back pierced with trefoil, reeded down swept arms pierced with trefoil, solid seat on x-frame supports, 85cm x 47cm wide Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

Lot 580

£100-150

581* A Victorian oak cased ‘Admiral Fitzroy’s’ barometer, with mercury and atmosphere tubes and thermometer, mounted on orig. printed background with instructions, within Reformed Gothic glazed case, 103cm x 26.5cm

£80-120

(1)

£100-150

577* A Victorian mahogany show-frame armchair, the green floral upholstered back with classical style upright, padded arms and bulbous uprights, padded seat over carved apron and turned tapering supports on ceramic casters, 98cm high x 65cm wide Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£150-200

578* An early 20th century oak armchair, the rexine upholstered back over curved scroll arms on turned supports, rexine seat over turned supports united by cross stretcher on brass casters, 102cm high, together with a pair of similar side chairs, 96cm high, together with four Victorian Reformed Gothic chairs, each with quatrefoil back slat, padded seats over chamfered supports united by cross stretchers (two with painted quatrefoil decoration) Provenance: St. Augustine’s Abbey, Ramsgate.

(7)

£100-150

579* An early 20th century elm high back armchair, the curved top rail with vertical spindle back, curved arms over turned supports, solid seat on turned supports united by cross stretcher, 108cm high, together with another elm armchair, 89cm high Provenance: St. Augustine’s Abbey, Ramsgate.

(2)

582* A 19th century brass cased ships barometer by Negretti & Zambra, the circular case with suspension ring, silvered dial engraved ‘Negretti & Zambra, 1 Hatton Garden, London’, curved mercury thermometer, under glass, 12.5cm diameter

£50-80

Provenance: St Augustine’s Abbey, Ramsgate.

(1)

214

£70-100

Lot 583

585* A late Victorian oak dresser-bookcase, the acanthus cornice over scroll undertier, six shelves over four carved grotesque panelled doors enclosing shelved interior on turned supports, bearing cabinet makers plaque for ‘Gilbert, Swindon’, 206cm high x 235cm wide x 60cm deep

583* A quarter-size mahogany billiards dining table by Riley Limited, Accrington, the top comprising four leaves over green baize on cabriole supports, 85cm high x 94cm wide x 40cm deep (1)

£200-300

584* A small early 20th c. bookcase, fitted three adjustable shelves enclosed by a pair of geometric tracery glazed panel doors, on short cabriole legs, height 45 ins, width 36 ins (114 x 91cm) (1)

Gilberts of Swindon, Est. 1866. Provenance: St. Augustine’s Abbey, Ramsgate.

(1) £300-500

£70-100

Lot 585

215

586* An early 20th century mahogany Globe-Wernicke Co. Ltd., 3section glazed bookcase, each section bearing manufacturer’s ivorine label, and bakelite handle, 130cm high x 86.5cm wide x 30cm deep (1)

£100-150

587* An early 20th century oak Globe-Wernicke style 3-section bookcase, each section with glazed panel, 120cm x 87cm x 32cm (1)

£70-100

591* A 19th century Reformed Gothic oak bookcase, the shaped uprights with geometric design and pierced quatrafoil, of pegged construction, 167cm high Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

588* An Edwardian walnut revolving bookcase, the square top over shelved divisional substructure, on ceramic casters, 86cm x 50cm square (1)

£200-300

592* A late Victorian walnut breakfront bookcase, the corners intricately carved over central glazed doors flanked by a further glazed door, enclosing shelved interior on cabriole ball and claw feet, 120cm high x 153cm wide x 33cm deep

£150-200

589* A Victorian mahogany bookcase, the ogee dental moulded cornice over twin glazed doors, each with shaped moulding, applied uprights enclosing shelved interior over another pair of glazed doors enclosing shelved interior, on block plinth, 315cm high x 29cm wide x 36cm deep

(1)

(1)

(2)

£80-120

593* A pair of Edwardian walnut 3-section Globe-Wernicke bookcases, each section glazed, bearing manufacturer’s ivorine label, each 120cm high x 86cm wide

£200-300

£300-500

590* A Victorian oak and gilt painted breakfront bookcase, the shaped cornice over central twin panel doors flanked by open adjustable shelves, on block plinth, 130cm high x 43cm deep

594* An Edwardian oak 3-section Globe-Wernicke bookcase, each section with glazed door, top tier with manufacturer’s label, 114cm high x 86cm wide

(1)

(1)

£400-600

£100-150

595* A 20th c. pine and mahogany double-sided library bookcase, the shaped uprights supporting five shelves to each side, on a block plinth with later casters, 137cm high x 138cm wide x 34cm deep (1)

216

£100-150

Lot 590

596* A William IV mahogany bookcase, with four glazed doors enclosing shelved interior, flanked by pilasters, on a rectangular base with four panelled doors enclosing shelved interior, on block supports, 215cm high x 272cm wide x 53cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1) ÂŁ400-600

Lot 596

217

600* A Reformed Gothic pitch pine chair, the arched straight top over quatrafoil pierced vertical back splat, on solid seat with chamfered straight supports, 97cm high, together with a pitch pine wall bracket, 59cm high Provenance: St. Augustine’s Abbey, Ramsgate.

(2)

£70-100

597* A white marble bust of Pope Leo XIII, probably by Ernesto Gazzeri, finely carved on a socle base 47cm high (base damaged) Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

601* An early Victorian mahogany straight front chest of three long drawers, with satinwood cross banding, oval Greek key brass handles, on splayed supports, 80cm high x 86cm wide x 47cm deep

£100-150

Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

598* A 20th century pottery bust of a Pope, wearing a mitre and robes, on an ebonised base incised ‘Jaco?’, 52cm high Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

602* A George III mahogany straight front chest of two short and three long drawers, each with brass handles, on bracket supports, 86cm high x 98cm wide x 52.5cm deep

£70-100

(1)

599* A pair of Edwardian mahogany candlesticks, each with detachable sconce, fluted column over bulbous turned supports on lined circular base, 53cm high, together with a mahogany pie-crust tray, 54cm diameter, and a First World War ammunition bucket, printed with Royal coat of arms, the leather strap impressed ‘R C D 1917’, 42cm high (4)

£100-150

£300-500

603* An early 19th century mahogany straight front secretaire chest of panelled fall front drawers, the rectangular top with mahogany cross banding over, enclosing divisional interior, rexine inset over three drawers, on bobbin supports, 102cm high x 110cm wide x 53cm deep

£70-100

(1)

218

£100-150

604* An Edwardian pine straight front chest of three long drawers, on bracket supports, 77cm high x 81cm wide x 54cm deep (1)

£70-100

605* A 19th century oak chest, the rectangular panelled lid, enclosing a candle tray, the central panel with arch and guilloche decoration, flanked by twin panels and geometric top rail on block supports, 74cm high x 132cm wide x 60cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£150-200

606* A 20th century carriage timepiece by Bernard Freres, Bicester, white enamel dial, black roman numerals and manufacturers stamp, platform escapement with hinged carrying handle and key, 10cm x 8.8cm wide (1)

£70-100

607* An early 19th c. oak longcase clock, signed ‘Edward Barlow, Oldham’, with date aperture above 6 o’clock, the eight-day weightdriven movement with brass dial, engraved with exotic birds and scrolls within silvered chapter dial with black roman numerals, moon phase, the case with stepped hood, hinge glazed door flanked by turned columns over single shaped panel door, flanked by pilasters on block plinth, 200cm high x 54cm wide, dial size 30 x 30cm squared with weights, key and pendulum (1)

Lot 607

£1000-1500

219

610* A Victorian mahogany artist’s desk, probably by Windsor & Rowley, the hinged fall enclosing a divisional interior, lift-out pen and brush trays, over twelve drawers each with recessed handle, various contemporary printed advertising labels within, 127cm high by 150cm wide x 77cm deep (1)

608* A Victorian mahogany bergere crib, the arched and rectangular canopy, with berge panels, supported on turned supports united by a cross stretcher, on bun feet, 98cm x 120cm (1)

£300-500

£200-300

611* A set of fourteen late Victorian pitch pine library chairs in the manner of A.W.N. Pugin, each with rectangular and curved top rail over rexine upholstered seat on chamfered supports united by cross stretcher on steel casters, 91cm high Provenance: St. Augustine’s Abbey, Ramsgate.

(6)

609* A depiction of Christ mounted on a cross, made of plaster, polycrome painted, mounted on a stained pine cross, 190cm x 100cm, with damage notably to the arms and back Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£70-100

220

£300-500

615* A 20th century oak ‘Old Charm’ display cabinet of typical form, the rectangular top over twin glazed and linen fold doors, enclosing shelved interior, on squat supports, 137cm high x 78cm wide x 34.5cm deep (1)

£70-100

616* An Edwardian mahogany display cabinet, fitted three shelves with orig. fabric lining, enclosed by a pair of tracery glazed panel doors, on thin tapered legs and spade feet, height 66 ins, width 36 ins (168 x 91cm) (1)

£100-150

612* A set of four Victorian mahogany balloon back dining chairs, each with curved top rail, carved wasted back splat, upholstered seats with brass nails, over turned front supports and sabre leg supports, 88cm high Provenance: St. Augustine’s Abbey, Ramsgate.

(4)

£80-120

617* A Victorian rosewood Crystal Palace firescreen, encompassing tapestry view of Crystal Palace, dated 1851 within a border of roses, thistles and shamrocks, the other side with a spray of flowers, glazed within a square frame, shaped pediment over a barley twist vertical upright united by barley twist cross stretcher of splayed supports, 98cm x 70cm (1)

618* A Victorian Reformed Gothic foot stool, tapestry upholstered over arched Gothic substructure on block plinth, 26cm high x 51cm wide x 35cm deep

613* A pair of 20th century Neo Classical style spoon back dining chairs, each with caned back, reeded open show frame, floral and exotic bird upholstery over serpentine seat, on reeded turned supports, 100cm high (2)

(1)

£100-150

614* A mahogany display cabinet, circa 1900, rectangular top over twin mahogany and glazed doors, enclosing shelved interior, 109cm x 83cm x 49cm (1)

£150-200

£50-80

221

£70-100

619* A good large scale model of the three-masted early 19thC warship “H.M.S. Unicorn”, professionally built from kit, having exceptional detail to rigging (sails not fitted), deck fittings and accoutrements, cannon armament arranged on two decks, unpainted except for stern quarters with gilded decoration to stern, and having proud unicorn figurehead decoration to bowsprit stem, contained in glazed display case, length 35 in (89cm) (1)

£200-300

621* A Victorian Reformed Gothic oak lectern, the sloped fall over two cupboards, one with shelved interior, each with solid panelled doors, the side panels with Gothic trifoil inserts and pillasters with carved capitals, on solid platform, 142cm high x 50cm wide Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

620* A Victorian mahogany knee-hole desk, with raised superstructure of two drawers flanked by a further two drawers to each side, tooled leather inset, brass gallery over leather inset rectangular desk, over two long drawers and single drawer to each side, scroll inserts over fluted reeded supports with ceramic casters, 101cm high x 122cm wide x 59cm deep (1)

£300-400

222

£200-300

Lot 622

622* A Victorian library table in the manner of A.W.N . Pugin, the oak top with thumb moulded edge, drop ends (top probably later), the substructure characteristically in the style of Pugin with flying buttress supports, 70cm high x 296cm wide x 106cm deep A similar example can be found in A Gothic Passion by Paul Atterbury and Clive Wainwright, page 135, plate 241. Provenance: St. Augustine’s Abbey, Ramsgate.

(1) £3000-5000

623* A Victorian Reformed Gothic oak linen press, the rectangular thumb moulded top over twin panel doors, enclosing five lift-out trays, on bracket supports, 22cm high x 95cm wide x 55cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

223

£150-200

624* A George III eight-day mahogany longcase clock, with painted arched dial, depicting swans before a folly over black roman numerals, sweeping second hand, within painted and gilded spandrels, 40 high x 30cm wide, the case with fret cut arched cover, tapering fluted columns, straight trunk with arched panelled door, on block plinth, 213cm high

625* An early 19th century eight day oak longcase clock, the ogee hood with straight columns, glazed door enclosing white painted dial with black roman numerals, fruit decorated spandrels, traces of clock maker’s mark ‘William Newell Cleobury’, trunk with mahogany cross banding, single door, brass key escutcheon, block plinth, 210cm high

Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

(1) £400-600

224

£700-900

628* Arundel Society. St. Ursula and her Virgins - St. Gereon and his Warriors. From the Two Side Panels of the Triptych in the Cathedral at Cologne, painted by Stephan Lothener, pub. 1874-5, triptych in glazed folding black lacquered flame, fine chromolithograph central panel (approx. 39 x 41cm), with hinged side panels containing chromolithographs both front and rear, remains of orig. printed title label verso, overall dimensions fully opened, approx. 49 x 104cm (19.5 x 41ins) Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

626* Arundel Society. The Nativity, pub. c. 1870s, a fine large dome-top chromolithograph showing Mary in the stable holding the baby Jesus, with Joseph, the three Wise Men and a procession of other visitors on horseback, leading a giraffe and camels etc., image size approx. 67 x 54cm, period glazed dome-top gilt gesso frame by Fred. Sweet, 5, Gray’s Inn Passage, Red Lion Square, Holborn, London, with printed label verso, overall dimensions approx. 97 x 84cm (38 x 33ins) Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£100-150

629* Arundel Society. Dispute of Jesus Christ with the Doctors, after Pinturicchio, pub. c. 1870s, a fine dome-top chromolithograph, image size approx. 58 x 64cm, period gilt mount and ebonised frame, with eleven other Arundel Society chromolithographs, all framed and glazed Provenance: St. Augustine’s Abbey, Ramsgate.

(12)

£200-300

£100-150

630* Arundel Society. St. Catherine’s Disputation, After Pinturicchio, pub. c. 1870s, a fine demi-lune chromolithograph, image size 45 x 79cm, period ebonised frame, glazed, with three other larger-size Arundel Society chromolithographs, all framed and glazed Provenance: St. Augustine’s Abbey, Ramsgate.

(4)

627* Arundel Society. The Virgin and Child with the Resurrection, a fine dome-top chromolithograph, image size. approx. 53 x 40cm, period glazed dome-top gilt gesso frame by Fred. Sweet, (matching previous lot), overall dimensions approx. 81 x 69cm (32 x 27ins) Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£70-100

225

£70-100

634* A Victorian mahogany prie dieu chair, the top rail typically upholstered, over padded back flanked by carved scroll uprights over upholstered seat on carved cabriole supports, 82cm high Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£80-120

635* A group of five Pugin-style stained pine carved frames, late 19th c., each containing b & w victorian religious & genre prints, frame dimensions 71 x 91cm to 37 x 47cm (28 x 36 to 14.5 x 18.5ins) (5)

636* A Reformed Gothic oak reading stand, the rectangular top over quatrefoil and ogee apron, on chamfered supports united by cross stretcher, 85cm high x 54cm wide x 35cm deep, together with an oak and pine single-door cabinet, the hinged door enclosing shelved interior

631* English School. Saint Augustine’s Monastery, Kent, A.D. 1873, original pen and ink drawing on paper, unsigned, approx. 37 x 61cm (14.5 x 24ins), period oak frame, glazed Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£100-150

Provenance: St. Augustine’s Abbey, Ramsgate.

(2)

£50-80

£150-200

637* A large pine-top refectory table, in the manner of A.W.N. Pugin, 19th c., the pine rectangular top over triangular and cross stretchered ebonised supports, 76cm high x 420cm wide x 68cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£300-500

638* A large pine-top refectory table, in the manner of A.W.N. Pugin, 19th c., the pine rectangular top over triangular and cross stretchered ebonised supports, 76cm high x 430cm wide x 66cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£300-500

639* A large pine-top refectory table, in the manner of A.W.N. Pugin, 19th c., the pine rectangular top over triangular and cross stretchered ebonised supports, 76cm high x 396cm wide x 74cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

632* A carved stone pillar Capital, traces of foliate carving, 14cm x 28cm wide x 32cm deep, together with four pieces of carved stone of the same period, plus an encaustic tile, polychrome floral decoration, 11.5cm square, another with brown and cream geometric decoration, 12 x 12cm and six fragments of tiles with differing decoration, all medieval period (probably Norman 1066 to 1154) with a copy of an insert from the St. Augustine’s Magazine, dated Winter 1959 showing drawings of particular pieces within this lot Provenance: St. Augustine’s Abbey, Ramsgate.

(13)

640* A large pine-top refectory table, in the manner of A.W.N. Pugin, 19th c., the pine rectangular top over triangular and cross stretchered ebonised supports, 76cm high x 490cm wide x 80cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£300-500

£300-500

641* A large pine-top refectory table, in the manner of A.W.N. Pugin, 19th c., the pine rectangular top over triangular and cross stretchered ebonised supports, 76cm high x 450cm wide x 74cm deep

633* A plaster bust of William Shakespeare, on a sockle base, 52cm high, together with two pairs of oak prickets Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£300-500

Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£50-80

£300-500

642* A large pine-top refectory table, in the manner of A.W.N. Pugin, 19th. c., the pine rectangular top over triangular and cross stretchered ebonised supports, 75cm high x 228cm wide x 72cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

226

£300-500

Lots 637-642 (in situ)

227

Lot 643

643* A large late 19th century pine refectory table, c. 1900, the rectangular top over two drawers, chamfered and pegged supports, united by cross stretcher, 78cm high x 244cm wide x 87cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

644* A Victorian reliquary box, the brass front finely engraved with floral scrolls and strapwork devices, Sancutus spandrels, the lock positioned centrally with brass trefoil key, enclosing silk lined curtain with oak pyramid shaped cornice on carved base titled ‘Sancutus’, 82cm high

£100-150

Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£200-300

645* A Victorian Reformed Gothic reliquary box, of gilt painted wood, the chamfered cover with fleur-de-lys applied decoration, six trefoil glass windows, over rectangular base with arched Gothic and quatrafoil windows, on an ogee base, 55cm high x 56cm wide x 39cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

Lot 644

228

£200-300

646* An Edwardian rosewood and boxwood marquetry-inlaid revolving bookcase, the square top inlaid with classical patarae and festoons, over multi-divisional sections on metal casters, 90cm high x 56cm square Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£150-200

647* A small fragment of Roman mosaic work, from Richborough Castle, Kent, approx. 16cm x 12cm, together with a fired red brick cuneiform inscription, believed from the Ziggurat at Babylon, bearing a standard inscription recording the restoration of that structure by Nebuchadnezzar, approx. 24cm x 18cm Provenance (first item): One of the monks from St. Augustine’s Abbey was involved in the then Ministry of Works archaeological excavations at Richborough Castle in the 1920s.

(2) £100-150

648* A Louis XV style low salon chair, probably late 18th century, with giltwood (on mahogany) moulded Rococo scroll show frame, later (Liberty) upholstery over four cabriole supports, 64cm high x 74cm wide x 53cm deep Provenance: By repute, purchased at an auction in 1972 which included the contents of Louis Moutbatten’s residence in Bournemouth.

(1) £800-1200

Lot 646

Lot 648

229

650* A part 18th century oak settle, the triple panel back over solid seat, curved arm rests on block supports united by cross stretcher, 108cm high x 140cm wide x 55cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£100-200

651* A George III style mahogany drop end side table, early 20th century, the rectangular top with rosewood cross banding, single frieze drawer on tapered uprights and reeded sabre supports united by turned cross stretcher on brass lion paw castors, 73cm high x 120cm wide, 47cm deep

649* A plaster cast figure of the Madonna and child, by Mayer & Co., Munich, late 19th c., polychrome painted, on a canted block plinth, 88cm high, together with associated late 19th century Reformed Gothic oak wall bracket, 46cm high

(1)

£150-200

Franz Mayer & Co. (Mayer & Co. of Munich) were a famous German stained glass design and manufacturing company, prolific in the late 19th and early 20th century. Provenance: St. Augustine’s Abbey, Ramsgate.

(2) £150-200

652* A late Victorian light oak altar table (or sideboard) of large proportions, the panelled back over straight front with chamfered corners over two long drawers, pierced and shaped apron, on lock and bobbin supports, 135cm high x 182cm wide x 63cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

Lot 650

230

£100-200

653* A 19th century Reformed Gothic oak stand, the rectangular top over carved ogee and quatrefoil pierced decoration, the carved vertical supports with pierced ogee base, united by cross stretcher, pegged cross stretcher on carved supports, 86cm high x 56cm wide x 30cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£50-80

654* A pair of late Victorian pine stepladders, bearing iron manufacturer’s plate, 146cm high, together with a 1920s oak dwarf bookcase, 103cm high (2)

£50-80

655* Four early 20th century pitch pine stools, each with curved aperture rectangular top over shaped supports, united by pegged stretcher, each 59cm high x 46cm wide x 30cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(4)

£80-120

656* A 20th c. part suit of armour, comprising steel and brass closehelmet, one piece skull with high comb, brass plume holder, pointed visor with single vision slit, back plate with brass heraldic eagle crest, a pair of gauntlets, and a shield with embossed brass shield-shape plaque depicting a knight on horseback, impressed Toledo (1)

£80-120

657* A 19th century Chinese eight-fold table screen, each with painted marble panel, depicting interior and exterior views of court life, 59cm high (some damage) (1)

659* A George III mahogany circular tilt-top tripod table, the circular top over turned column on three cabriole supports and pad feet, 80cm diameter, 74cm high

£200-300

(1)

£150-200

660* A Victorian burr walnut dome top tea caddy, inlaid with brass and ivory star shaped motif with conforming brass spandrels and key plate, the hinged lid enclosing vacant interior (lacking canisters and mixing bowl), 17.5cm x 30cm x 15cm (1)

£80-120

658* A Victorian Reformed Gothic oak table, the rectangular planked top with thumb moulding, over triangular uprights united by chamfered cross stretchers, 71cm high x 107cm wide x 63cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£100-150

661* A Victorian papier maché tea caddy, of shaped form, the hinged lid inset with a polychrome and abalone view of the exterior of Crystal Palace set within brass border, the ebonised ground overpainted with gilt fern decoration, the hinged lid enclosing twin division interior, each cover with mother-of-pearl flower head finial, 11cm high, 18.5cm wide, 12cm deep (1)

231

£200-300

664* An Edwardian walnut-cased Vienese type wall clock, the arched pediment with applied scroll carving over drop dial case, flanked by reeded pilasters, glazed door enclosing white enamel dial with black roman numerals and two holes, 170cm high x 49cm wide, with pendulum and weights

662* A Victorian mahogany adjustable tea table, the rectangular top over turned telescopic column, on shaped base with brass casters, 51cm wide (1)

Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£50-80

£80-120

665* A pair of early 20th century stained elm Windsor chairs, each with stick and hoop back, shepherd’s crook arms, solid seats, on turned baluster supports, 98cm high 663* A Victorian eight-day wall clock, the square ebonized case inlaid with brass and tortoiseshell in the ‘Boulle’ style, the circular white dial with black roman numerals and geometric brass border flanked by brass spandrels, under glass, 47cm x 47cm square

(2)

Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£150-250

666* A large 20th c. woolwork tapestry, depicting Jesus with figures, 144 x 120cm in an ebonised frame

£70-100

232

£70-100

667* An early 20th century Eastern manufactured rosewood twin pedestal writing desk, probably Chinese, the rectangular top inset with three solid panels over three frieze drawers, each with brass, on pedestal supports, each with single drawer over fretwork gallery under tier, and geometric pierced shelf on block supports, 83cm high x 150cm wide x 70cm deep, with matching foot support, 69 x 69cm square Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£100-200

669* A Victorian stained oak twin pedestal writing desk, the rectangular thumb moulded top, inset with leather, three frieze drawers, Reformed Gothic brass key escutcheons, over pedestals, each with three drawers, 76cm high x 122cm wide x 72cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

668* A Victorian mahogany twin pedestal writing desk, the rectangular top inset with leatherette, three frieze drawers over pedestals each with three drawers, 72cm high x 108cm wide x 65cm deep Provenance: St. Augustine’s Abbey, Ramsgate.

(1)

£100-150

£100-150

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

National Rail Enquiries:

08457 484950

Telephone advance train ticket booking:

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

Online train timetables and online ticket bookings:

www.traintracker.co.uk

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

01285 655299 / 07980 579947 01285 650850 01285 642767

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

01793 701701

Catalogue Produced by Jamm Design – 020 8901 7522 info@jammdesign.co.uk

Photography by Ben Cavanna – 07968 342013 bencavanna@aol.com

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THE ORIENTAL SALE: PERSIAN MINIATURES & MANUSCRIPTS JAPANESE WOODBLOCK PRINTS & BOOKS IMPORTANT CHINESE JADE

Thursday 12th April 2012

An extremely rare gilt and jade tripod censer. £20,000-25,000

A fine pale celadon and whitish green "Pei", Qian-long period. £5000-7000

A greenish/white nephrite jade Imperial bowl, Jia-Jing of mark and period. £18,000-22,000

An extremely fine and beautiful carved miniature white nephrite jade "Pei", late 18th/early 19th century. £850-950

Specialist in charge: Henry Meadows MRICS 01285 860006 henry@dominicwinter.co.uk

BIRMINGHAM MEDICAL INSTITUTE: THE RARE BOOK COLLECTION, 1500-1900 Wednesday 18th April 2012 Far left: Francesco Antommarchi, Planches anatomiques du corps humain, Atlas & Text volumes, Paris, 1824-26

Left: Andreas Vesalius, De humani corporis fabrica libri septem, 2nd folio ed., Basel, 1555.

Below: Percival Willughby (1596-1685), Observations in Midwifery, [and] The Countrey Midwife's Opusculum or Vade Mecum, author's manuscript, c. 1670.

Specialist in charge: Chris Albury 01285 860006 chris@dominicwinter.co.uk

Conditions of Sale and Business 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.

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.

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.

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 19.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 23.40% 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 19.5% and assents to the Auctioneer receiving the said commission.

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.

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.

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.

5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights: (i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller. (ii) Proceed for damages for breach of contract. (b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day. (c) Ownership of the lot purchased shall not pass to the buyer until he has paid to the Auctioneer the total sum due.

12. The Auctioneer shall remit the proceeds of the sale to the seller thirty days after the day of the auction provided that the Auctioneer has received the total sum due from the buyer. In all other cases the Auctioneer will remit the proceeds of the sale to the seller within seven days of the receipt by the Auctioneer of the total sum due. The Auctioneer will not be deemed to have received the total sum due until after any cheque delivered by the buyer has been cleared. In the event of the Auctioneer exercising his right to rescind the sale his obligation to the seller hereunder lapses.

6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed. (b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot. (c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.

13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots.

14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein.

15. These conditions shall be governed by and construed in accordance with English Law.

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

COMMISSION SLIP Please Bid on my behalf at the sale on 8/9 February 2012 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.

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Lot 149 • Back Cover: Lot 484