Dominic Winter Auctioneers by Jamm Design Ltd

25/26 JULY 2024

Printed Books, Maps & Caricatures

Angling Books: A Private Collection

Admiral

Horatio Lord Nelson

24 JULY 2024

For further information please contact Henry Meadows: henry@dominicwinter.co.uk

Horatio Nelson (1758-1805). A white marble half bust after Franz Thaller and Matthias Ranson, early 19th century, a fine half bust modelled as Nelson with his head turned slightly to the left, in naval dress with two medals engraved 'Trafalgar' and 'Nelson' and classical drapery, mounted on a socle, unsigned, 68 cm high, the nose restored, and several small chips to edges and to the Nelson medal, presented on a modern classical composite wood pedestal

While in Vienna in 1800, Vice-Admiral Nelson commissioned a portrait bust of himself from the Austrian sculptor Franz Christian Thaller (1759-1817). Thaller was assisted by Matthias Ranson, who also took a cast of Nelson's face, from which the sculpture was finished after his departure. The work was completed in 1801 and shipped to England, where it was kept at Merton by Lady Hamilton.

This work became the most widely reproduced sculpted image of Nelson, especially following the Battle of Copenhagen in 1807, and a number of other contemporary or near-contemporary versions exist, including by Nollekens and Turnerelli. The original is now on display at the National Maritime Museum along with the plaster cast.

Only a small number of period marble busts of this type are known to exist. Recent examples have appeared at auction at Sotheby's London (5 October 2005, lot 75, £45,000), Duke's Dorchester (5 Apil 2023, £40,000), and Cheffin's Cambridge (23 November 2023, £22,000).

For further reading see Richard Walker, The Nelson Portraits (1998), page 235-236.

Estimate: £15,000-£20,000 (lot 296)

25/26 July 2024 at 10am

VIEWING Monday & Tuesday 22 & 23 July 9.30am-5.30pm Sale mornings from 9am (other times by appointment)

AUCTIONEERS

Nathan Winter Henry Meadows

Light refreshments available on view days with extra lunch options on sale days

Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ

T: +44 (0) 1285 860006

E: info@dominicwinter.co.uk www.dominicwinter.co.uk

IMPORTANT SALE INFORMATION

AUCTION DETAILS

COMMENCING 10.00 am

VIEWING

Monday & Tuesday 22/23 July 9.30am-5.30pm

Morning of sale from 9am (other times strictly by appointment)

Tel: 01285 860006 info@dominicwinter.co.uk

CONDITION REPORTS

Condition reports now including video conferencing can be requested in the following ways: T: +44 (0)1285 860006 | E: info@dominicwinter.co.uk Via the relevant lot page on our website www.dominicwinter.co.uk

ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE")

Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot.

The amount is calculated as follows:

Royalty For the Portion of the Hammer Price (in Euros)

4.00% up to 50,000

3.00% between 50,000.01 and 200,000

1.00% between 200,000.01 and 350,000

0.50% between 350,000.01 and 500,000

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale.

Please refer to the DACS website www.dacs.org.uk and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details.

For payment arrangements please refer to information for buyers at rear of this catalogue.

We would kindly request that commission bids are submitted by 9.30am on the morning of sale.

BIDDING

Customers may submit commission bids or request to bid by telephone in the following ways: T: +44 (0)1285 860006. |. E: info@dominicwinter.co.uk Via the relevant lot page on our website www.dominicwinter.co.uk

Live online bidding is available on our website www.dominicwinter.co.uk (surcharge of 3% + vat): a live bidding button will appear 30 minutes before the sale commences. Bidding is also available at the-saleroom.com (surcharge of 4.95% + vat) and invaluable.com (surcharge of 3% + vat).

POST-SALE

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

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

DAY ONE

Old Master Paintings 1-18

Old Master Prints & Drawings 19-112

19th Century British & European Paintings, Watercolours & Portraits 113-225

19th Century Sculpture & Bronzes 226-232

20th Century British & European Paintings & Watercolours 233-317

19th & 20th Century Prints 318-419

DAY TWO

Textiles from the Collection of Martha Spriggs & her Descendants 425-457

Historic Textiles & Fans 458-551 Objets d'Art 552-573

Oriental Works of Art 574-587

Jewellery & Watches 588-603

Silver 604-623

Furniture & Mirrors 624-633

Paintings, Watercolours & Prints

Nathan Winter MA (History of Art)

Colin Meays BA Hons (Conservation)

Rachael Richardson MA

Edmund Saddington BMus (Hons)

Tel: 01285 860006 info@dominicwinter.co.uk

Antiques & Textiles

Henry Meadows BA Hons, MRICS

Susanna Winters MA (History of Art)

Colin Meays BA Hons (Conservation)

Catalogue Produced by Jamm Design 020 7459 4749 | info@jammdesign.co.uk

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

Nathan Winter Henry Meadows Colin Meays Susanna Winters

Rachael Richardson Edmund Saddington

Llwyd (Humphrey). The Breviary of Britayne ... lately Englished by Thomas Twyne, Ist edition in English, [London: Imprinted by Richard Iohnes: and are to be solde at his shop, ioynyng to the southwest doore of Paules Church], 1573, title-page printed within typographical ornament border, from the library of William Lambarde (1536-1601) with his ownership signature on the title-page and some corrections in his hand on folio 15, contemporary stab-stitched limp vellum wrappers from a reused medieval Latin manuscript, 8vo (145 x 90 mm) STC 16636.

Estimate: £3,000-5,000 (11 September 2024)

FORTHCOMING SALES IN 2024

Wednesday 24 July

Wednesday 14 August

Wednesday 11 September

Wednesday 9 October

Wednesday 16 October

Thursday 17 October

Printed Books, Maps & Caricatures

Angling Books: A Private Collection

Admiral Horatio Lord Nelson

Printed Books, Maps, Documents & Ephemera Prints & Original Art

Printed Books & Maps

Early Printed Books & Historical Documents

Printed Books, Maps & Documents

British India: Travel & History

The Library of a Cornish Gentleman

British & European Paintings

Old Masters Prints & Drawings, Modern Prints

Antiques & Historic Textiles

including 20th Century Studio Pottery & Decorative Arts

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

OLD MASTER PAINTINGS

To commence at 10am

1* Manner of Carlo Crivelli (1430-1495). Triptych with central panel depicting the Virgin and child, ﬂanked by side panels depicting two saints, 19th-century, oil on panel, central panel depicting the Virgin Mary seated on a throne holding the infant Jesus, each with gilt and pounced hallos, with rose bush to either side of throne, on gilded and pounced background, side panels depict two male Saints, each fulllength standing, holding a volume and crozier, with gilt and pounced haloes, on gilded and pounced background, each panel with red wax seal applied to verso (seal with armorial and ‘Esportazione Artistica Napoli’), central panel with vertical crack, panels set within a carved and gilded gothic carved frame, incorporating twisted column vertical side supports, recesses for each panel arched at top, frame with pierced tracery decoration at head and foot, with pinnacles above, some wear and repairs to frame, central panel 54.5 x 31 cm (21 3/16 x 12 ins), side panels 48.5 x 19.5 cm (19 1/8 x 7 5/8), maximum frame dimensions 113 x 93 cm (47 x 36 5/8 ins)

Provenance: Sidney J. A. Churchill (1862-1921); Ruth Plant (daughter); Juliet Petty of Bristol (granddaughter).

Sidney Churchill was a well-travelled British diplomat, connoisseur and art collector. After working for some years in India and Persia, he became British Consul ﬁrst in Palermo (1898-1909) and then in Naples (1909-1912), before being promoted to Consul-General in Naples, where he remained until 1918. Given the export seal on the back of each panel, which can be approximately dated to 1907-08, it is most likely that Churchill arranged for this work to be sent back to England around this time.

(1)

£3,000 - £5,000

2* Studio of Hans van Aachen (1552-1615). The Martyrdom of Saint Sebastian, circa 1554, oil on bevelled panel, with Christie’s catalogue entry attached verso ‘Frans Floris / 34 The Martyrdom of Saint Sebastian 17 1/2 x 13 in’s, further in pen and ink ‘£40’, and the stencilled Christie’s stock number ‘184HL’, remains of a red wax seal lower right verso, 46 x 33.8 cm (18 1/8 x 13 1/4 ins), gilt frame with egg and dart, acanthus leaf and bead motifs, 58.5 x 48 cm

Provenance: Christie’s, 1 December 1944 (?) with the Christie’s catalogue entry attached verso ‘Frans Floris / 34 The Martyrdom of Saint Sebastian 17 1/2 x 13 in’ and further in pen and ink ‘£40’, and the stencilled Christie’s stock number ‘184HL’; W. A. Foyle; Christopher Foyle, Beeleigh Abbey.

Details of this accomplished version of Hans von Aachen’s work show that it derives from Hans van Aachen’s modello for the altarpiece Martyrdom of Saint Sebastian, sold at Dorotheum, 19 October 1993, lot 155, for approximately $70,000 hammer, rather than from the artist’s altarpiece, in situ in Michaelskirche, Munich, which departs from the present painting and the modello in certain respects; for example, the foreground figure to the right of the foreground in both the modello and the present painting is bare backed and bareheaded, whereas this figure is attired with helmet and cuirasse in the Munich altarpiece. The arched top of the altarpiece (unlike the present work and the modello) has also acquired further flying angels.

The painting was previously given to Frans Floris; its distinctive palette, dominated by brown, red and ﬂesh tones, set off by green shot with yellow, relates to Floris’ painting style, exempliﬁed in the Fall of the Rebel Angels by Frans Floris, oil on panel, 30.3 by 22 cm, inv. No. 112, in the Royal Museum of Fine Arts, Antwerp. (1) £2,000 - £3,000

3* Attributed to Hans Rottenhammer the Elder (1564/5-1625). The Crucifixion, circa 1605, oil on bevelled panel, with the panel maker’s mark WB verso, old Christie’s stencilled stock number 184HL and the catalogue entry attached to verso typewritten: ’60 The Crucifixion / On Panel 16 in by 12 in’, further inscribed in pen and ink ‘£40 Christie / 1/12/44’ and faintly inscribed ‘Christie’s 12/44’, 41.5 x 31.3 (16 1/4 x 12 1/4 ins), ornate gilt frame with a hoop and stylised flower in urn motif (some flaking), 59 x 48.5 cm

Provenance: Christie’s, 1 December 1944, lot 60, sold for £40, with old Christie’s stencilled stock number 184HL and the typewritten catalogue entry attached to verso ’60 The Cruciﬁxion / On Panel 16 in by 12 in’ and further inscribed in pen and ink ‘£40 Christie / 1/12/44 and more faintly inscribed ‘Christie’s 12/44’; W. A. Foyle; Christopher Foyle, Beeleigh Abbey.

(1)

£1,500 - £2,500

4* Follower of Jacques Callot (1592-1635). Les Deux Pélerins, probably 17th century, oil on paper, laid onto wood panel with thick card backing, 43 x 29.5 cm (16 7/8 x 11 5/8 ins), old gilt moulded frame (55 x 41.5 cm)

Provenance: Bonhams, London, Old Master Paintings, 14-15 September 2022, lot 145.

The composition of the present work (in reverse) is based on Callot's engraving of the Two Pilgrims (Lieure 481), one of the series of 25 entitled Les Gueux (The Beggars), printed for the ﬁrst time in Nancy around 1622-1623 (see British Museum, no. 1861,0713.924). (1)

£700 - £1,000

5* English School. Portrait of a Gentleman, circa 1670-1675, oil on canvas, half-length portrait of a gentleman, wearing white shirt with elaborate jabot lace collar and cuffs, a pale green silk cloak, and decorative brooch, one hand resting on the head of a dog, to the left a distant view of a fortiﬁed castle on a river bend (possibly Conwy Castle, North Wales), some surface marks and wear, with minor losses to extreme edges of the canvas, relined, 76 x 64 cm (29 7/8 x 25 1/4 ins) (1)

£400 - £600

6* Dutch Italianate School. River landscape with ﬁgures, boats, and house by the shore, circa 1670, oil on canvas, 25.5 x 32 cm (10 x 12 1/2 ins), gilt frame, glazed (32 x 38.5 cm), frame verso with black stencilled number 434L, and with previous stencilled number and white chalk number (1)

£300 - £400

7* Flemish School. Landscape with Coursing Party, circa 16801720, oil on canvas, of ﬁgures mounted on horses and standing with greyhounds, preparing for a day’s coursing, some overall discolouration, relined, 43 x 48.5 cm (17 x 19 ins), framed (50 x 56 cm) (1) £200 - £300

8* French School. Apollo and Daphne, late 17th or early 18th century, oil on canvas, relined, backing paper to verso of stretcher with some old (19th century) printed text in French, 24.5 x 34.5 cm (9 1/2 x 12 3/4 ins), old gilded frame

Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge. (1) £500 - £800

9* French School. Iphis and Ianthe, mid to later 18th century, oil on copper, 21 x 29 cm (8 3/8 x 11 3/8 ins), old gilt frame with dog-tooth moulded decoration, attached to verso a handwritten note on King's College Cambridge headed card from Lancelot Patrick Wilkinson (19071985), English classical scholar and Dean of King's College, Cambridge to Michael Jaffé, King's College, identifying the subject of the composition Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

The attached note reads: 'Iphis and Ianthe were the subject of an anonymous poem of c. 1600 called "The Maid's Metamorphosis". Added below in pencil by Michael Jaffé 'Ovid Met IX, 704ff'. (1) £300 - £500

10* Netherlandish School. A poor man outside his farmhouse offers a bowl and jug to three visitors, late 16th/early 17th century, bronze plaquette with scene in relief of a poor man outside his rural cottage in farm yard setting surrounded by trees offering a bowl and jug to three visitors, ﬁne dark brown patina, 'V543' written in ink to verso, size 55 x 107 mm (2 1/4 x 4 1/4 ins)

Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

Plaquettes are small plaques or reliefs made of bronze, brass, lead or precious metals. They originated in the 1440s with the desire to reproduce coins and hardstone engravings from ancient Greece and Rome. Some were made as collector’s pieces, to be viewed and displayed in private, and others for practical purposes. They were valued as ﬁne miniature works of art and had a role in disseminating imagery and designs throughout Europe. (1)

£400 - £600

11* Spanish Colonial School. Saint Joseph with the Christ Child, early 18th-century, oil on canvas, laid down on later board, a crowned St Joseph holds the Christ Child in his right hand, in his left he grasps a staff with Spikenard ﬂowers attached to its tip, board size 51 x 39 cm (20 x 15 1/4 ins), in a slim gilt frame (57.5 x 44.5 cm) (1)

£300 - £500

12* Spanish Colonial School. Virgin Mary and Infant Jesus, early to mid 18th century, oil on leather, depicting the Virgin Mary carrying the infant Jesus and holding a small cross, with Joseph kneeling to one side, holding a long-shafted cross with a white banner reading Ecce Agnus Dei, standing on the other side is a ﬁgure in brown robes, probably St. Francis of Assisi, displaying the stigmata on his hands, a decorative part-circular border to each corner, the leather surface with blind tooled and sgrafﬁto decorations and design features, faded, creased and rubbed, some blind tooled areas have worn though, producing a few small cracks and losses, faint old ink inscription in Spanish to verso, frame aperture 320 x 295 mm 12 5/8 x 11 5/8 ins), gilt frame (some damage, 41.5 x 39 cm), frame verso with ink manuscript number 2089

Provenance: Sidney J. A. and Stella Churchill (1862-1921): Ruth Plant (daughter): Juliettte Petty of Bristol (granddaughter).

Sidney Churchill was a well-travelled British diplomat who also became a connoisseur of art. He was British Consul in Persia (1886-1894), then in Surinam and French Guiana (1894), before moving back to Europe, where he continued working in Italy and later in Portugal.

(1)

£300 - £500

13* After Peter Paul Rubens (1577-1640). The Triumph of the Eucharist over Idolatry, probably late 18th or early 19th century, oil on canvas, relined, old auction stencils to verso of stretcher ‘131 NB’ and ‘838 LD’ canvas size 41 x 52 cm (16 x 20 1/2 ins), old stained wood frame with inner gilt decorative border (48.5 x 60.5 cm)

Provenance: Collection of Michael Jaffé (1923 –1997), Rubens scholar, former director of the Fitzwilliam Museum, Cambridge.

Rubens’ original 1625 oil on panel of The Triumph of the Eucharist over Idolatry (65 x 91 cm) is housed in the Museo del Prado in Madrid. The work was held in various royal palaces throughout the 17th to 19th centuries, before ﬁnally residing in the Museo Real de Pinturas on the death of Fernando VII, Madrid, from 1834. Preparatory studies and later copies of the same work are known and listed. (1)

£500 - £800

14* After Rembrandt van Rijn (1606-1669). Man with the Golden Helmet, mid to later 18thcentury, oil on canvas, re-lined, areas of craquelure, some small areas of wear from frame, canvas size 69.5 x 53.5 cm (27 1/4 x 21 ins), in a gilt wood frame (82 x 66 cm) (1)

£300 - £500

15* Attributed to Guiseppe Bernardino Bison (1762-1844). Flora, oil on card, 15 x 9.4 cm (6 x 3 3/5 ins), old gilt frame, backing board with 20th century inscription giving the artists name and dates

Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(1)

£500 - £800

Lot 13

16* English School. Portrait of a Gentleman, circa 1750-1775, oil on wood panel, showing a young gentleman wearing a dark coat with pale yellow lapels and white cravat, 13.7 x 10.3 cm (5 3/8 x 4 ins), ﬁne 18th century carved and gilded wood frame, with dogtooth and beaded decoration (21.5 x 18.5 cm), old printed label in French for an auction, 23rd February 1906, lot 85, from the collection of F. Bohler, to verso

Provenance: Collection F. Bohler, Paris: Hôtel Drouot, Paris, Tableaux anciens, dessins et gouaches, Commissaire-priseur, Maître Paul Chevallier, Vendredi 23 Février 1906, lot 85.

Printed label to verso reads: Collection F. Bohler, Vente du Vendredi 23 Février 1906, Ecole Anglaise (XVIII siècle). 85 - Portrait d'Homme. En buste, de proﬁl à gauche. Vêtement noir àpparements jaunes, cravate blanche, perruque. Teint Coloré. Les yeux et les sourcils noirs. Cadre en bois sculpté et doré, de style Louis XVI. Bois. Haut., 13 cent; larg., 10 cent. (1)

£200 - £300

17* Norwich School. Norfolk landscape with thatched cottages, circa 1790-1800, oil on bevelled panel, 20.5 x 30.5 cm (8 x 12 ins), in an ornate gilded frame with scrollwork and inner and outer foliate and bead motifs (40.5 x 49 cm)

Provenance: W. A. Foyle; Christopher Foyle, Beeleigh Abbey, Essex. (1)

£200 - £300

18* Naive School. Portrait of an Infant, circa 1800, oil on canvas, an infant sitting in a wooden carver chair, wearing lace trimmed white gown and puff sleeves, with matching lace bonnet with pink ribbon insertions, laid onto 20th century plywood panel, some retouching and overpainting to the picture surface, particularly to the dress and the child’s left cheek, 50 x 40 cm (19 3/4 x 15 3/4 ins), antique-style wood frame (60.5 x 50.5 cm) (1)

£500 - £800

Lot 18

Lot 17

Lot 16

19* Wolgemut (Michael, 1434-1519). Baptism of Christ, & Circumcision, 1491, a single sheet of laid paper with two full-page contemporary hand-coloured woodcuts (one to each side of the leaf), with letterpress caption in German gothic script to upper margin of each side of the leaf, short closed tear to lower blank edge, image size 25.3 x 17.7 cm (9 7/8 x 6 15/16 ins), sheet size 33 x 23 cm (13 x 9 1/8 ins), window-mounted, framed and glazed (50.5 x 43.5 cm), with handwritten descriptive label by John Rowlands to verso

Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.

Schreiber, Der Buchholzschnitt im 15. Jahrhundert in original-Beispielen (1929, no. 52.02); Campbell Dodgson, Early German and Flemish woodcuts in the British Museum, volume 1, page 244, number 34. From the Schatzbehalter by Father Stephan Fridolin, illustrated by Wolgemut and printed by Anton Koberger, 18 November 1491. (1)

£200 - £300

20* Durer (Albrecht, 1471-1528). The Abduction on a Unicorn, 1516, etching on laid paper, a good, dark Meder c impression with the rust marks in the plate, with city gate watermark (Meder 263, similar to Briquet 15940, dateable to the 1550's), plate size 310 x 213 mm (12 1/4 x 8 3/8 ins), with 1mm or 2mm outer margins, generally in good condition, verso with some old light waterstains, remains of paper hinges to top margin verso, late 19th/early 20th century backing card inscribed with details of the print in pencil Bartsch 72; Meder 67; Schoch, Mende, & Scherbaum 83. (1)

£1,000 - £1,500

21* Van Leyden (Lucas, 1494-1533). David Playing the Harp before Saul, circa 1508, engraving on laid paper, with posthorn watermark, trimmed to plate mark, some restoration and archivally relined, trimmed to or just inside the plate mark (with small loss to upper and lower edges of the image), sheet size 238 x 183mm, plate size 254 x 184 mm (10 x 7 1/4 ins), window-mounted

Bartsch 27: New Holstein 27; Volbehr 26. Probably the 3rd state (of 3). (1)

£300 - £500

22* Cranach (Lucas, 1472-1553). Christ Taken Captive, 1509, woodcut on laid paper, a good clear impression, with the artist’s initials LC and the date 1509 on a tablet to the lower right corner of the image, and two Saxon coat-of-arms to upper right corner, verso with printed text in German gothic type, sheet size 252 x 182 mm (10 x 7 1/4 ins), framed and glazed, with Folio Society Collectors’ Corner printed and typewritten label to verso, indicating the provenance as Richard Fisher

Provenance: Richard Fisher (1809-1890), of Hilltop, Midhurst, Sussex, author of Introduction to a Catalogue of the Early Italian Prints in the British Museum (1886). His substantial print collection which included ﬁne examples by Durer, Cranach, Lucus van Lyden, Goltzius, Mantegna, Marc Antonio Raimondi, Marco Dente and many others was sold by Sotheby’s London on May 23rd 1892 and the four following days. (Lugt 2204).

Hollstein 11 from the series The Passion (Hollstein 10-23). (1)

£300 - £500

23* Altdorfer (Albrecht, 1480-1538). Maxmillian as Architect (from Ehrenpforte Kaiser Maximilians), circa 1515, woodcut on laid paper (a portion of the full printed sheet, which measures 23 x 21.5 cm), window mounted at sheet edges only, some small archival paper repairs to verso, some pencil notes to verso, 11 x 15.5 cm (4 3/8 x 6 ins), framed and glazed (20 x 26 cm), old auction stencil to verso 678 YP, together with German School. The Virgin & Child in the Rosary with St. Dominic, circa 1500, woodcut on laid paper, trimmed inside the image, 8.5 x 5.2 cm (3 3/8 x 2 1/16 ins), framed and glazed (23 x 19.5 cm)

Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.

Winzinger 75 (Altdorfer) and Schreiber 1136a (German School woodcut). (2)

£100 - £150

24* Hopfer (Hieronymus, 1528-1563). The Landscape with Cannon, after Durer, 1520–1550, etching on laid paper, a strong clear impression, collector's mark to verso of J. P. M. Cerroni (Lugt 1432), old (probably 19th century) pencil inscription to verso with the artist's name and title of the work in French, sheet size 193 x 282 mm (7 5/8 x 11 1/8 ins), window-mounted

Provenance: Johann Peter Maria Cerroni (1753-1826), Austrian historian and civil servant, Brunn. An avid collector of manuscripts, early books and prints, Cerroni's library was catalogued under the title Bibliotheca Cerroniana, and published in Vienna in 1833-1834. The sale of his print collection took place in Vienna at Artaria, in March and October 1828, and included ﬁne examples of the early German printmakers as well as the Italian, Dutch, and French schools.

Hopfer copied Dürer's last etching Landscape with Cannon, also known under the title The Large Cannon or simply The Cannon, slightly reduced from the original size. In the foreground, the artist shows a warlike scene. On a slope stands a cannon on which a mercenary with a halberd is leaning. While another halberdier stands guard in the hollow just behind it, a third accompanies a group of men who appear foreign due to their clothing. Hopfer's initials, including the Augsburg Pyr, at upper left. Later impressions bear the number '62' underneath, belonging to the Nuremberg publisher David Funck, who owned the plate in the 17th century, numbered it and distributed impressions at that time.

(1)

£500 - £800

25* Raimundi (Marcantonio, 1480-1534). The Adoration of the Shepherds, circa 1504, engraving on laid paper, with watermark of a Hat, very similar to Briquet 3407 (dateable to 1527-36), a ﬁne, dark impression, with artist's monogram MAF on the pillow on which Christ is resting, some minor soiling (generally in very good condition), archivally laid down on later backing paper, with two oval printed British Museum ink stamps to verso, one dated British Museum 8 8 228 1874, the other 'British Museum Duplicate' with a crown, sheet size 375 x 26.5-27.3 cm (14 5/8 x 10 5/8 ins), backing sheet size 377 x 276 mm(14 7/8 x 10 7/8 ins), window-mounted Bartsch XIV, 17, 16; Delaborde (1887) 7; Shoemaker and Broun (1981) 1. The second state of two.

'The Adoration of the Shepherds, acknowledged to be one of Marcantonio's earliest engravings, includes several motifs borrowed from Francia's Adoration of the Shepherds altarpiece of 1499 (Bologna, Pinacoteca); he took over the ﬁgure of the Virgin, the central tree, and the broken arch in the background. The mannered gesture of the shepherd leaning on his staff may also be borrowed from a ﬁgure in Francia's Nativity (Bologna, Pinacoteca).' Shoemaker, The Engravings of Marcantonio Raimundi (1981), page 52 number 1.

(1)

£700 - £1,000

26* Attributed to Hans Sebald Beham (1500-1550). Proﬁle Head of a Man with Ram’s Horns, pen and black ink on laid paper, some marks and light paper abrasions to sheet edges, laid onto later wove paper, sheet size 36 x 27 mm (1 3/8 x 1 1/16 ins), hingemounted, framed and glazed (23.5 x 23 cm)

Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum. Attributed to Hans Sebald Beham by John Rowlands. (1)

£700 - £1,000

28* Venetian School. Temperance and Prudence, 16th century, two pen, brown ink, and brown wash studies for statues of the female personiﬁcations of Temperance and Prudence (Temperantia and Prudentia), two of the four cardinal virtues, each on laid paper, each trimmed around the image and laid down on later pale cream laid paper with pale brown wash background, with modern pencil note to lower left edge of the sheet ‘Tizinio Aspett.’, overall sheet size 175 x 155 mm (6 7/8 x 6 1/8 ins), in modern card window-mount (51 x 36.5 cm)

The left hand ﬁgure, representing Temporantia, pours water from a jug into another vessel; the ﬁgure of Prudentia holds a mirror in one hand and a snake in the other. (1)

£300 - £500

27* Vico (Enea, 1523-1567). Frieze with Rinceaux, a Siren and Four Children, circa 1541, engraving on laid paper, a ﬁne, rich impression, initialled ‘E.V.’ to upper left, trimmed to plate mark (right margin close-trimmed, touching engraved area), later paper reinforcement to lower margin verso, early inscription in brown ink to verso ‘N472 Frieze of Grotesques, Eneas Vico, Bar. 15.357 & 453’, and to reinforced lower edge ‘Eneas Vico 1801’, with further pencil inscription ‘Bartsch’s list of Eneas Vico... 453’, corner mounted to upper corners only, sheet size 65 x 202 mm (2 1/2 x 8 ins), window mounted (40.6 x 55.8 cm)

Bartsch, XV, 453. An impression of this work is held by the Metropolitan Museum in New York, accession number: 24.10.14 (2). (1)

£200 - £300

29* Scultori (Adamo, also known as Adamo Ghisi, 1520-1582).

Allegory of Slavery (Servitude), after Andrea Mantegna, 1573, engraving on laid paper, trimmed close to platemark, 205 x 145 mm (8 x 5 3/4 ins), framed and glazed, 390 x 310 mm, together with: Horse Attacked by a Lion, after Julio Romano, oval etching on wove paper, trimmed to platemark and laid on larger sheet, 128 x 180 mm (5 x 7 ins), framed and glazed, 290 x 335 mm

Bartsch XV, 428, 103; Bellini 106 ii/iii (Servitude); Bartsch XV, 429, 107 (Horse attacked by a Lion).

(2)

£200 - £300

30* Attributed to Jacques Bellange (circa 1575-1616/38). Striding Youth with a staff, black chalk on laid paper, verso with later pencil inscription “Bellange”, several small archival repairs towards lower margin and extreme edges of the sheet, lower margin re-strengthened to verso, sheet size 32.3 by 165 mm, hinge-mounted to left edge of the sheet on pale blue backing paper with double rule outer border in gold and black ink, card window mount, antique-style gilt frame, glazed with annotations in Michael Jaffé’s hand to verso of frame “circle of Bellange, Ambroise, Dubois” (M.Waddingham), cf. Sylvie Beguin,? Lallimand

Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

A cloaked ﬁgure seen from behind, with similarly attenuated hand, was offered at Christie’s New York, Old Master & 19th Century Paintings, Drawings & Watercolours, 26th January 2011, lot 278.

(1)

£700 - £1,000

Lot 30

31* Goltzius (Hendrick, 1558-1617). Cliff on a Seashore, with Hermit, from the series Four Small Landscapes, 1597-1600, chiaroscuro woodcut from three blocks in light green, dark green, and black on pale cream laid paper, the second state (of 2), a horizontal closed tear or ﬁssure to upper left margin (without loss), sheet size 114 x 144 mm (4 1/2 x 5 11/16 inches), laid down on old cream thick paper (possibly 18th or early 19th century), with an added outer border in dark green ink, verso with an old inscription in brown ink ‘Cixe’ [?], overall sheet size (including the backing paper with added dark green outer border) 129 x 160 mm, attractive early 19th century maplewood veneer frame, glazed Bartsch 245; Bialler (1992) 52 Ia; Hollstein 381; New Hollstein 310; Hirschmann and Moes, Hendrik Goltzius, Verzeichnis des graphischen Werks (1976), 381.

Rare impression of the fourth of four small woodcut landscapes by Goltzius, a series thought to represent the four elements.

(1)

£1,500 - £2,000

32* After Polidoro da Caravaggio (circa 1499-circa 1543). The Rape of the Sabine Women, circa 1550-1600, pen, brown ink and brown wash, heightened with touches of white chalk on laid paper, outer ruled boder in brown ink, some marks, and small area of surface loss to left margin, sheet size 213 x 440 mm (8 3/8 x 15 1/4 ins), mounted on 18th century laid paper with the artist’s name in brown ink to lower left, laid down on 19th century French canvas and stretcher, with framer’s printed label to verso of Victor Thorel, Quai de l’Archeveche, 27, Lyon, overall size 34 x 50.5 cm (9 1/2 x 20 ins)

An early copy after part of the frieze depicting the Rape of the Sabine Women, by Polidoro da Caravaggio (circa 1499-circa 1543), on the façade of the Palazzo Ricci-Parracciani, still extant in Via Giulia, Rome. The frieze was also engraved in reverse by Cherubino Alberti (Bartsch XVII, 109, 159).

See Lanfranco Ravelli, Polidoro Caldara da Caravaggio, I. Disegni di Polidoro, II. Copie da Polidoro (Monumenta Bergomensia XLVIII), 545, 551, 552, 554, 563 and 564.

£300 - £500

Lot 31

33* Callot (Jacques, 1592-1635). The Fair at Gondreville, published by Israel Silvestre, circa 1624-25, etching on laid paper, narrow margins, sheet size 194 x 343 mm (7 11/16 x 13 1/2 ins), laid down on 20th-century cream laid backing paper, together with: Le Marché d'Esclaves [The Slave Market], 1629, etching, the third state of four, trimmed to margins, sheet size 114 x 217 mm (4 5/8 x 8 5/8 ins), laid down on 20th-century cream laid backing paper, and, Essequie celebrate in Fiorenza dal sermo. Gran Duca per la morte dell Imperator Mattias [Funeral of Emperor Mattias], published by Israel Silvestre, circa 1619, etching, sheet size 330 x 255 mm (13 x 10 ins), laid down on 20th-century cream laid backing paper, with a duplicate of the same, plus,

Taille en eau forte parterre du Palais de Nanci et dedie a, Madame la Duchesse de Lorraine [The ﬂowerbed of the Palais de Nancy], published by Israel Silvestre, circa 1625, etching, trimmed to margins, laid down on 20th-century cream laid backing paper, plus, Battaglia del re Tessi e del re Tinta festa rapresentata in Firenze nel ﬁume d'Arno il di XXV di luglio, 1619, etching, trimmed to image with loss (replaced in facsimile to edges), printed area 170 x 280 mm (6 1/2 x 11 ins), laid down on 20th-century cream and brown laid backing papers

Lieure 561 (Gondreville) and 369 (Slave Market). (6)

£300 - £500

34* Muller (Jan Harmensz., 1571–1628). Venus and Mercury, after Bartholomeus Spranger, engraving on laid paper, 39.8 x 27.3 cm (15 5/8 x 10 3/4 ins) mount aperture, framed and glazed (56 x 42 cm), together with Preisler (Johann Martin, 1715-1794). Silenus, after Johann Just Preisler, engraving on laid paper, 33 x 18.7 cm (13 x 7 3/8 ins) plate size, framed and glazed (48.5 x 36.5 cm), plus Balliu (Pieter de, 1613-1660). Lucy Percy, after Van Dyck, engraving on laid paper, 24 x 18.5 cm (9 1/2 x 7 1/4 ins) mount aperture, framed and glazed (30 x 26 cm), and one other (Jacob's Dream, after Raphael, lithograph, published in The Lawrence Gallery, published by Samuel and Allen Woodburn, 1841), framed and glazed (37.5 x 47.5 cm)

(4)

£200 - £300

35* Attributed to Guido Reni (1575-1642). Figure by a tree, pen and brown ink on laid paper, of a young man (or woman?) looking around the side of a tree, with outstretched arm, some toning, laid down on later laid paper, with faint (and rather indistinct) old inscription in brown ink to verso: ‘So. Donato bardi’, sheet size 217 x 165 mm (8 5/8 x 6 1/2 ins), antique gilt moulded frame, glazed, with small incised stamp to verso of the frame D.B. X34 within a square (framer’s mark?), and old number 813 in blue chalk repeated three times

Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

(1)

£1,500 - £2,000

36* Collaert (Adriaen, circa 1560-1618). Avium Vivae Icones, circa 1600-1610, six engravings only from the set of 32 (plates 2, 6, 8, 9, 24 and 25) on laid paper, very good impressions, mostly early states, plate 9 (Hollstein 1412) the only state, probably from the second edition (of ﬁve) published by the artist, Antwerp, circa 1600, each with two or three birds including falcon, woodpecker, toucan and ducks etc., some minor toning, plate size approximately 136 x 194 mm (5 3/8 x 7 5/8 ins), mounted, four framed and glazed, together with one other engraving by Collaert: The Visitation (Hollstein 277): Joseph and Zacharias meeting in the doorway and Mary and Elizabeth embracing, after Maarten de Vos. circa 1598, with engraved inscription at foot: Exurgens Maria abijt in montana cum feltinatione in ciuitatem Iuda. et intrauit in domum Zachariar, et Salutauit Elizabeth, plate size 17.6 x21.7 cm (7 x 8 1/2 ins), mounted, framed and glazed (33 x 47 cm)

Provenance: Purchased by the vendor from Folio Fine Art Ltd., December 1970.

New Hollstein 1404-1435 for the full series of 32 plates. The engravings here are plates 2, 6, 8, 9, 24 and 25 from the set of 32; Hollstein 277 (The Visitation).

(7)

£200 - £300

37* Filippo Napoletano (Teodoro Filippo Liagno, 1589-1629). Young Cavalier, full-length, red chalk on laid paper, 242 x 146 mm (9 1/2 x 5 3/4 ins), laid down on later backing card with gilt ruled outer border, with annotations in red, brown and green ink by Michael Jaffe to verso, tortoise shell-veneer frame, glazed

Provenance: Argutinsky Dolgoruky Collection, De Vries, Amsterdam, 27th March 1925 (illustrated), as Willem Buytewech; Collection Dumesnil, De Vries, Amsterdam, 1927, number 82, ‘Ecole Francaise, 18e siècle, Jeune Cavalier debout tournée vers la gauche; Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge. (1)

£700 - £1,000

38* Mazzucchelli (Pier Francesco, called il Morazzone, 15731626). Saint Peter, red chalk on laid paper, a study of a full-length bearded male ﬁgure in robes carrying a book, collector’s circular red mark to lower right corner (Lugt 4256), a few marks to sheet edges, paper skinned in a few places to verso, sheet size 135 x 77 mm (5 3/8 x 3 ins)

Provenance: Hugues Fontanet (1929-2003), painter and graphic designer, antiques dealer and collector, Geneva (Lugt 4256); Private Collection, Switzerland; Koller, Zurich, Zeichnungen Alter Meister, 22 March 2024, lot 3415.

(1)

£400 - £600

Lot 37

Lot 38

39* Sadeler (Aegidius, 1570-1629). Portrait of Tobias Scultetus, 1610, ﬁne engraving on laid paper, with elaborate allegorical outer border, trimmed to or just inside the platemark, a good, strong impression, with text below the portrait by Kepler, sheet size 204 x 162 mm, together with Pontius (Paulus, 1603-1658). Portrait of Nicolaus Rockox, after Van Dyck (from the series Icones Principum Virorum), 1639, engraving, on pale cream laid paper, the 4th state, published by Herman de Neyt, a very good, well-contrasted impression, early annotation to verso ‘250’, ‘third’ and a ‘+’ in brown ink, later faint pencil inscription to verso ‘Proof before inscription’, trimmed to plate margin, sheet size 263 x 182 mm, plus Cornelius van der Geest, Artis Pictoriae Amator Antwerpiae, after Van Dyck, circa 1635, engraving on laid paper, without the publisher’s name to lower margin, washed, a very good impression with margins, 250 mm x 179 mm, sheet size 260 x 190 mm, and three others: Helena Leonora de Sieveri, by Cornelius Vischer after Van Dyck, published by E. Copper, close-trimmed to plate margins, Robertus van Voerst by Robert van Vorst after Van Dyck, published by Marten Vanden Enden, trimmed to image, and a smaller engraved portrait of Judge Littleton, with caption ‘The true portraiture of Judg Littleton the famous English Lawyer’ Hollstein 328 (Sadeler); Wibaral 115 (Pontius, Nicolas Rockox); Hollstein 567 (Pontius, Cornelis van der Geest). The impression of the Rockox portrait held at Yale Center for British Art is inscribed in pencil ‘W.115 4th state Very Rare’.

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40* Thomassin (Philippe, 1562-1622). The Battle of the Lapiths, after Bernadino Passeri (1540-1596), Rome, 1617-1619, ﬁne large circular engraving by Thomassin after Passeri on laid paper, incorporating a circle of centaurs and lapiths ﬁghting with cudgels over women, with an outer border of putti, mermen, and serpents, at the centre of the engraving a circular device with a crab on whose carapace is engraved the Vitelli coat of arms, with a circular border in which is engraved: ‘ILLVSTRISSIMO D· IOANNI VITELLIO PATRONO VIRT· AMAT’, and a second circular border bearing the words: BERNARDINVS PASSARVS INVEN · PHIL · THOMASSINVS FEC · ET EXCVD · CVM PRIVIL · SVMMI PONTIFICIS ET SVPERIOR LICENTIA · ROMAE, scattered light toning (generally in good condition), 57 cm (22 1/2 ins) diameter

Provenance: Sidney John Alexander Churchill (1862-1921), thence by descent.

A design for a shield for Giovanni Vitello, showing the Battle of the Lapiths and Centaurs. The mythical battle of the lapiths and centaurs features in several prominent works of Greek architecture, including the temple of Apollo at Bessae and on the Parthenon in Athens. The tale begins with the marriage of Hippodamia to Pirithious, king of the Lapiths, and the centaur guests at their wedding. The centaurs became drunk and attempted to kidnap and rape the bride and other women at the wedding. The Lapiths eventually triumphed over the centaurs, in most accounts due to the intercession of Apollo.

According to Bruwaert's catalogue, La vie et les œuvres de Philippe Thomassin graveur Troyen 1562-1622 (Troyes and Paris, 1914-15), number 415 is a ‘Bouclier des Lapithes, diamètre 280, d’après Bern. Passaro, Phil Thomassinus fec. et exc., dédié à Jean Vitelli par Thomassin.’ The date is given as 1620. Bruwaert notes (p.68) that in the period after 1617, ‘A Cassian dal Pozzo, secrétaire du cardinal Barberin, Philippe offre une Galathée fort légèrement vêtue. Un Triomphe du Printemps, dans la même note, peut être de la composition même de Thomassin. Un Combat de Lapithes, en form de bouclier, doit dater de ce temps.’

(1)

£200 - £300

£300 - £500

41* Attributed to Francois Perrier, le Bourgignon (1590-1650). A Cavalry Skirmish, pen, black ink, light grey-blue and pale red-brown wash on laid paper (the central portion on a separate sheet of irregularly shaped paper overlaid to the large sheet), collector ’s mark of Joseph van Haecken to lower left corner (Lugt 2516), old inscription to verso in brown ink ‘no 14 May 9 84 157’ and ‘d/w’, and another probably 19th century inscription in pencil ‘Bourgignone Origl’, sheet size 200 x 323 mm (7 7/8 x 12 3/4 ins), hinge-mounted on later cream backing paper, with pencil inscription to lower right ‘Francois Perrier, generant de Bourguignon’

Provenance: Joseph van Haecken (1699-1749), also known in England as Joseph Hawkins, a history painter from Anvers who settled in England when he was twenty years old. Van Haecken's collection of drawings passed to his brother Alexander and was sold in London by Langford on the 17th of January 1758, and the following three evenings: The genuine and entire collection of prints and drawings bound and unbound of Mr. Alexander Vanhaecken, and eminent Drapery Painter, lately deceas'd.; Koller, Zurich, 13 November 1898, lot 6213; Private Collection, Switzerland; Koller, Zurich, 22 March 2024, lot 3422. (1)

£400 - £600

42* Callot (Jacques, 1592-1635). The Old Woman with the Cats, from the series The Beggars (Les Gueux), circa 1622-23, etching on laid paper, depicting a woman dressed in rags sitting by a bucket of coals, a cat sitting in her lap, another by her feet, ﬁrst state, with wide margins, some light marks and partial light toning, plate size 139 x 88 mm (5 3/8 x 3 7/16 ins), sheet size 175 x 126 mm (6 7/8 x 4 15/16 ins), window-mounted, framed and glazed (32.5 x 26.5 cm), together with Gloriosisimae Virginis Dei Parae Elogium, etching on laid paper, depicting a cartouche surrounded by putti and scenes from the life of Mary, the second state (of 3), old ownership inscription in brown ink to verso ‘G. Storck a Milano 1799. Inv No 1812.’, sheet size 98 x 74 mm (3 7/8 x 2 7/8 ins), plus Teniers (David, 1610-1690). Pilgrim with Folded Hands, etching on laid paper, trimmed to or just inside plate mark, 96 x 64 mm (3 3/4 x 2 1/2 ins), window-mounted (30.5 x 20 cm)

Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.

Lieure 503, i (Callot, Old Woman with the Cats) and Lieure 509, ii/iii (Gloriosisimae).

(3)

£200 - £300

43* Callot (Jacques, Nancy 1592-1635). Tuscan Farmyard, pen and brown ink on vellum, sheet size 119 x 168 mm (4 3/4 x 6 5/8 ins), a few surface marks, sheet reinforced to verso with thin strips of paper to outer edges, traces of adhesive to the left margin verso, inscribed in a later hand in pencil ‘Callot’ and printed collector’s mark of A. Gluenstein (Lugt 123) to centre of the sheet verso, framed and glazed

Provenance: Adolf Glüenstein (1849-1918), Hamburg (Lugt 123); Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

Adolf Glüenstein began, at the age of just 18 or 19, to form a collection of drawings and watercolours by both modern and old masters, which eventually comprised 400 old master drawings and 1200 modern works. After his death part of his collection was sold by C. G. Boerner in Leipzig from 1918 onwards; several drawings from this collection are described in Boerner’s list XXXVII Handzeichnungen alter Meister des XV. bis XVIII. Jahrhunderts.

Accompanying this drawing is a photograph of Chatsworth Drawing Album 20 (Callot, number 362) attributed to Francois Collignon after Callot of the same subject, bearing an inscription to lower left ‘J. Calot inven et fe’ (not in Callot’s hand). The photograph is accompanied by a sheet of printed notes on the Collignon drawing by Michael Jaffé in red ink. His comment reads: ‘the finely drawn original, presumably intended as a finished model for an etching or engraving, was offered at Christie’s, London sale 15 December 1992 (162, as circle of Callot), pen and brown ink on vellum, 116 x 165 mm, inscribed ‘Callot’ verso, from the collection of A. Glüenstein (L. 123). The heavy penwork of the Devonshire drawing, imitating Callot’s finer and more various strokes, and missing the sprightliness and wit of his figures, indicates a less brilliant follower. The same farmyard, seen from a different angle, appears in Callot’s etching La Fattoria (Lieure, no. 219). The original model was recognised as such by the compiler before the sale. It was now in an English private collection. Callot’s inventions of the finest execution were drawn on vellum rather than white paper for luxurious effect, e. g. also the Distant view of Toul, with the arms of Porcellets and Designs for the festival floats and participants for ‘La Guerra d’Amore’.

A further pen, brown ink and brown wash drawing on laid paper was offered at auction by Dorotheum, Vienna, Master Drawings, 10 April 2019. lot 103, which the auction house suggested could be by an Italian artist from the circle of Remigio Cantagallina, executed after an original composition by Callot.

Literature: For the similar work attributed to Collignon at Chatsworth, see Michael Jaffé, The Devonshire Collection of Northern European Drawings, Umberto Allemandi, 2002, Volume V (French Artists), number 1665. (1)

£2,000 - £3,000

44* Follower of Peter Paul Rubens (1577-1640). Mother and Child, 17th or 18th century, red and white chalk on laid paper, with old inscription 'No. 7741', and collector's mark in pencil to lower right corner (probably 18th century), apparently a drawn copy or version of the printed mark of the Hermitage Museum, St. Petersburg (Lugt 2061), some light spotting and marginal toning, sheet size 195 x 115 mm (7 3/4 x 4 1/2 ins), later frame, glazed

Provenance: The collector's mark at lower right bears comparison to the black printed stamp of the Hermitage Museum, St. Petersburg (Lugt 2061), a stamp which was placed on the Russian collection of drawings and prints during the reign of Emperor Paul I (1796-1801); Collection of Philip Allen, Bedford, UK.

Another Madonna and Child in red chalk, given to Peter Paul Rubens, measuring 24.4 x 13.4 cm was offered by Phillips, London, Old Master Drawings, Thursday, July 6th, 2000, lot 126 (estimate £120,000-£150,000).

(1)

£200 - £300

45* Reni (Guido, 1575-1642). Infant Christ and St. John the Baptist, circa 1595-1600, etching on laid paper, sheet size 130 x 185 mm, plate size 119 x 168 mm (4 5/8 x 6 5/8 ins), with margins, framed and glazed, with printed gallery label to verso of Ernest Brown & Philipps Ltd., The Leicester Galleries, London, additional exhibition label for The Collection of the late Hugh Walpole (Part 3), Leicester Galleries, London, June 1946, catalogue number 1, to verso

Provenance: Sir Hugh Walpole (1884-1941), Brackenburn, Cumbria. Walpole purchased Brackenburn overlooking Derwent Water in Cumbria in 1923 and lived there until his death in 1941. He enlarged the house and converted the upper storey of the nearby garage to a library and study, which eventually housed his art collection, as well as his 30,000 books.

Bartsch XVIII, 287, 13. (1)

£400 - £600

46* Kilian (Lucas, 1579-1637). Portrait of Johann Fürleger, 1626, engraving on laid paper, with castle watermark, printed inscription 'Lucas Kililan Aug ad vivum delineavit et sculpsit A.o 1626' to lower margin, sitter's name in ink in a contemporary hand to cartouche, with wide margins, pale damp stain to lower blank margin, hinge mounted onto backing board, plate size 190 x 130 mm (7 1/2 x 5 ins), sheet size 300 x 189 mm, framed and glazed (350 x 290 mm), together with: Küsel (Matthäus, 1629-1681). A pair of portraits of Georg Paul Imhof, after Georg Strauch, circa 1664, together two engravings on paper, manuscript inscriptions on recto to both in ink and pencil, plate size 244 x 175 mm (9 3/4 x 7 ins), in a multi-aperture mount, framed and glazed (440 x 580 mm), Vico (Enea, 1523-1567). Ex Antiquis Cameorum et Gemmae Delineata, comprising 12 proof engraved vignettes on single sheet of laid paper, plate size 305 x 430 mm (12 x 17 ins), sheet size 313 x 440 mm (12 3/8 x 17 3/8 ins), window-mounted, Weiditz (Hans, 1495-1537). Sheep shearing, milking and butchery, early 16th-century, woodcut on laid paper, trimmed to image, sheet/image size 140 x 153 mm (5 1/2 x 6 ins), window-mounted, frames and glazed (270 x 275 mm), Dietterlin (Wendel, 1550-1599). Plate 171 from Architectura von Austheilung, Symmetra und Proportion der fünft Seulen, 15931598, etching on laid paper, plate size 248 x 183 mm (9 3/4 x 7 1/4 ins), window-mounted, framed and glazed, plus other engravings including six maritime battle scenes by Jacques Callot (1592-1635), three of which from the l'Île de Ré series, unframed, and two others various, framed and glazed (13)

£200 - £300

Lot 45

47* Circle of Anthony van Dyck (1599-1641). Madonna and Child, pen, brown ink with red and pale brown wash on light brown laid paper, single-rule brown ink outer border to sheet edges, some further studies of motifs in red chalk and brown ink to verso, sheet size 219 x 166 mm (8 5/8 x 6 9/16 ins), in later 20th century card windowmount, with pencil inscription in German at foot ‘Madonna mit Kind. Van Dyck (nach ital. bild) ruckseitig um Rotmung. Vegl Kat. Albertina Bd I No. 87 ‘Tintoretto’.’ (1) £400 - £600

48* Rembrandt (van Rijn, 1606-1669). The Raising of Lazarus (The Large Plate), 1632, etching on laid paper, with partially visible watermark at centre with the letter T, lettered in the plate to the right of Christ:: ‘RHL [in ligature] van Ryn f’, probably the 8th state, trimmed close to plate margins, neat archival repairs to upper outer corners, plate size 14 1/2 x 10 1/16 in. (36.8 x 25.5 cm), sheet size 372 x 260 mm Hind 96, viii/xiii; Bartsch, Hollstein 73.

The Raising of Lazarus: The Larger Plate, c.1632, one of the largest and ﬁnest of Rembrandt’s etchings, is also one of his most reworked plates.

After Rembrandt’s death in 1669, the first record of the original copper plates appeared in an inventory of his estate created by his friend, the print dealer Clement de Jonghe. The plates then passed through several hands but it wasn’t until the latter half of the 18th century that the first significant posthumous impressions of the existing copperplates were made. This was under the ownership of Parisian dealer Claude Henri Watelet, who was a very skilled etcher himself and the first to rework some of the plates. (1)

£3,000 - £5,000

Lot 48

49* Callot (Jacques, 1592-1635). Vita et Historia Beatae Mariae Virginis Matris Dei, 1633, the series of 14 etchings including title on laid paper, published by Israel Henriet, Paris, each trimmed close to the platemark (mostly 70 x 45 mm, the title 74 x 50 mm), each mounted on later light brown backing paper, and tipped on to two sheets of cream wove paper, together with Les Penitents et Penitentes, 1632, the complete set of six etchings on laid paper including the frontispiece by Abraham Bosse, all second (ﬁnal) states (the title a later re-issue), sheet size 73 x 53mm and similar, all with margins (except Saints Joannes and Hieronimus trimmed to plate margins), similarly mounted on light brown backing paper, and attached to two sheets of cream wove

Méaume 76-89; Lieure 1357-1370 (Vita et Historia Beatae Mariae Virginis Matris Dei).

(20)

£300 - £500

50* Rembrandt (van Rijn, 1606-1669). Self Portrait in a Velvet Cap with Plume, 1638 [but later], etching on pale cream laid paper, with indistinct watermark, probably late 18th century, trimmed to margins, upper outer corner repaired (without loss), sheet size 207 x 157 mm (8 3/16 x 6 3/16 ins), hinge mounted to upper and lower left corners, card window-mount, with an (erroneous) printed auction catalogue description pasted at foot for Rembrandt’s etched portrait of Jan Asselyn, third state, dated 1967

A copy (probably by Basan) of Rembrandt’s self-portrait of 1638 (Bartsch 20, Hind 156, Hinterding 170). The original measures 134 x 103 mm. (1)

£200 - £300

51* Bella (Stefano Della, 1610-1664). Head of a Wild Boar, & Head of a Child, two pen and brown ink drawings on cream laid paper (one with partial watermark, unidentiﬁed), depicting the side proﬁle of a boar's head, and the head of a young child looking downwards, each with outer ruled border in brown ink to edge of sheet, 53 x 82 mm (2 x 3 3/16 ins) and 34 x 31 mm (1 5/16 x 1 3/16 ins) respectively

Provenance: Mrs Rosi Schilling; Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum. Rosi Schilling (1905/10-1993) was the second wife of Edmund Schilling, former curator of the Stadelsches Kunstinstitut in Frankfurt, both of whom emigrated to England in 1937. Edmund Schilling was at this time one of the few acknowledged specialists in England on German graphic art, who built up his own collection during the 1940's and 1950's in London when Northern drawings were unfashionable and could be bought relatively inexpensively. Rosi Schilling worked for many years as a voluntary assistant at the British Museum on the preparation of John Rowlands' catalogue of early German drawings. The majority of Edmund Schilling's collection was bequeathed by his widow to the British Museum through the Art Fund (1997,0712.1 to 111).

(2)

£300 - £500

52* Circle of Anthony van Dyck (1599-1641). Study of a Tree, red chalk on laid paper, mounted on old backing paper, with doublerule outer border in red ink, several marks and light soiling, original sheet with small loss towards top of left margin, and smaller loss below, collector’s marks of E. R. Lamponi-Leopardi and Charles Henri Marcellis to lower left and lower right corner of the sheet, sheet size 190 x 135 mm (7 1/2 x 5 3/8 ins), old (partly erased) pencil inscription to verso ‘Van Dyck’, pencil note regarding provenance to verso in the hand of Michael Jaffé, modern window-mount (48 x 32 cm), with plain white paper cover bearing the date 29 June 71, and the numeral 66

Provenance: E. R. Lamponi-Leopardi (later 19th century); Charles Henri Marcellis (1798-1864), Belgian industrialist, poet, and collector (Lugt 609), whose stamp was originally given as anonymous; Christie Manson & Woods, London, Important Old Master Drawings, 29 June 1971, lot 66; Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.

(1)

£1,000 - £1,500

Lot 52

Lot 51

53* Roman School. Sinorix carried from the Temple of Artemis trying to escape the effects of the poisoning, after Pietro Testa (16111650), 17th century, pen, brown ink and grey wash on laid paper, sheet size 272 x 403 mm (10 3/4 x 15 7/8 ins), some surface marks, laid down on old blue backing paper with ruled outer borders in black ink, outer edges of the backing sheet with adhesion losses, overall sheet size 355 x 495 mm (14 1/2 x 19 1/2 ins)

The present work appears to be a copy after Testa’s etching of circa 1640 of the same title, probably by a pupil or follower of the artist. For the print, see Elizabeth Cropper, Pietro Testa, 1612-1650: Prints and Drawings, Philadephia (1988), 53, Paolo Bellini L’opera incisa di Pietro Testa, Vicenza, 1976, 51.19 i, and Bartsch XX.220.19. The plate size measures 286 x 412 mm (11 1/4 x 16 1/4 inches), only a little smaller than the size of this drawing. An impression of the etching is held by the Metropolitan Museum of Art, New York, accession number 26.70.3(40). (1)

£400 - £600

54* Rembrandt (Harmensz van Rijn, 1606-1669). A Woman Making Water, 1631, etching on pale cream laid paper, probably later 18th century, collector's mark (Lugt 2774) to lower right corner of Sir Edward Astley (1729-1802), and a further collector's mark (Lugt 567) of the Arenberg Collection, Brussels and Nord-Kirchen, Westphalia, additional ownership inscription in ink to verso (partly illegible): Ch. Naudet, dated 1817, plate size 80 x 65 mm (3 1/4 x 2 1/2 ins), sheet size 96 x 74 mm (3 5/8 x 2 15/16 ins), hinge-mounted to modern cream laid paper with framing borders in black ink, pale brown wash and gilt paper, window-mounted

Provenance: Sir Edward Astley (1729-1802), of Norfolk (Lugt 2774); Arenberg Collection, Brussels and Nord-Kirchen, Westphalia (Lugt 567); Charles Naudet (inscription dated 1817).

Sir Edward Astley acquired the important collection of Old Master prints formed by the painter Arthur Pond. According to Lugt, Pond's collection was famous for its many examples of the work of Rembrandt. Astley's print collection was sold in London by Langford on the 27th March 1760 and the following eighteen evenings: The genuine, entire and well-known collection of Etchings and Prints by Masters of the greatest Eminence, Purchased by Sir Edward Astley, Bart., of Mr. Arthur Pond, lately deceas'd (among which are those very scarce and valuable prints by Rembrandt, which Mr Pond had, with the greatest care, been many years collecting).

Duke Louis-Engelbert d'Arenberg (1750-1820), and Duke Engelbert-Marie d'Arenberg (1872-1949). The latter disposed of a large part of his print collection in 1902 in a sale held at Christie's London on 14th July and following days.

(1)

£300 - £500

55* Galle (Joannes, 1600-1676). Omnes Sancti. O quam gloriosum est regnum, in quo cum Christo gaudent omnes Sancti, engraving after Rubens on wove paper, with margins, plate size 305 x 195 mm (12 x 7 5/8 ins), window-mounted, framed and glazed, 485 x 385 mm (unexamined out of frame), together with: Galle (Cornelis, 1576-1650). Maphaei S.R.E. Card. Barberini nunc urbani Pp. VIII Poemata, Antwerp: Ex ofﬁcina Plantiniana Balthasaris Moreti, 1634, engraved allegorical title page after Rubens on laid paper, trimmed to platemark, plate size 195 x 140 mm (7 3/4 x 5 1/2 ins), window-mounted, framed and glazed, 400 x 325 mm (unexamined out of frame), plus four others similar after Rubens, engraved by Cornelis Galle the Elder, Martinus van den Enden, Schelte à Bolswert and Jacob de Wit, all in matching windowmounts, and matching ebonised and gilt moulded frames, glazed (6) £400 - £600

56* Lommelin (Adriaen, circa 1687- circa 1677). Marie de Barbancon, Princess of Arenberg, Antwerp: Joannes Meyssens, circa 1645, engraving on laid paper after Anthony van Dyck from the Iconography (Icones Principum), indistinct collectors ink stamp to verso, plate size 282 x 200 mm (11 1/8 x 7 7/8 ins), sheet size 305 x 220 mm (12 1/8 x 8 5/8 ins), together with: Jode (Petrus de, 1570-1634). Beatrice de Cusance, Princess of Cantecroix, Antwerp, circa 1645, engraving on laid paper after Anthony van Dyck from the Iconography (Icones Principum), plate size 250 x 200 mm (9 7/8 x 7 7/8 ins), sheet size 420 x 317 mm (16 1/2 x 12 1/2 ins), Neeffs (Jacobus, 1610- after 1660). Marie-Marguerite de Berlaymont, [Antwerp]: Joannes Meyssens, circa 1649, engraving on laid paper after Anthony van Dyck (with jester/fool watermark), plate size 278 x 202 mm (11 x 8 ins), sheet size 363 x 268 mm (14 1/4 x 10 1/2 ins),

Bolswert (Schelte Adams, 1586-1659). Albert de Ligne, Prince of Arenberg and Barbancon, circa 1677, engraving on laid paper after Anthony van Dyck from the Iconography (Icones Principum), plate size 243 x 183 mm (9 5/8 x 7 2/8 ins), sheet size 332 x 260 mm (13 x 10 1/4 ins),

Bailliu (Pieter de, 1613- after 1660). Albert de Ligne, Prince of Arenberg and Barbancon, circa 1650, engraving on laid paper after Anthony van Dyck, verso strengthened at head and foot (creased at foot), trimmed to plate mark, plate/sheet size 475 x 331 mm (18 3/4 x 13 ins),

Bolswert (Schelte Adams, 1586-1659). Landscape by moonlight with horse grazing from the Small Landscapes series, 1650 or later, etching on laid paper after Peter Paul Rubens (1577-1640) published by Gillis Hendricx, trimmed to plate mark and laid down on mount board, plate/sheet size 317 x 455 mm (12 1/2 x 18 ins) (6) £300 - £400

57* Vorsterman (Lucas, 1595-1675). Portrait of Jacques Callot, after Anthony van Dyck, circa 1645, etching and engraving on pale cream laid paper, a very good impression, without publisher’s name lower right, with margins, plate size 230 x 170 mm (9 1/8 x 6 3/4 ins), sheet size 277 x 217 mm, black and gilt frame (43 x 35 cm)

Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge. New Hollstein 53; Hollstein 139; Mauquoy-Hendrickx 76. (1) £200 - £300

58* Circle of Peter Paul Rubens (1577-1640). Proﬁle Head of an Old Man (Nicolo da Uzzano), after Leonardo da Vinci, black chalk on laid paper, some scattered spots and discolouration to sheet edges, several creases to left margin, small loss to lower left margin and a little insect damage to the lower edge of the sheet with minor loss, sheet size 232 x 178 mm (9 1/8 x 7 ins), hingemounted in 20th century window-mount with pencil annotation to the backing card by Michael Jaffé 'copy of 'Nicolo da Uzzano' [from Rubens copy after Leonardo]'

Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge; Dominic Winter, South Cerney, 5 March 2020, lot 261. (1)

£500 - £800

59* Attributed to Giovanni Benedetto Castiglione (1609-1664). Moses Striking Water from the Rock, circa 1650, red chalk on laid paper, laid down on 18th century backing paper, with outer ruled border in gold paper and black ink, collector’s mark of Philipp Herrmann to lower left corner and towards lower right corner (Lugt 1352a), early (18th century) inscription to verso in brown ink ‘Castiglione No. 405’,

Provenance: Philipp Herrmann (1899-1968), Karlsruhe, artist, picture restorer and collector of German and Italian drawings (Lugt 1352a). A late 20th/early 21st century pencil inscription on the window-mount reads: ‘Karl + Faber Mai 1975 Gesch. 1800.-’ at left and ‘Anton Maria Zanetti (16801757) Venedig’ at right. (1)

£500 - £700

60* Italian School. Saint William of Aquitaine taking vows before Bishop Benedict of Ariane, second half 17th century, pen, brown ink and pale red wash on cream laid paper, depicting Saint William of Aquitaine kneeling before Bishop Benedict of Ariane, surrounded by monks, lower outer corners replaced with later paper, verso with later paper reinforcements and several later pencil annotations, sheet size 78 x 116 mm (3 x 4 1/2 ins), framed and glazed (25 x 27.5 cm), with framer's label of Freddy Schneider, New York to verso (1)

£200 - £400

61* Italian School. Three Male Heads, 17th century, brown wash, heightened with white body colour on oval laid paper, numbered 36 in an early hand to upper margin, laid on modern backing paper, stained to match, framed and glazed

£300 - £500

Provenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. (1)

62* Loemans (Arnout , 1600 after 1656). Portrait of Jacques Callot, after Michel Lasne, engraving on laid paper, lined to verso, plate/sheet size 160 x 113 mm (6 3/8 x 4 1/2 ins) with 19th-century engraving of Callot by Ferdinand published by Blaisot to verso of backing sheet, together with Vorsterman (Lucas, 1595-1675).

63* North European School. The Twelve Apostles, 17th century, pen, brown ink and brown wash on laid paper, each of the twelve ﬁgures captioned with their name (Thomas, Bartolo, Philip, Johannes, Jacobusmaior, Andreas, Mattias, Jacobusminor, Judas, Simon, Paulus, Petrus), sheet size 20.5 x 27.5 cm (8 x 11 ins), gilt frame, glazed

£200 - £300

Portrait of Jacques Callot, after Anthony van Dyck, circa 1645, engraving on laid paper, without publisher's name lower right, light spotting mostly to margins, plate size 235 x 170 mm (9 1/4 x 6 3/4 ins), sheet size 312 x 226 mm (12 1/4 x 9 ins) (3)

Provenance: Private Collection, Berkshire, UK. (1)

£200 - £300

Lot 62

64* Roman School. Winged Putto seated on Clouds playing a ﬂute, 17th century, pen, brown wash with brown ink on laid paper, several repaired closed tears, 360 x 250 mm (14 x 10 ins), mounted on modern card, together with a 17th-century Italian red chalk study on laid paper of The Holy family with Mary Magdalen, contemporary annotation in brown ink to upper margin and to verso indicating the errors in the compositional layout (probably a student's drawing corrected by a tutor), small closed tear to top right corner, tipped-in to mount, sheet size 150 x 180 mm (6 x 7 ins) (2)

£300 - £500

65* Van der Leeuw (Willem, (c.1603-c.1665). Mariana (Portrait of an unknown woman with veil), after Rembrandt, circa 1650, etching on thick cream laid paper, published by Cornelis Danckerts, with collector’s mark to lower left corner (stamped ﬁve pointed star shape within a circle), and old number 379 in brown ink to lower right corner, verso inscribed in an old hand in brown ink ‘XIV AIV 2d time’, margins close-trimmed, plate size, 237 mm × 167 mm, sheet size L’Admiral, Lucas van Leyden, 15; Hollstein Dutch 15. After the original portrait by Rembrandt of 1633. (1)

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

£200 - £300

Lot 65

Lot 64

66* Venetian School. Seated Male Nude, 17th century, red chalk on light pale grey-green laid paper, with indistinct watermark, numbered 2 in pencil to lower right corner, and a further pencil number to lower left corner ‘176’, extreme lower left blank corner replaced, some marks and pale discolouration, sheet size 392 x 280 mm (15 3/8 x 11 ins), hinge-mounted, antique-style gilt frame

Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge. (1)

£1,500 - £2,000

68* After Rembrandt (van Rijn, 1606-1669). Doctor Faustus in his Study, 1652, heliogravure on Michallet laid paper, with watermark, a copy by Charles Amand-Durand (1831-1905), with his small printed red stamp to verso, sheet size 222 mm x 165 mm, card windowmount together with ﬁve 19th and 20th reprint editions; The Persian, 1632, etching on cream laid paper, from the original, a posthumous impression, probably 19th century, modern version by Basan or Bernard, The Virgin with the Pomegranate and Old woman, (a late, probably19th century impression with creases), Joseph and Potiphar’s Wife, 1634, (a 20th century reproduction, Amslerdruck, with stamp to verso), The Presentation in the Temple, circa 1639, (a 20th century impression on cream wove paper, reworked, with circular blue printed stamp to verso) and Abraham Casting out Hagar and Ishmael, (20th century reprint, Amslerdruck) Hind 260 (Faustus); Hind 92 (The Persian).

67* Waterloo (Anthonie, 1609-1690). Village beside a canal, etching on laid paper, the third state (of 3), issued by PierreFrancois Basan, circa 1770, with narrow margins, sheet size 124 x 214 mm (5 x 8 1/2 ins), laid down on later cream laid backing paper, with unidentified old initials in brown ink 'JK' to verso, framed and glazed, together with other various old master prints including five others by Anthonie Waterloo, Yan van Londerseel (1570-75/162425), Landscape with Christ Healing the Possesed Woman after Van Coninxloo, Louisa Augusta Greville (active 1743-62) after Annibale Carracci, Landscape with a Large Tree, 1760, Salvator Rosa, Diogenes Adolescentem manu bibentem, 1772, Van Voerst after van Dyck (Philip Herbert, 4th Earl of Pembroke), Gaspard Dughet, A. Genoels, Jacob Cats etc., various sizes, all framed and glazed The Illustrated Bartsch 91, S3 (for the first item). (13)

£200 - £300

A heliogravure on laid paper after Rembrandt’s Faustus (Bartsch 270, Hind 260) by Amand-Durand. Published in Eaux-Fortes et Gravures des Maitres Anciens, tirees des collections les plus celebres by Edouard Lievre and Georges Duplessis, published by Amand-Durand, Gazette des Beaux-Arts, Goupil and Co, Holloway & Fils, Miethke & Wawra, Paris, 1878. (6)

£200 - £300

69* Rembrandt (van Rijn, 1606-1669). Adoration of the Shepherds: A Night Piece, 1652, etching on cream laid paper, the 8th state (of 8), on 19th century paper, plate size 149 x 198 mm, mounted Hind 255, viii/viii; Bartsch 46. (1)

£200 - £300

70* Rembrandt (van Rijn, 1606-1669). The Adoration of the Shepherds, with the Lamp, circa 1654 [but later], etching on pale cream paper without watermark (probably late 18th century or early 19th century), a copy in reverse, trimmed to margins, sheet size 104 x 126 mm (4 1/8 x 5 ins), hinge mounted to upper outer corners, card window-mount (1)

£200 - £300

72* Lefebvre (Valentin, circa 1642-1682). Christ and the Woman of Samaria, after Annibale Carracci (1560-1609), sanguine and red chalk on laid paper, heightened with grey wash, with additional strip of paper added at the left margin, some marks and minor restorations, sheet size 281 x 400 mm (11 1/8 x 15 3/4 ins), mounted on 20th century backing card, with earlier 20th century printed sticker bearing the number 645, and a later printed sticker bearing the lot number 119, as well as a pencil inscription to verso ‘2.350/1984, Lefebvre de Venise (1608-1677), Cat. E 119’

A reversed copy after the painting Christ and the Samaritan Woman or The Woman at the Well (1593-1594) by Annibale Carracci. Part of a series of frescoes in the Palazzo Sampieri, or more likely, the etching after this work by Francesco Brizio (circa 1574-1623), dated 1595 in the image, and measuring 288 x 415 mm. The print was previously attributed to Guido Reni (Bartsch XVIII.304.52). The original painting is now in the Brera, Milan. (1) £400 - £600

71* Circle of Carlo Maratta (1625-1713). Minerva, pen, brown ink, brown wash and white chalk laid paper with oval outer framing border in brown ink, some light marks and minor discolouration, sheet size 290 x 205 mm (11 1/2 x 8 ins), framed and glazed (1)

£400 - £600

73* Swanevelt (Herman van, 1603-1655). Wooded riverside landscape with figures, hillside dwelling, against a mountainous backdrop, from the series Hill Landscapes, state ii of iv, etching on laid paper, with close-trimmed margins, lower right corner torn with slight image loss and repaired, short closed tear to right edge, lined to verso, plate size 177 x 275 mm (7 x 10 3/4 ins), sheet size 178 x 279 mm (7 x 11 ins), together with: Cunego (Giuseppe, 1760-1781). A pair of Italianate landscapes with figures after Francesco Antonio de Capo (fl. 1775-1800), etching on wove, close-trimmed, lined to verso, light dust-soiling, sheet size 133 x 279 mm (5 1/4 x 11 ins) and 133 x 287 mm (5 1/4 x 11 1/4 ins), Rosa (Salvator, 1615-1673). St. Albert, the Companion of St William (suffering self-imposed penance), circa 1661, etching on laid paper, central horizontal fold, light dust-soiling and minor spotting, plate size 340 x 228 mm (13 1/2 x 9 ins), sheet size 428 x 314 mm (16 3/4 x 12 3/8 ins),

Ribera (Jusepe de, 1591-1652). The Martyrdom of St. Bartholomew, 1624, etching on laid paper, dust-soiling, ink splashed and marks, trimmed to image and tipped onto backing paper, sheet size 317 x 238 mm (12 1/2 x 9 3/8 ins), Pfenninger (Heinrich, 1759-1815). Self-portrait in proﬁle, etching on laid, plate size 232 x 190 mm (9 1/8 x 7 1/2 ins), sheet size 256 x 213 mm (10 x 8 3/8 ins), plus other etchings and engravings including three etchings on wove after Jacques Callot depicting battle scenes and street scene with walking wounded, each trimmed to image and lined to verso, approximately 85 x 185 mm, four small engraved Augustin Zenger (18th century), several engraved portraits by Houbraken and George Vertue, portrait of John Locke, 1738, etc. (35)

£300 - £400

74* Loggan (David, 1635-1692). Mother Louse, 1672, engraving on laid paper with watermark, showing a portrait of an old woman with a pointed chin facing to the right, wearing a ruff and tall conical hat, a tankard in one hand and a jug in the other, a building behind her labelled Louse Hall, with decorative coat of arms upper right, and two columns of six lines of printed verse below, published by John Overton at the White Horse without Newgate, plate size 25 x 18 cm (9 3/4 x 7 1/8 ins), sheet size 26 x 19.1 cm (10 1/4 x 7 1/2 ins), together with Beckett (Issac, 1653-1719). Betwixt a subtile Priest & cursed Wife..., after Egbert van Heemskerck (1645-1704), circa 1681-1688, mezzotint, showing a monk taking confession from a man holding his hat in his hands, an old woman looking on from the doorway, two lines of printed verse in two columns at foot, 26.7 x 18.8 cm (10 1/2 x 7 3/8 ins), trimmed closely to plate margins, sheet size 26.9 x 19.1 cm (10 5/8 x 7 1/2 ins)

A portrait of the English alewife Mother Louse of Louse Hall, holding an ale tankard and a pitcher. It is accompanied by a humorous poem and coat of arms featuring three lice and a tankard, with the motto “Three Lice Passant.” Louse Hall (as it was known from about 1547) was an asylum for the poor, though originally it was Gosford Hospital in Oxfordshire, established in the 12th century. Louse Hall subsequently became an alehouse kept by Mother Louse as its alewife. According to legend, Mother Louse was the last English woman to wear a ruff, to which the verse printed below her portrait refers.

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75* Circle of Luca Giordano (1634-1705). The Sacriﬁce of Isaac, circa 1680-1700, black chalk on pale brown laid paper, heightened with traces of white chalk, with watermark of a pair of scales within an oval, old inscription in brown ink to centre of lower margin ‘di Giordano’, to verso a study of the head of the Virgin, also with inscription ‘Giordano’ in old brown ink to lower edge, sheet size 258 x 356 mm (10 1/4 x 15 1/8 ins)

(1)

£200 - £300

£400 - £600

76* Italian School. The Raising of the Cross, second half 17th century, pen, brown ink and red chalk on laid paper, diagonal crease across the centre of the sheet, some very small losses towards the centre left edge of the sheet, backed with archival tissue, sheet size 272 x 198 mm (10 5/8 x 7 3/4 ins), hinge mounted to a later sheet of laid backing paper with wide blue wash outer border and framing lines in black ink, window-mounted (1)

£300 - £500

77* Attributed to Carlo Maratta (1625-1713). Winged Angel and Seated Figure with a Crown, pen, brown and black ink, grey wash heightened with white, on oval laid paper, with collector's mark of Alexandre-Humbert Chatelain (Lugt 135), 270 x 193 mm (10 5/8 x 7 5/8 ins), inlaid to modern backing paper, window-mounted

78* Attributed to Domenichino (Domenico Zampieri, 1581-1641). Falling Putto, red chalk on laid paper, laid down on a sheet of 18th century laid backing paper (watermarked), with pencil triple rule outer border, inscribed in brown ink in an 18th century hand ‘Domenichino’ lower right, and ‘Carlo’ lower left, some surface marks and light soiling, minor loss to extreme upper left corner, and scratch towards lower left margin, with minimal loss, sheet size 246 x 201 mm (9.7 x 7.9 ins), backing sheet 31 x 26.5 cm (12.2 x 10.5 ins)

Provenance: Collection of Michael Jaffé (1923 –1997), former director of the Fitzwilliam Museum, Cambridge.

The early inscription ‘Carlo’ on the backing paper may refer to Carlo Maratta (1625-1713) as a previous owner of this drawing. Fellow artist Maratta famously owned a substantial collection of Domenichino’s drawings, purchased from that artist’s pupil Francesco Raspantini. In turn, Maratta sold part of his collection, mainly drawings and cartoons, to Giovanni Francesco Albani, later Pope Clement XI, who tried to prevent their sale abroad. They were eventually acquired from Alessandro Albani by King George III of England and reside today in the collection at Windsor Castle.

(1)

£700 - £1,000

£500 - £800

Provenance: Alexandre-Humbert Chatelain (1778-1852), painter and critic, Lyon. Chatelain formed a ﬁne collection of Old Master drawings, particularly of the French School, but including examples of the Dutch and Italian masters. His collection was sold in Lyon by A. Brun, January 30-February 9, 1872; Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge. (1)

79* Attributed to Giacomo Parolini (1663-1733). Saint Cecilia, pen, brown ink and brown wash on laid paper, inscribed in brown ink to lower edge ‘Parolini Benvento’, sheet size (irregular) 180 x 93 mm (7 1/8 x 3 5/8 ins), early to mid 20th century card mount, with pencil inscription in German to lower edge ‘Parolini, Jac. Phil., Sammlung Dubini, Ferrara’, overall 32 x 24.5 cm Provenance (according to pencil inscription on the mount): Francesco Dubini (1848-1932), Milan. In 1906 Dubini donated 41 drawings to the Pinacoteca di Brera, Milan. The rest of his collection was dispersed in 19401941, part of which was purchased by Rasini of Milan; other sheets passed to Hoepli, and were subsequently sold at auction by Finarte, Milan, in 1975. Baroque artist Giacomo Parolini (1663-1733), mainly active in Ferrara, by whom there are very few, if any, known drawings. Parolini was apprenticed to Carlo Cignani in Bologna, until the latter left for Forli. In Bologna he also worked with Giovanni Gioseffo dal Sole and Giuseppe Maria Crespi. Having spent some time in Turin, Venice and Rome, he returned to Ferrara in 1699. (1) £300 - £400

80* Bocquet (Nicolas, active 1684-1716). Le Magniﬁque Carousel fait sur le Fleuve de l'Arne a Florence, pour le Mariage du Grand Duc, [Paris], late 17th-century, set of 18 etchings on laid paper, each with caption and numeral, cropped to image and caption at foot, each lined to verso and laid on three sheets in groups of six, each approximately 85 x 125 mm (3 3/8 x 5 ins)

The etchings record the festival which celebrated the marriage of Cosimo II, Duke of Tuscany, to Maria Maddalena of Austria. Cosimo had been tutored by Galileo who dedicated his Sidereus Nuncius to him when he published it in 1610. The prints are derived from Remigio Cantagallina's etchings issued at the time of the wedding (1608).

(3)

£200 - £300

81* Attributed to Antoine Coypel (1661-1722). Reclining Male Figure, black, red and white chalk on light grey laid paper, depicting a long haired man reclining, one hand outstretched, mounted onto later laid backing paper with ruled borders in black and light brown ink, sheet size 145 x 175 mm (5 3/4 x 6 7/8 ins), framed and glazed (31.5 x 34 cm), old printed label of P. & D. Colnaghi & Co. Ltd to verso, with pencil attribution to Antoine Coypel

Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.

The present work compares with drawings by Coypel in the Ashmolean Museum, Oxford, in particular The Figure Blowing a Trumpet ( WA1944.12), as well as a similar Study of a Man’s Back.

(1)

£300 - £500

82* Italian School. Apotheosis of Saint Catherine, early 18th century, oil on canvas, relined, 20.5 x 27 cm (8 x 10 1/2 ins), old gilt frame (27.5 x 33 cm)

Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge. (1)

£300 - £400

83* Persian Miniature. Two noblemen reclining, late 17th or early 18th century, pen and ink on laid paper, depicting two young noblemen reclining with food and drink, the drawing heightened with gold, the background with stencilled gold ﬂoral motifs within an ornamental gold border, the image overall sprinkled with gold, captioned in Persian in the image, overall light discolouration and old creases, with an additional near contemporary decorative paper border (of gilt-decorated black within pink and blue borders) laid down, image size 66 x 111 mm (2 5/8 x 4 3/8 ins), sheet size 139 x 211 mm (5 1/2 x 8 1/4 ins), window mounted (mount aperture 80 x 125 mm), framed and glazed (22 x 27 cm)

Provenance: Sidney J. A. and Stella Churchill (1862-1921): Ruth Plant (daughter): Juliet Petty of Bristol (granddaughter).

Sidney Churchill was a well-travelled British diplomat who also became a connoisseur of art. He joined the Indian Civil Service in 1880, when just 18, working in the Persian Telegraph Department, and later became British Consul in Persia (1886-1894), before moving to various other countries in the diplomatic service.

The Persian caption to the drawing could possibly translate as Excellent Meh Reza.

(1)

Christ in the House of Simon, pen, black ink and grey-brown wash traces of pencil on laid paper, two small losses to the blank right edge of the sheet, some light scattered spotting, with old inscription in brown ink to verso ‘Collection de Solimena’, sheet size 280 x 175 mm (11 x 7 ins), mounted on later card with archedwindow mount, 20th century pencil inscription to mount ‘Ecole Napolitaine’, overall size 43.5 x 28 cm

Provenance: (according to inscription to verso): Francesco Solimena (16571747), Naples.

(1)

£300 - £500

£400 - £600

84* Studio of Francesco Solimena (Canale, 1657-1747 Naples).

85* Van Huchtenburg (Jan, 1647-1733). Battle Scenes, a set of 8 etchings on laid paper, including Bataille de Staffarde en Piemont, 1690, Bataille de Zenta, 1697, Bataille de Chiari, 1701, Bataille de Luzzara, 1702, Bataille de Cassano, 1705, Bataille donnée deuant Turin, 1706, Bataille de Peterwaradin, 1716, and Bataille de Belgrade, 1717, each with caption to lower margin, some with central vertical fold and few repaired closed tears at head, various sizes, each plate size approximately 470 x 590 mm (18 1/2 x 23 1/4 ins), and sheet size approximately 505 x 625 mm (20 x 24 1/2 ins), together with to others related 'Ordre de Battaille [sic] de l'Armée de S.A. Monseigr. le Prince et Duc de Marlborough...,' and 'Plan de la situation ou la Bataille de Ramillis...,' by Jan van Vianen (c.1660c.1726), all window mounted (some detached) (10)

£200 - £300

86* Augsburg School. Virgin and Child with St John, early 18th century, gouache on vellum, 135 x 100 mm (mount aperture), attractive old gilt moulded wood frame, glazed (1)

£300 - £500

Lot 85

87* Creti (Donato, 1671-1749). Head of an Apostle, black chalk on pale brown laid paper with watermark of an anchor within a circle, six-point star above and cartouche below with letters GAA, sheet size 27.5 x 21 cm (11 x 8 3/8 ins), corners trimmed, some water staining and discolouration, early collector’s mark in ink to upper right corner (indistinct), window-mounted, gilt frame, glazed (40.5 x 35.5 cm)

Provenance: Private Collection, Bedfordshire, UK. (1)

£400 - £600

88* Pond (Arthur, circa 1705-1758). Portrait of Sebastiano Resta, after Pier Leone Ghezzi (1674-1755), 1738, etching on laid paper, with etched caption at lower edge: Il P. Seb. Resta, insigne, Dilettante nell’ Arti del Disegno, morto in Roma nell’ anno 1714. E Museo Gul. Kent, arm., plate size 285 x 186 mm, with margins, Hogarth-style black and gilt frame, glazed together with Bartolozzi (Francesco, 1728-1815). Marchese Antonio Canova, 1798, fine engraving by Bartolozzi after R.Suhrland, published by A.Molleno, March 15, 1798, plate size 21.5 by 15 cm, with margins, black and gilt frame, glazed, plus Cosway (Richard, 1742-1821). The Right honourable. Harriet Vicountess Bulkeley & his most Serene Highness Louis-Phillipe- Joseph, duc d’ Orléans, 1785 and at 1788 respectively, two hand-coloured stippled engravings by Bartolozzi, after Cosway, and G Hadfield respectively, the first published by S Watts, May 1st 1785, and R Cosway, 1788, 30.5 by 24 cm (mount aperture and similar, both black and gilt frames, glazed) (4)

£200 - £300

89* Attributed to Giovanni Paolo Panini (1691-1765). Interior of a Church, Rome, pen, brown ink, and brown wash on thick pale greybrown laid paper, a few small stains, very small losses to sheet edges, and creases to lower portion of the sheet, later pencil inscription to verso (probably early 20th century): ‘Pannini ou Panini, Giovanni Paolo, 1691 à Plaisance, 1768 à Rome’, verso with several small repairs and paper restrengthening to lower edge of the sheet, sheet size 365 x 204 mm (14 1/4 x 8 ins), window-mounted Giovanni Paolo Panini, an architect and painter who taught perspective at the French Academy in Rome, gloriﬁed that city in countless realistic views of its monuments as well as in architectural fantasies in which imaginary ruins and identiﬁable buildings coexist. (1)

£300 - £500

90* French School. Young man kneeling by the water’s edge with a jug, circa 1740’s, black chalk on laid paper, with a Pro Patria watermark of a crowned circle with lion spear and seven darts and the words Pro Patria eiusque Libertate, and ‘Vryheyt’ (similar to Heawood 3148 or 3149, circa 1740-1750), some light surface soiling, light diagonal crease across the image, sheet size 198 x 292 mm (7 3/4 x 11 1/2 ins), 20th century wood frame, glazed

Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

Reminiscent of ﬁgure studies in chalk by Nicolas Lancret. (1)

£300 - £500

91* English School. Front elevation of an Elizabethan or Jacobean property in the style of Robert Smythson (1535–1614), probably early 18th century, pen and ink drawing of a facade elevation of a building in a style similar to that of the English architect Robert Smythson, on laid paper, with contemporary measurements given in brown ink to right side of image and scale to lower margin, with a later (late 19th or early 20th century) annotation in ink to lower right ‘subject unknown but highly characteristic of the 17th century J. L. Donaldson’, horizontal fold across middle of sheet with short strengthening repair to verso, sheet size 333 x 397 mm (13 1/8 x 15 5/8 ins), window-mounted, gilt frame, glazed, (500 x 558 mm)

Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge, and Patricia Jaffé (née Milne-Henderson, 1935-2018), art historian. (1)

£200 - £300

92* Italian School. Biblical Figure, 18th century, black chalk with touches of white chalk, on watermarked paper, depicting a saint one hand holding a thick book the other reaching out, some fraying and closed tears to edges of paper, adhesive tape repairs to three closed tears to verso, sheet size 22.2 x 28.7 cm (8 3/4 x 11 1/4 ins), mounted (33.5 x 38 cm), together with two other early 19th century artworks comprising: pencil on laid paper, and pen, ink and wash on laid watermarked paper, largest 21 x 26.5 cm (3)

£200 - £300

93* Italian School. Christ crowned with thorns, circa 1750-1780, oval watercolour and red ink on card, laid on card, head portrait of Jesus wearing a crown of thorns, with droplets of blood on his brow and neck, 7 x 6 cm (2 3/4 x 2 3/8 ins), near contemporary oval carved ebonised frame, glazed, with hanging ring (9.5 x 8.5 cm) (1)

£150 - £200

94* Attributed to Richard Wilson (1713/14-1782). Wooded Landscape, chalk on buff laid paper, with watermark B Colombier, Paris, (Heawood 2432), some faint vertical crease marks, adherred at upper corners to mount, small darkened spot to upper edge, sheet size 25.4 x 38 cm (10 x 15 ins), backing paper adhered to verso of corners, mounted (35.5 x 48 cm), together with Devis (Anthony Thomas, 1729-1817). Above Larbrook, near Albury, Surrey, pen, ink and grey wash on wove paper, with traces of pencil, bears artist's name in pencil to lower right (in a later hand), titled in contemporary ink (probably by the artist): 'Above Larbrook' to sheet edge verso, sheet size 15.6 x 23 cm, hinge-mounted, with later pencil inscription to backing card giving the artist's name, title and additional note 'bought from F R Meatyard Oct. 1955 for £2', plus Becker, (E., active 1780-1810). View on the Thames near Windsor, pen, ink and grey wash on laid paper, mount aperture 26.5 x 42 cm (10 1/2 x 16 1/2 ins), with later pencil inscription to mount card, giving the artist's name, title and additional note 'From Meatyard, Oct. 1955 for £2, mentioned in Iolo A Williams's ''Early English Watercolours" 1952 for which two of his drawings are ...', adherred to mount (41 x 53.5 cm), plus another early 19th century English watercolour landscape on paper, laid down onto card, of Kilchurn Castle on Loch Awe, Scotland, mount aperture 23 x 31 cm (9 x 12 1/4 ins) and Roberts (James, circa 1740-1809). Actor in Costume, watercolour, depicting a well dressed young gentleman wearing a white, green and red feathered hat, a white jacket and red pantaloons with gold tassles and frogging, green cumberband and black shoes with red and green rosettes, signed lower right, 17 x 12 cm (6 5/8 x 4 6/8 ins), mounted, framed and glazed (32.5 x 26 cm)

James Roberts is best known for whole-length portraits of actors in character for John Bell's British Theatre. He also signs himself as portrait painter to the Duke of Clarence on a stipple engraving of Prince Henry Lubomirski by John Jones after Anne Damer and a watercolour of Dame Creole du Perou, 1797.

(5)

£200 - £400

95* Piranesi (Giovanni Battista, 1720-1778). Due Colonne co’loro Capitelli, Architrave, Fregio, e Cornice (from Le Antichità Romane II), 1756, etching on laid paper, a good, strong impression, ‘Piranesi Archit. dis. ed inc’ to lower right, plate size 39.5 x 25.2 cm (15 3/4 x 10 ins), framed and glazed (63.5 x 50 cm), not examined out of frame, together with Piranesi (Francesco, 1758/59-1810). Tre Frammenti trovati nella Villa Adriana in Tivoli (from Vasi, Candelabri, Cippi..., II), 1790, etching on thick laid paper, with wide margins, plate size 39.5 x 25 cm (15 3/4 x 9 3/4 ins), sheet size 52 x 37.5 cm (20 1/2 x 14 3/4 ins), mounted, plus Capitello che si vede nel palazzo Massimi (from Vasi, Candelabri, Cippi..., II), 1778, etching on thick laid paper, wide margins, plate size 39.5 x 25 cm (15 3/4 x 9 3/4 ins), sheet size 51.5 x 36.7 cm (20 1/4 x 14 1/4 ins), mounted, and Piranesi (Giovanni Battista, 1720-1778). Uno de’Frammenti dell’antica pianta di Roma… indicante la pianta della scena del Teatro di Marcello (from Le Antichità Romane IV), 1756, etching on laid paper, ‘Piranesi archit. dis. inc.’ to lower right, with a ‘TF’ watermark indicating a Paris edition of circa1807-1835, central fold, very wide margins, minimal spotting, plate size 40 x 60 cm (15 3/4 x 23 1/2 ins), sheets size 60.5 x 88.5 cm (23 3/4 x 34 3/4 ins), plus Sezione traversale de’ cunei inferiori del Teatro di Marcello (Le Antichità Romane IV), 1756, etching on laid paper, a rich impression, large margins, plate size 42.5 x 25.4 cm (16 3/4 x 10 ins), sheet size 60.5 x 44 cm (23 3/4 x 17 1/4 ins), and Pinata dell’avanzo del Teatro di Marcello, from Le Antichità Romane IV, 1756, etching on laid paper, wide margins, plate size 39 x 25.7 cm (15 1/4 x 10 ins), sheet size 61 x 44 cm (24 x 17 1/4 ins), plus six further etchings by Piranesi of architectural fragments and other studies of the Teatro di Marcello from Le Antichità Romane

G. Piranesi: Wilton-Ely 380; Focillon 245; Ficacci 237.

F. Piranesi (both works): Wilton-Ely 1005; Focillon 718; Wilton-Ely 495/499/494; Focillon 362/366/361; Ficacci 353/357/352. (12) £300 - £500

96* Worlidge (Thomas, 1700–1766). The Hundred Guilder Print (Christ with the Sick around Him), after Rembrandt, 1758, etching and drypoint, signed with initials and dated 1758 to lower right corner, platesize 276 x 393 mm (10 7/8 x 15 1/2 ins), with narrow margins, sheet size 281 x 397 mm

A copy after Rembrandt’s famous large scale etching (Bartsch 74). (1)

£200 - £300

97* Anselmi (Giorgio, 1723-1797). The Adoration of the Shepherds, black chalk on light grey laid paper with arched top, signed in brown ink lower right Giorgio Anselmi Veronese, with collector's mark of a ﬂoriated capital C (Lugt 474) to lower right corner of C. P. J. - P. de Bourgevin Vialart de Saint-Morys (1743-1795), sheet size 38 x 20.2 cm (15 x 8 ins), framer's dark brown circular seal to frame verso, framed and glazed (54.4 x 36 cm)

Provenance: Charles Paul Jean Baptiste de Bourgevin Vialart de Moligny, Comte de Saint-Morys (1743-1795), collector of old master drawings, and amateur printmaker. At the start of the French Revolution in 1790 he left France and his goods, lands and collections were seized, including all his drawings which were subsequently integrated into the Louvre between 1796 and 1797. Saint-Morys died in 1795 in the disastrous Battle of Quiberon which aimed to ignite a royalist insurrection in western France in support of Louis XVI. His second collection of drawings, formed in London between 1790 and 1795 was sold at auction by his son the Comte de Carrière in London in 1797, the works being stamped to the corner with a capital C (Lugt 474); Private Collection, Switzerland; Koller, Old Master Drawings, Friday, 22 September 2023, lot 3413. (1)

£300 - £500

Lot 96

98* Perignan (Alexis Nicolas, 1726-1782). Exterior view of a coal mine, near Valenciennes, black chalk on buff paper, laid onto buff paper, title in ink to lower margin, 23.1 x 36 cm (9 1/8 x 14 1/8 ins) sheet size, framed and glazed (36.5 x 49.5 cm), together with After Paul de Vos (1596-1678). Roe Deer Hunting, gouache on board, ‘Marquis Ivrea’ and publisher’s notes in pencil to verso, used as frontispiece in ‘The Roedeer’ a monograph by Snafﬂe, London: E.M. Harwar, 1904, 21 x 33.5 cm (8 1/4 x 13 1/8 ins), mounted, framed and glazed (38.4 x 51 cm)

The original Paul de Vos is held in the Prado Museum, Spain. (2) £150 - £200

99* Attributed to Thomas Gainsborough (1727-1788). Mountainous landscape with trees, black chalk, grey wash, with scratching out, on pale blue laid paper, 190 x 224 mm (7 1/2 x 8 7/8 ins), window mount, framed and glazed, with gift inscription to verso ‘Michael and Patricia with love from Martin. November 1964’,

100* Attributed to Giovanni Domenico Tiepolo (1727-1804). San Gaetano, pen and brown ink on pale cream laid paper (with touches of dark brown ink, oxidised with very slight losses), depicting a rough sketch of a saintly ﬁgure surrounded with winged ﬁgures, title in ink to lower margin, two small holes to lower edge, sheet size 107 x 139 mm (4 1/4 x 5 7/16 ins), one small neat repair to verso

Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.

The present work is comparable to the Tiepolo drawing listed in George Knox Tiepolo Drawings in the Victoria & Albert Museum (1960), 106. (1) £300 - £500

Provenance: Michael and Patricia Jaffé, to whom gifted in November 1964 on the occasion of their wedding (inscription to verso of the sheet). (1)

£1,000 - £1,500

101* Bartolozzi (Francesco, 1727-1815). For the Beneﬁt of Mr Giardini, after G.B. Cipriani, stipple engraving on laid paper, trimmed to plate edge, sheet size 12.2 x 14.6 cm (4 3/4 x 5 3/4 ins), together with For the Beneﬁt of Madame Banti, after Edward Francis Burney (1760-1848), engraving on laid paper, plate size 11 x 14 cm (4 3/8 x 5 1/2 ins), sheet size 18 x 20.7 cm (7 1/8 x 8 1/8 ins), plus three other neoclassical engravings: Augustin de St Aubin (1736-1807), hommage to Voltaire, a proof before letters on laid paper, and two modern restrike engravings by G.L.Chrétien (Friherre G. & Friherriman Harriet Siljverhjelm), largest sheet size 21 x 18 cm (8 1/4 x 7 ins)

Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.

Felice Giardini (1716-1796), Italian composer and violinist, who came to London in 1751. In 1784 he departed for Naples with Sir William Hamilton. Brigida Banti (1757–1806) was an Italian soprano. She toured regularly and performed in the King's Theatre, Haymarket, London from 1795-1800. (5)

£150 - £200

102* Attributed to John Hamilton Mortimer (1740-1779). Seated female attending reclining male beside table with jug and bowl, sepia pen and ink sketch on laid paper depicting reclining male and attending female, with detail portrait study of his face to right hand of sketch, small hole to lower left corner, light dust-soiling and scattered spotting, lined to verso on wash-mount backing paper with 'Mortimer del.' in brown ink lower right, image sheet size 66 x 125 mm (2 1/2 x 4 7/8 ins), mount size 105 x 165 mm (4 1/8 x 6 1/2 ins) (1)

£200 - £300

103* Manner of George Romney (1734–1802). Portrait of a young woman in regency dress, brown ink and watercolour on light brown wove paper, bearing the signature of Geo. Romney and dated 1790 to lower left corner, contemporary ink inscription 'Portrait sketch of Mrs Thunock'(?) to verso, margins with paper residue to verso, sheet size 320 x 210 mm (12 1/2 x 8 1/4 ins) (1)

£200 - £300

Lot 102

104* Hamilton (Hugh Douglas, circa 1739-1808). Portraits of Lord Sandys [and] Lady Sandys, 1771, a pair of oval head and shoulders pastel portraits on paper, both half-proﬁle to left, the ﬁrst showing Edwin, 2nd Lord Sandys, Baron of Ombersley (1726-1797), wearing a beige coat with a cream and red waistcoat and white stock, signed and dated 1771 lower left, a few foxing and mould spots, lightly rubbed in places, the second portraying his wife Anna Maria née Colebrook (1720-1806), wearing a white dress, with a bow of pink-edged ribbon, and a headpiece of white lace and pink-edged gathered ribbon, rubbed in places, each mount aperture 250 x 200 mm (9 7/8 x 7 7/8 ins), uniform gilt moulded frames, glazed (41.5 x 36.5 cm), both frame versos with various ink manuscript annotations regarding the sitters and provenance, including a near contemporary ink manuscript label on the verso of Anna Maria

Provenance: William Roberts (1862-1940) art critic and art sales correspondent of the Times; Sotheby’s sale 31st July 1940 (lot 54); (Arthur Jaffé (1880-1954); Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge; thence by descent.

International lawyer Arthur Jaffé was an eminent scholar and collector of miniature paintings. He was an authority on John Smart, and spent many years researching the miniaturist, with the intention of writing a catalogue raisonné of the artist’s works. Although he died before the task could be completed, the body of work he had produced formed the basis of Daphne Foskett’s book, John Smart. The Man and his Miniatures, published in 1964. Anna Maria, daughter of James Colebrooke, was the widow of William Paine King of Fineshade Abbey, Northamptonshire, when she married Edwin Sandys in 1769. Edwin inherited his title when his father Samuel Sandys, 1st Lord Sandys, Baron of Ombersley, died in 1770. The notes on the frame versos explain that these works were purchased from Sotheby’s in 1940, “from the collection of the late W. Roberts for many years Arts Sales Correspondent of The Times, lot 54 ...”, additionally the notes describe how the pair of pastels were, “reframed from square (dating about 1911) by P.D. Colnagli & Obach into these ovals (dating 1779) by A. Jaffé 1941”. The early ink manuscript label reads “Anna Maria Baroness Lady Sandys married J. King Esquire of Finshade - Nottinghamshire, and afterwards Edwin Lord Sandys.”

The portrait of Lord Sandys has a postcard adhered to the verso, inscribed in ink manuscript, signed by Evangline Roberts and dated September 1940. It explains that these two pastels had been, “given to my late father some years ago but by whom I don’t remember”. Arthur Jaffé had clearly been trying to discover more of the provenance of these drawings. Under the postcard is a Thomas Agnew & Sons printed label with ink manuscript ‘A. Jaffé Esqr, to be called for’. (2) £2,000 - £3,000

105* Piranesi (Giovanni Battista, 1720-1778). Veduta della gran Piazza e Basilica di S, Pietro situata ove erano anticamente il Circo e gl’Orti di Cajo e Nerone nella Valle Vaticana, 1772, etching on heavy laid paper, a very good, strong impression with contrasts, the ﬁrst state (of 3), from the series Vedute di Roma, with margins, short closed tear to left margin without loss, plate size 463 x 707 mm (18 1/4 x 27 7/8 ins), sheet size 49 x 72.5 cm (19 1/4 x 28 1/2 ins), hinge-mounted to upper edge of the sheet only, black and gilt frame, glazed, together with Veduta interna della Basilica di S. Pietro in Vaticano, 1748, etching on laid paper, from the series Vedute di Roma, the ﬁrst state, plate size 41 x 60 cm (16 1/8 x 23 5/8 ins), sheet size XXX, framed and glazed Wilton-Ely 234 & 137. Hind 101 & 4. (2)

£400 - £600

106* Piranesi (Giovanni Battista, 1720-1778). Veduta delle antiche Sostruzioni fatte da Tarquinio Superbo dette il Bel Lido..., from Veduta di Rome, 1776, etching on thick paper, the 3rd state (of three) with ‘741’ printed upper right, published by Firmin-Didot, Paris, 1835-39 (or slightly later), ‘Regia Calcograﬁa Roma’ blindstamp, with margins, toning to very edge of blank margins, short closed tear and small area of loss to right margin, sheet verso with remnants of old adhesive and with some overall toning, plate size 45 x 68 cm (17 3/4 x 26 3/4 ins), sheet size 56 x 81 cm (22 x 31 3/4 ins), framed and glazed (61.5 x 87 cm) Hind 125 iii/iii. Wilton-Ely 258; Focillon 841; Ficacci 996. (1)

107* Hamilton (Gavin, 1723-1798). The Erythraean Sibyl, after Michelangelo (1475-1574), later 18th century, black and red chalk on laid paper, sheet size 230 x 153 mm (9 1/8 x 6 ins), glued to outer corners verso to later laid cream backing paper, window-mounted, with inscription in pencil to lower right ‘Gavin Hamilton (after Michelangelo) [done in Rome: Italian paper]’ in the hand of Michael Jaffé, framed and glazed

£200 - £300

Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge. (1)

£300 - £500

Lot 105

108* Lawrence (George, circa 1758-1802). Frances Foxcroft [and] Eliza Foxcroft, 1782, a pair of bust-length oval portraits, coloured pastels on laid paper, both ladies wearing blue gowns with white edging, each signed ‘Lawrence, Dublin’ and dated lower left, few small foxing spots, Frances with minor dampstaining to edge, and 3 faint scratches near top edge, frame apertures 205 x 170 mm and 200 x 165 (8 1/8 x 6 3/4 ins and 7 7/8 x 6 1/2 ) respectively, uniformly oval gilt framed and glazed (26.5 x 22.5 cm and smaller), versos with mid-20th century ink manuscript inscriptions concerning the artist (referring to an article in ‘Connoisseur’ April 1936), and Frances additionally annotated with details of the sitter

Provenance: Robin Robertson-Glasgow of Hinton Charterhouse, by descent, great-great-great grandson of Frances Foxcroft. Geoge Lawrence studied at Dublin Society School in 1771 and worked under Francis Robert West and James Mannin. He exhibited at the Dublin Society of Artists from 1774. See Edward McGuire, George Lawrence, Connoisseur, xcvii (1936), pp. 206-209.

These two portraits of the Foxcroft sisters have remained within the family since they were drawn, some 242 years. In 1782 Frances Foxcroft (1763-1852) married Thomas Jones of Stapleton House, Gloucestershire. Her sister Eliza (Elizabeth) Foxcroft (1756-1832) had earlier married Robert Slade and together they had two sons one of whom, Felix Slade (1788-1868), endowed three ﬁne art Chairs: at Oxford, Cambridge, and at University College London, which latter formed the beginning of the Slade School of Art. (2)

£700 - £1,000

109* Blot (Maurice, 1753-1818). Voyage de Faunes, de Satyres et d'Hamadryades, after Nicolas Poussin, circa 1816-1818, ﬁne etching with engraving on paper (from the 2 volume publication entitled Le Musée Royal publié par Henri Laurent, graveur du cabinet du roi; ou, Recueil de gravures d'apres les plus beaux tableaux, statues et bas-reliefs de la collection royale, Paris, P. Didot l'Aîné, 1816-18), together with Zanetti (Antonio Maria, 1690-1757). Six heads representing the passions, together six etchings on laid paper, each with artist monogram to lower or upper corner, four marked with a printed V, and two marked with a printed W to upper right corner of the image, plate size 10 x 8 cm (4 x 3 ins)or similar, sheet size 13 x 10.5 cm (5 x 4 ins), and similar (7)

£200 - £300

110* Rowlandson (Thomas, 1757-1827). Priest giving alms to begging poor and needy, circa 1790, original pen ink and wash on laid paper, depicting a woman with children with hands outstretched receiving a coin from a priest, with a semiclad bearded man on the ground with hand outstretched and empty begging bowl by his side, with angels looking down from the heavens, small area of lower left corner torn away, upper left corner with short repaired closed tear, laid down to backing board around edges of sheet, 425 x 265 mm (16 6/8 x 10 3/8 ins), windowmounted, framed and glazed (640 x 465 mm), Bonhams stock number label to verso of backboard (1)

111* Kolbe (Carl Wilhelm, 1757-1835). Wooded Landscape with Waterfall, etching on partially watermarked wove paper, depicting two oak trees on a grassy hill, two cows standing by a river, a shepherd and his dog resting, some light marks to sheet edges, including one short closed tear repaired to right hand margin not affecting image, trimmed to plate margins, sheet size 39.8 x 32.3 cm (15 5/8 x 12 5/8 ins), framed and glazed (60 x 49 cm)

£400 - £600

£150 - £200

Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum. (1)

112* Piranesi (Giovanni Battista, 1720-1778). Senatus Populusque Romanus Monumenta Marmorea Magistratuum Triumphohorumque AB Urbe Tempora Divi Augusta..., from Lapides Capitolini sive Fasti Consulares Triumphalesq. Romanorum, 1800, etching on thick laid paper, a strong impression, presence of ‘TF’ watermark (to both sheets) suggests a later Paris edition [c.1807-1835], wide margins, central fold where the two sheets are joined on verso, three further vertical folds, a little mount stained, dust soiling to top right margin, repaired 8 cm closed tear to lower left portion of image, tipped onto backing board in three places with tape, Sanders of Oxford information sheet to verso, plate size 50.3 x 123 cm (19 3/4 x 48 1/2 ins), sheet size 58.6 x 135 cm (23 x 53 ins), framed and glazed (78 x 150 cm).

Wilton-Ely 558; Focillon 427; Ficacci 482. (1)

£500 - £800

113* English School. A Drunk Man, early 19th century, oil on board, depicting a young man slumped on a chair, the table next to him with an empty glass and bottles, some craquelure and crazing especially to lower edge, 25.5 x 30.5 cm (10 x 12 ins), ornate gilt frame (50 x 55 cm) (1)

£200 - £400

114* English School. Portrait of a Woman, early 19th century, oil on canvas, portrait of a woman wearing a pink dress with sheer, billowing sleeves, and holding a sheet of manuscript music in her hands, canvas size 77 x 57 cm (30 1/4 x 22 1/2 cm), in a deep gilt wood frame (94 x 80.5 cm) (1)

£200 - £300

115* Naive School. London to Oxford Stage Coach, circa 1820, oil on canvas, depicting a four-horse coach getting ready for departure, relined, some craquelure, minor surface scratch to lower right corner, 62.5 x 76 cm (24 1/2 x 30 ins), framed (71.5 x 84.5 cm) (1)

£300 - £500

116* After Sir Joshua Reynolds (1723-92). Lord Heathﬁeld Governor of Gibraltar during the seige of 1779-83, early 19th century, oil on wood panel, small chip with loss of colour to lower margin, 22.5 x 18.4 cm (8 7/8 x 7 1/4 ins), framed (29.5 x 26 cm), Mme Samson label to verso

General George Augustus Eliott, later Lord Heathﬁeld (1770-90) defended the British territory of Gibraltar against a long siege by the Spanish and their French allies, which ended on 13th September 1782. Heathﬁeld is holding a giant key symbolising the Key of Gibraltar, which he refused to give up to the Spanish. (1) £200 - £300

Lot 117

117* Müller (William James, 1812-1845). Bristol Cathedral from the south bank of the River Avon, showing the tower of St. Augustine’s and the spire of St. Nicholas, 1832, oil on canvas, signed and dated lower left, relined and professionally restored, canvas size 59 x 87 cm (23 1/4 x 34 1/2 ins), with partial contemporary handwritten label to stretcher verso (text difﬁcult to decipher): ‘Muller Bristol College [?] ... this to be given to Dr ... the desire of the late Weston J. A. 1837’ , old Frost and Reed stock (43884) and framing labels, and Bath Festival 1969 Exhibition of Fine Art Paintings label to verso, antique-style gilt frame, (75 x 103 cm)

Provenance: Osmond, Tricks and Son, Bristol, Catalogue of the Estate of Ellison Fuller Eberle, circa 1980, lot 214 (photocopied page of the auction catalogue with illustration supplied with this lot); Charles Sprawson Fine Art, Minchinhampton, Gloucestershire (original correspondence of Charles Sprawson to Martyn Davies included with this lot, dated 1981); Estate of Martin R. Davies, Bristol.

Exhibited: Bath Festival 1969, Exhibition of Fine Paintings, Victoria Art Gallery, Bath (label to verso). (1) £1,500 - £2,000

118* Brittan Willis (Henry, 1810-1884). Leigh Woods, 1836, oil on canvas, signed and dated to lower centre, relined, canvas size 70 x 94 cm (27 1/2 x 37 ins), Frost and Reed label to verso with stock number (50254), and title ‘A View of Durdham Down, Bristol, from Leigh Woods, looking across the Avon Gorge to the Observatory’, antique-style gilt molded frame, gilt plaque with title, date and artist’s details to lower frame (85 x 109 cm)

Provenance: Frost and Reed Ltd, 10 Clare Street, Bristol, BS1 1XX, by 1975; Estate of Martin R. Davies, Bristol.

Neal Solly’s biography of William James Müller records that Brittan Willis was a member of a ‘sketching-club’ formed in Bristol in 1832 or 1833. It included Müller, Samuel Jackson, T. L. Rowbotham, and William West, the builder of the Clifton Observatory in the centre distance. Adjoining the tower, West’s brand new rotating dome, which housed a substantial revolving telescope, can just be seen. Farther to the left, between the tree trunks, is the columned facade of Camp House, completed in 1833 for Charles Pinney, former mayor of Bristol. Willis emphasises the detachment of Leigh Woods by being deliberately up-to-date and including details that foliage could have conveniently obscured. Willis emigrated to the U.S.A. in 1842, but ill health drove him home and he subsequently re-established himself in London, exhibiting at the Royal Academy from 1844 and extensively at the British Institution and the Old Water Colour Society. (1)

£1,500 - £2,000

119* Deane (Charles, 1815-1851). St. Mary Redcliffe, Bristol, circa 1840, oil on canvas, 61 x 50.5 cm (24 x 20 ins), gilt plaque with artist’s details to lower frame, (74 x 63 cm)

Provenance: Sotheby Parke Bernet, London, Old Master Paintings and British Paintings 1550-1850, 24 October 1984, lot 317; ‘The property of J. Cooke, Esq. Street Scene with St Mary Redcliffe, Bristol. Inscribed on label attached to the reverse: “St Mary Redcliffe - Bristol by Meadows” Oil on canvas 23 1/2 by 19 1/2 in. 60 x 49.5 cm.’; Estate of Martin R. Davies, Bristol. Exhibited: Presumably Royal Academy, 1833, number 587 (Redcliffe Church, Bristol).

A typewritten note by Martin R. Davies dated 7th May 1985 states that Francis Greenacre of Bristol City Art Gallery had been shown this painting and identiﬁed it as the work of Charles Deane.

‘Deane was a proliﬁc landscape artist with 174 London exhibits, he occasionally took to marine painting as instanced by some of this 103 pictures in his British Institution: ‘Sea Piece’ 1923, ‘Entrance to Rotterdam’ and ‘On the Dutch Coast’ both in 1830, and several others including some of the tidal Thames (‘Limehouse Reach, Greenwich in the Distance’ 1829). his 42 Royal Academy paintings also contained a number of marine subjects, e.g. ‘A Brisk Gale’ and ‘Shipping’ 1829. He lived in Blandford Place, Regents Park, London from 1822 to 1851.’ Denys Brook-Hart, British 19th Century Marine Painting, (Antique Collectors Club, 1982) (1)

£700 - £1,000

120* English School. Salisbury Cathedral & Salisbury Cathedral from the Meadows, 19th century, oil on card, depicting two different views of Salisbury Cathedral, sheet size 13.6 x 16.5 cm (5 3/8 x 6 1/2 ins), both in matching decorative frames (27 x 30 cm) (2) £200 - £400

121* Stanley (Caleb Robert, 1795-1868). Rocks on the Avon at Clifton, oil on thin wood panel, with contemporary handwritten label (probably by the artist) to verso: ‘Rocks on the Avon at Clifton. C R Stanley 25 Gt. Maddox St. Hanover Sqre.’, 24.5 x 36 cm (9 3/4 x 14 1/4 ins), backboard with modern printed label with references for the artist, and transcription of the original label on the panel, old elaborately gilt-moulded frame, glazed (37 x 49 cm)

Provenance: P. F. Windibank, Fine Art and Antiques, 26th October 2002, lot 322 (hammer price £1250); Estate of Martin R. Davies, Bristol (owner’s documentation included with this lot, including a letter from Gordon Tucker dated 16th September 2003).

Caleb Robert Stanley was born in 1795. He studied art in Italy and specialised in topographical views and coastal scenes. He painted in Scotland, Wales, France, Holland and Germany, as well as in England, many being scenes on the River Thames and surrounding area. His works often include figures and architectural subjects and his coastal views mostly depict everyday scenes with fishing boats and fishermen going about their daily work.

He lived and worked in London and was Honorary Exhibitor at the Royal Academy from 1816 to 1863, but he mostly exhibited at the British Institution, where his works were always well received. He died in Maddox Street, London on 13th February 1868, and his studio sale was held at Christie’s on the 19th March 1869. Examples of his works may be seen at the Victoria and Albert Museum, Brighton Art Gallery and The New Gallery in Ireland. He exhibited between 1812-1867; 87 B.I., 32 R.A., 22 R.B.A., 10 N.W.S., 3 O.W.S., 4 various exhibitions.

(1)

£600 - £800

124* Carmichael (John Wilson, 1800-1868). Fishing Boat off Scarborough, oil on board, a coastal scene possibly off Flamborough Head, 18 x 25 cm (7 1/8 x 10 ins), framed (28 x 35.5 cm), verso with typewritten label giving artist, title & stating “Titled & signed on contemporary label verso” (1)

£400 - £600

122* Hewitt (Henry, 1818-1879). Mill Cottage by Ravine, 1847, oil on canvas, depicting a wooded landscape with a stone cottage with waterwheel by a ravine, signed and dated lower left, relined, overall toning, 105.5 x 85 cm (41 1/2 x 33 1/2 ins) (1)

123* After Nicolas Lancret (1690-1743). La Camargo Dancing, by Paul Artot (?), oil on bone, signed lower right, 14 x 9.75 cm

Portrait of the famous French ballet dancer Marie Anne de Cupis de Camargo (1710-1750) after the original by Nicolas Lancret, painted in 1730. The signature appears to be signed by the artist Paul Artot (1875-1958), and the backing board pencil inscribed Tanzerin Camargo (1) £150 - £200

125* Earle (Charles, 1832-1893). In the Canterbury Meadows, ﬁne watercolour with bodycolour, of sheep and cows resting by a river, signed lower right, 37 x 54.5 cm (14 1/2 x 21 1/2 ins) mount aperture, attractive period gilt moulded and wood frame, with the artist's name inscribed in black ink to frame, some small losses to moulding, overall frame size 57 x 75.5 cm, painted inscription by the artist with his name and address: C. Earle, Duke St. Portland Place in black and titled in pencil to verso of frame, together with Shoosmith (Thurston Laidlaw, 1865-1933). A Quay at Bristol, watercolour on buff paper, laid onto backing card, monogrammed lower left, sheet size 28 x 35 cm (11 x 13 3/4 ins), title, artist's name and address to verso in pencil, window-mounted 43.5 x 49 cm, and nine other 19th century watercolour landscapes by various artists including: David Cox (1809-1886), Thomas Dibden (1810-1893), William Burgess of Dover (1805-1861), Albert Ernest Brockbank (1862-1958), Alexander Henry Hallam Murray (1854-1934), etc., various sizes, largest 28.2 x 47 cm (11 1/8 x 18 1/2 ins), and a small watercolour attributed to Samuel Prout (1783-1852) (13)

£300 - £500

126 Dutch School. Still Life of Flowers in a Vase, later 19th century, oil on board, oval still life depicting ﬂowers in a bulbous vase, including dahlias, chrysanthemums and primula, visible board size 46 x 35.5 cm (18 x 14 ins), in an oval gilt wood frame (62 x 51.5 cm) (1)

£200 - £300

127* French School. Devotional Triptych, circa 1850, a devotional triptych for private use, with central painted leather panel depicting The Cruciﬁxion and two hinged side panels with inset mounted illuminated manuscript prayer on vellum in red, blue, gold and black, the three leather panels with elaborate gilt tooling and coloured motifs in green-blue and red, including at the head of the central panel the Eye of Providence, outer sides with repeated blind patterning (rubbed and some marks), overall size 48.5 x 67.5 cm (19 x 26 1/2 ins) (1)

£150 - £200

Lot 126

128* Huet (Paul, 1803-1869). Landscape with ﬁeld workers near the forest of Compiègne, circa 1850, oil on wood panel with bevelled edges to verso including contemporary inscription with ink to verso “Compiègne” and “allongé”, later auction number in white chalk 4049, 26.5 by 33.5 cm (10 1/2 by 13 3/8, gilt frame with beaded inner border

Provenance: Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.

Paul Huet was a pupil of P.Gueran & Gros and the Academie des BeauxArts and a driving force in the renewal of landscape painting in the early Romantic period. A friend of Richard Parkes Bonnington and of Delacroix. He ﬁrst exhibited at the Salon in 1827. The contents of his studio were sold in 1878.

(1)

£700 - £1,000

129* Naive School. A King Charles Spaniel with puppies, 19th century, oil on canvas, relined, 41.5 x 51 cm (16 3/8 x 20 ins)

(1)

£200 - £300

Lot 128

Lot 129

130* Spriggs & Binyon Family Portraits. A group of six head and shoulder portraits of members of the Spriggs/Binyon families, circa 1850s, oil on canvas, each 22 x 18.5 cm (8 3/4 x 7 1/4 ins), gilt oval mats, framed with old and modern manuscript paper labels to versos, 34 x 31 cm (and one of Martha Spriggs slightly larger) Provenance: from the family of Martha Spriggs (1777-1866), by direct descent. The sitters are: 1) William Spriggs (1776-1855), draper of Broad Street, Worcester. 2) Martha Spriggs (1777-1866), nee Knight, wife of William Spriggs of Worcester. 3) Thomas Binyon (1795-1865), of Manchester and Henwick Grove, Worcester; husband of Sarah Fryer (d. 1826), Rachel Arch (1817-1845), and Martha Anna Spriggs (1816-1896), youngest daughter of William and Martha Spriggs. 4) Martha Anna Binyon (1816-1896), daughter of William and Martha Spriggs of Worcester; third wife of Thomas Binyon. 5) Hester Savory Spriggs (1818-1889), daughter of William and Martha Spriggs of Worcester. 6) Lydia Pengelly (1819-1898), daughter of William and Martha Spriggs of Worcester; second wife of William Pengelly of Torquay. (6) £1,000 - £1,500

131* Attributed to Edward Matthew Ward (1816-1879). Lord Byron, after his refusal by Mary Chaworth, a Study, oil on board, verso with partly legible early ink manuscript label giving title and artist, 262 x 224 mm (10 1/4 x 8 3/4 ins), moulded gilt framed (40 x 35 cm)

(1)

£200 - £300

132* Clarkson Stanﬁeld (William, 1793-1867). Bristol Harbour with Prince Street Bridge and St Mary Redcliffe seen from Canons Marsh, 1854, oil on wood panel (with manufacturer’s blindstamp and printed label of Charles Roberson & Co. Artist’s Colourmen 51, Long Acre, London to verso), signed and dated lower right ‘C. Stanﬁeld R.A. 1854’, modern printed label of Polak Fine Art Dealers, 21 King Street, St. James’s, London, SW1Y 6QY, dated March 1999 to verso, panel size 24 x 39.5 cm (9 1/2 x 15 1/2 ins), elaborately giltmoulded frame (47.5 x 52.5 cm)

Provenance: Polak Fine Art Dealers, 21 King Street, St. James’s, London, SW1Y 6QY, by 1999; Estate of Martin R. Davies, Bristol (purchase invoice for £7,250 from Polak Fine Art Dealers supplied with this lot). (1)

£2,000 - £3,000

133* Moore (Henry, 1831-95). The Contented Friar, 1856, oil on canvas, depicting a slumbering friar sitting at a table with a half empty bottle next to an open book, signed lower right, some craquelure mainly to upper half, 45.5 x 34 cm (17 7/8 x 13 3/8 ins), canvas manufacturer’s stamp ‘Sherborn & Tillyer artist’s colorman 321 Oxford Street’ to verso, somewhat rubbed ‘Stephen T Gooden Dealer in Works of Art 57 Pall Mall London’ label and old Sotheby’s auction label to verso of frame, gilt moulded frame, (64 x 56.5 cm)

Provenance: Stephen T. Gooden, London, circa 1890s; Sotheby’s London, 1947, lot 109 for £28 (label to verso); W. A. Foyle; Christopher Foyle, Beeleigh Abbey.

(1)

£500 - £800

Lot 133

Lot 132

134* Chinese Export School. Ships in Harbour, oil on canvas, relined, 33.3 x 52.5 cm (13 1/8 x 20 5/8 ins), gilt frame (38 x 56.5 cm) (1)

£150 - £200

135* English School. Portrait of a Woman, circa mid-19th century, oil on canvas, a three-quarter length portrait of a woman in a red dress with lace details holding a posy of ﬂowers in her left hand, and a sprig of vegetation in the other, relined, canvas size 107.5 x 79.5 cm (42 1/4 x 31 1/4 ins), in a green and gilt frame (122 x 93.5 cm) (1)

£300 - £500

136* Hayes (Edwin, 1820–1904). On the Essex Coast, oil on board, signed and inscribed lower right ‘Edwin Hayes. R.H.A’, 21 x 30 cm, gilt frame with a neoclassical honeysuckle motif, glazed Provenance: W. A. Foyle; Christopher Foyle of Beeleigh Abbey. (1)

£200 - £300

Lot 135

Lot 134

137* Ratcliff (J, 19th century). Rural Landscape, circa 1860, oil on canvas, signed lower right, depicting a country landscape, river to the left, cows resting in the foreground, thatched cottages and barn behind them, some craquelure, minor scratch to paint surface with some ﬂaking to upper left sky area, 53 x 68.5 cm (20 7/8 x 27 cm), some handwritting in white chalk to verso of frame, framed (63 x 77.5 cm) (1)

£300 - £500

138* Bale (Charles Thomas, 1849-1925). Still Life with fruit and ﬂowers on a mossy bank, 1867, oil on canvas, a pair, one with various fruits including pears, grapes, apples, and a sprig of white blossom, the other with grapes, peaches, a white primula and a salt-glazed jug, both with monogram and date to lower right, old attribution label (faded) to each on stretcher verso, canvas size 30.5 x 40.5 cm (12 x 16 ins), both in matching ornate wood frames (39 x 48.5 cm) (2) £300 - £500

139* Continental School. Still life of flowers in a stoneware tankard, circa 1870, oil on canvas laid onto panel, depicting a stoneware tankard with rustic floral display, bears monogram (EPM? unidentified) to lower right, canvas size 30 x 25 cm (11 3/4 x 9 7/8 ins), gilt moulded frame (44 x 38 cm) (1)

£200 - £300

140* Couture (Thomas, 1815-1879). Interior of a Kitchen, oil on canvas, signed with initials T. C. lower left, 36 x 46.5 cm (14 1/4 x 18 1/2 ins), old number in white chalk to verso of stretcher J3019, beaded gilt frame

Provenance: Estate of Michael Jaffé (1923-1997) art historian and former director of the Fitzwilliam Museum, Cambridge.

With a handwritten note written in pencil on an index card by Patricia Jaffé: ‘Thomas Couture-Interior of a kitchen signed ‘T.C.’. Diary 3 April 1960 ‘A French genre painter, ‘TC’, small interior: good examples in the Louvre: half the oeuvre lost in a ﬁre in Chicago: Louvre tried to buy this particular work of Michael’s: very popular artist in the US. Given to me by Michael for my ﬁrst birthday (8.05.65) after we were married.’

French artist Thomas Couture was a student of Antoine-Jean Gros and Paul Delaroche. In his turn, he taught Edouard Manet. (1)

£1,500 - £2,000

Lot 139

141* English School. The Proposal, late 18th century, oil on canvas, relined, some craquelure, some ﬂaking with minor loss, 84.5 x 94.5 cm (33 1/4 x 37 1/4 ins), framed (91 x 101.5 cm) (1)

£200 - £400

142* Herzog (Hermann Ottomar, 1832-1932), Moulin sur un Torrent, 1873, oil on canvas, signed and dated lower right, a view of a watermill and other wooden buildings on the banks of a fastﬂowing mountain river, with trees and hills in the background, Dowmunt Galleries, Surrey label and Thomas McLean printseller labels to verso, areas of craquelure, two small horizontal abrasions to canvas (2 and 3.5 cm long respectively), canvas size 61 x 96.5 cm (24 x 38 ins), framed in a contemporary gilt wood frame (77 x 113 cm) Hermann Ottomar Herzog was born in Bremen, Germany and studied at the Düsseldorf Academy. After travelling and painting in Norway, he achieved early commercial success, with patrons including royalty and nobility throughout Europe. In 1871 Herzog emigrated to the United States, declaring his intent for naturalization at the Philadelphia Court of Common Pleas on 14 August of that year. He travelled extensively throughout the US, including California in 1873 and in Mexico. This painting likely dates from the period of his travels across the country. He became an American citizen in 1876. (1)

£2,000 - £3,000

Lot 141

143* Hancock (Charles, 1802-1877). In the Meadows on Tyes Farm [and] North Lands, Stapleﬁelds, Sussex, 12 April 1876, oil on board, the ﬁrst signed lower left, both 18 x 25 cm (7 x 10 ins), pierced gilt frames, near-contemporary manuscript label to versos

Tyes Farm (now Tyes Place) in Stapleﬁeld, West Sussex, is today a private residence. Charles Hancock is best known as a painter of equestrian and hunting subjects and succeeded John Ferneley in supplying paintings of Derby and St Leger racehorse winners to the print publishers Ackermann. (2) £300 - £500

144* Hamza (Johann, 1850-1927). The Reading, 1878, ﬁne oil on wood panel, depicting an elegant interior with a young woman in satin dress seated, reading to her father, signed and dated Wien 1878 lower right, the panel horizontally split in half without loss of paint, 35 x 28 cm (13 3/4 x 11 cm), contemporary gilt moulded frame (48 x 40.5 cm)

Provenance: W. A. Foyle; Christopher Foyle, Beeleigh Abbey. (1)

£300 - £500

145* English School. View of Ludlow Castle, mid to late 19th century, oil on canvas, depicting a view across the River Teme, towards Ludlow Castle, a small herd of cattle grazing on the river bank and standing in the water, relined, 30.5 x 51 cm (12 x 20 1/8 ins), in ornate gilt frame (42 x 62 cm) (1)

£300 - £500

146* Manner of John Frederick Herring (1815-1907). Plough Horse in a Stable, circa 1881, oil on canvas, depicting a plough horse wearing a ploughing halter resting in a stable with two rabbits nibbling carrots on the ﬂoor, three closed tears to canvas (two repaired to verso), small chip to paint with loss of colour to upper right margin, ‘R & M 1881’ and Roberson & Miller stamp to verso, 52 x 63 cm (20 1/2 x 24 3/4 ins), antique-style frame (62 x 73 cm) (1)

£200 - £300

Lot 144

147* East (Alfred, 1844-1913). Stow on the Wold, oil on board, painted monogram lower left, label to frame verso with title, artist and address in ink, also with 'AE' monogram printed in red, board size 16.3 x 24 cm (6 1/2 x 9 1/2 ins), in a gilt wood frame with artist's name plate to lower portion (32 x 39.5 cm)

Sir Alfred East painted in the Cotswolds working from his studio in Upper Swell near Stow on the Wold. Born in Kettering, Northamptonshire he ﬁrst worked for the family shoe-making business, later studying at the Glasgow School of Art and becoming a professional landscape artist in his late thirties. He was elected an Associate of the Royal Academy in 1899, having been a regular exhibitor since 1883 and elected to full membership in 1913. He was also president of the Royal Society of British Artists, a position he held until his death in September 1913. (1)

£500 - £800

149* Bundy (Edgar, 1862-1922). The Dreamer, 1898, oil on wood panel, signed and dated lower left, with old black auction stencil to verso 286BE, with later chalk number SS913, 39.5 by 28.5cm (15 1/2 by 11 1/4 ins), period gilt frame, glazed (some losses to frame)

Provenance: Collection of the late Christopher Foyle, Beeleigh Abbey. (1)

£400 - £600

148* French School. Still Life on a Mossy Bank, circa late 19th century, oil on canvas, indistinctly signed lower left ‘...tine Thuret’(?), a basket of various ﬂowers including primula, gladioli, campanula, rose, and lily sit at the foot of a tree, with grapes and a melon beside, with butterﬂies and other insects nearby, canvas relined and minimally cropped, some light wear, canvas size 68.5 x 97 cm (27 x 38 1/4 ins), framed (82 x 111 cm) (1)

£300 - £500

150* Fox (John Shirley, 1860-1939). Highland Cattle and a Sheep by the Water, circa 1910, oil on canvas, signed lower right, canvas verso with faded ink stamp of Reeves & Sons Limited, Prepared Canvas, London, 61 x 91.5 cm (24 x 36 ins), period gilt frame, glazed (89.5 x 120 cm) (1)

£200 - £300

151* Miers (John, 1756-1821). Portrait of John Foxcroft, circa 1785, oval head and shoulders silhouette portrait, painted in black on plaster, profile to right, somewhat scratched, verso with original artist’s label “Perfect Likenesses in miniature profile, taken by J.Miers, LEEDS, and reduced on a plan entirely new ...”, mount aperture 85 x 70 mm (3 3/8 x 2 3/4 ins), period ebonised wood frame with inset oval gilt metal surround, and hanging loop, glazed, frame verso with clear plastic cover taped at edges, and 20th century ink manuscript label detailing the sitter, overall size 15 x 12.5 cm, together with English School, Portrait of Eliza Talbot (c.1768-1855), circa 1790, oval head and shoulders portrait miniature, watercolour on paper, few light foxing spots, very slightly cockled, verso with later pencil annotation ‘...Eliza Talbot afterwards Mrs Lister Kaye’, mount aperture 85 x 68 m (3 3/8 x 2 5/8 ins), period ebonised wood frame with inset oval gilt metal surround, and hanging loop, glazed, verso with mordern card covering, overall size 15 x 12.25 cm, plus another oval head and shoulders silhouette portrait, early 19th century, painted in black, grey and blue on paper, of a fashionable lady in a bonnet, profile to right, mount aperture 85 x 70 mm (3 3/8 x 2 3/4 ins), verso with partly illegible pencil annotation ‘Polly Bertroot’?, period framed and glazed (as above), overall size 15 x 12 cm

Provenance: The Robertson-Glasgow family of Hinton Charterhouse, by descent. These items have all remained within the same family from the time they were produced, some 242 years.

John Foxcroft, born in 1757, was the son of Edward Foxcroft, and brother to Eliza and Frances.

152* Pocock (Nicholas, 1740-1820). Palladian Bridge, Prior Park, watercolour and wash on wove paper, window mounted, inscription to sheet verso in pencil ‘Palladian Bridge Prior Park’, copy of a Sotheby’s catalogue entry to frame verso, sheet size 18.3 x 24.8 cm (7 x 9 3/4 ins), framed and glazed (40 x 45.5 cm)

Taken from an album of forty-eight watercolours by Nicholas Pocock of views of Wales, the Lake District, the Isle of Wight, and southern England. The complete album sold at Sotheby’s on 13 November, 1980, lot 54. (1)

£200 - £300

Eliza (born Elizabeth) Talbot was the daughter of Colonel Richard Talbot, and his wife Margaret (nee O’Reilly), 1st Baroness Talbot of Malahide, Dublin. Eliza ﬁrst married George Waters Mellifont in 1796, and then in 1844 she married Ellis Cunliffe-Lister-Kaye (his third wife). (3)

£200 - £300

153* British School. Portraits of Henry VIII and other Tudor Nobility, circa 1800, a group of 19 miniature portraits, gouache and watercolour on ivory, portraying various 16th and 17th century aristocrats, including 3 miniatures of Lady Jane Grey, also including Mary Queen of Scots, Lady Arabella Stuart, Henry Lord Darnley, and others, each glazed (Lady Howard lacking glazing) and with rectangular metal frame, the frames with engraved captions, many portraits with pencilled inscription to frame verso, some with folded ink manuscript note inserted, stating sitter and sometimes with additional information regarding the portrait, some dirt ingress to most, Lady Howard soiled and rubbed, with 2.5 cm split to lower left corner and shorter split to upper left corner, some frames with slight corrosion or staining, frame apertures 159 x 96 mm (6 1/4 x 3 3/4 ins) and smaller, mounted together in two matching velvet covered and scallop-edged multi-aperture wood frames (53 x 39 cm), each with stand at rear and metal hanging loop, velvet worn and soiled, several miniatures detached

Four of the detached miniatures were found to have a folded ink manuscript note inserted between the ivory and the backing card. Written in a calligraphic hand, the notes give some additional information, for example one note reads: Historical Portrait, Lady Portland ob.1630, Original by Sam Shelley in the possession of the late G. Drummond Esqr at Stanmore, painted on ivory, facsimile. Another note reads: Historical Portrait, Lady Gresham ob 1574, after Hans Holbein, painted on ivory. Whether there are further notes hidden inside the other miniatures that are still attached to the group frame is unknown.

The other portraits not already mentioned comprise: Jane Shore, Countess of Devonshire, Edward 6th, Lady Herbert Cherbury, Lady Bacon, Countess of Surrey, Blanch Somerset.

Ivory Act 2018 self-declaration submission reference: EGR5WXWV. (19) £300 - £500

154* After Joshua Reynolds (1723-1792). Charles James Fox, circa 1800-1820, oval head and shoulders portrait miniature, watercolour heightened with white bodycolour, on ivory backed with thin card with cream laid paper backing, tiny ﬂake of paint loss to left shoulder, frame aperture 68 x 55 mm (2 3/4 x 2 1/8 ins), period ebonised wood frame, with inset oval gilt metal surround and decorative hanging loop, glazed, frame verso with framer’s name: W. Hill & Co., Birm’m, with crown mark above, 13 x 11 cm

The original painting by Reynolds dating from 1784 on which this portrait is based, is in the collection of the Earl of Leicester at Holkham Hall, Norfolk. Charles James Fox (1749-1806) was a long standing British Whig statesman whose career in politics spanned 38 years, predominantly as a member of the opposition. He served as Britain’s ﬁrst foreign secretary in 1782, and took up this ofﬁce three more times during his lifetime. An opponent of George III, Fox was a supporter of the French Revolution, an anti-slavery campaigner, and an advocate for religious tolerance.

Ivory Act 2018 exemption submission reference: YX9NSRL8. (1)

£200 - £300

155* Smith (John ‘Warwick’, 1749-1831). Views of Grove Park, Warwickshire, four original pencil drawings, depicting Grove Park, Warwick from Grove Park, and Grove Park Warwick, each with title in pencil to lower margin, some mount staining, one with small brown ink stain, 17.3 x 29.1 cm (6 3/4 x 11 1/2 ins) mount apertures, all in matching frames (39 x 51 cm)

(4)

£200 - £300

156* Rodbard (H., late 18th-early 19th century). Anne Sarah Rodbard, 1803, watercolour with coloured chalks on paper, heightened with touches of white bodycolour, a half-length portrait in proﬁle, of a young woman in a white dress, signed and dated lower left, some faint foxing spots (mainly to left edge), oval mount aperture 203 x 165 mm (8 x 6 1/2 ins), gilt framed and glazed (36 x 31 cm), verso with attached 20th century ink manuscript label detailing the sitter

Provenance: Robin Robertson-Glasgow of Hinton Charterhouse, by descent (great-great-great grandson of Anne Sarah Rodbard, d.1857).

This work has remained within the family of Anne Sarah Rodbard since it was made by H. Rodbard, some 221 years. In 1804, the year after this portrait was taken, Anne married James Talbot (1767-1850). After James gained his Batchelor’s degree from Trinity College, Dublin in 1788, he joined the diplomatic service and for several years was involved in highly sensitive and covert activities on the continent. He and Anne had 13 children together, living initially in France and Italy, before moving back to Anne’s family home at Evercreech House, Somerset. When his brother died in 1849, James became the 3rd Baron Talbot of Malahide (near Dublin, Ireland), and Anne was then styled as Baroness Talbot of Malahide. (1)

£300 - £500

157* Hodges (Frances Sarah, née Martin, 1809-circa 1875). The Promenade on Clifton Hill with a View of the River Avon, & Looking towards the Observatory from Leigh Woods, two small scale watercolours with pencil, both signed lower left, mount aperture 10.7 x 15 cm (4 1/2 x 5 5/8 ins), the ﬁrst with handwritten label by the artist to verso in ink ‘The Promeade on Clifton Down, with view of the River Avon. Painted from nature by F. S. Hodges’, both in matching frames, glazed (15.5 x 20 cm)

Provenance: Estate of Martin R. Davies, Bristol (owner’s documentation regarding these two views supplied with this lot, including a letter from Francis Greenacre of the City of Bristol Museum and Art Gallery, dated 11 April 1991).

Fanny Sarah Martin, sister of Captain Robert Francis Martin, married Frederick Collard Hodges, a music teacher. In 1864 she registered her copyright in four lithographs of Clifton views, with the address 13 Richmond Hill, Clifton.

(2)

£400 - £600

158* Dighton (Denis, 1792-1827). Portrait Sketch of Sir Evan Macgregor (1785-1841), Governor General of the Windward Islands, watercolour and pencil on paper, inscribed with the subject in pencil to lower right margin, horizontal crease to the lower half of the sheet, period elaborately decorated black and gilt moulded frame, glazed, with detailed annotations to verso in ink by Arthur Jaffé, sheet size 22 x 15.5 cm (8 5/8 x 6 ins), together with another similar portrait sketch, presumably of the same sitter, in pencil and partial watercolour on paper, by the same artist, period black and gilt frame, glazed, sheet size 173 x 122 mm (6 3/4 x 4 3/4 ins) (2)

£300 - £500

Lot 156

Lot 157

159* Nicholson (Francis, 1753-1844). St Vincent’s Rock and the Hot Wells, Bristol, watercolour with traces of pencil on paper, titled by the artist in brown ink to verso ‘St. Vincents rock and the hotwells, Bristol’, pale mount stain, sheet size 21 x 30 cm (8 1/4 x 11 3/4 ins), mounted, framed and glazed, with artist’s name plaque to lower edge of the frame (36 x 44.5 cm)

Provenance: Estate of Martin R. Davies, Bristol. (1)

£1,000 - £1,500

160* Dempsey (John, 1802-1877). 4 Well known Characters; in Bristol. Sketched in 9 minutes; by J. Dempsey, Lower Arcade, Decr. 16, 1840, watercolour and pencil sketch on wove depicting four Indian gentlemen in silhouette proﬁle, in traditional Bengali dress of panjabis and turbans, with gilt highlights to their hair, two holding papers in their hand and one walking with a stick, with manuscript title caption and date by the artist to lower right corner of the image, 232 x 245 mm (9 1/4 x 9 5/8 ins), window-mounted

John Church Dempsey (1802–1877), an artist without formal training, specialised in street portraiture. He operated a stationery shop in Bristol, but was declared bankrupt in 1845, at which point his effects were seized. He became semi-itinerant, creating ‘Likenesses of Public Characters’, primarily portraits in silhouette. He travelled around the country in search of commissions for portraits, including London and provincial cities as far aﬁeld as Norwich and Durham.

This unusual multiple silhouette portrait depicts a delegation of four Indian gentlemen who visited Bristol in 1840 to make arrangements for the reinterment of the remains of the Hindu reformer, ecumenical philosopher and founder of the Brahmo Sabha movement, Raja Ram Mohan Roy, who had died in Bristol in 1833. Roy is buried in Bristol's Arnos Vale Cemetary where his Indian-style tomb is still revered.

161* Danby (Francis, 1793-1861). St Vincent’s Rocks with the Lime Kiln and the Hotwells, circa 1815, watercolour, heightened with touches of bodycolour, 25 x 40 cm (9 3/4 x 15 3/4 ins) mount aperture, framed and glazed (47 x 60.5 cm), with artist’s name plaque to lower edge of the frame

Provenance: Francis Greenacre, Clifton, Bristol, by 1999; Purchased by Martin R. Davies from Francis Greenacre, 6th March 1999 (£1750); Estate of Martin R. Davies, Bristol (owner’s purchase documentation included with this lot).

The present work is described in David Hansen, Dempsey's People: A Folio of British Street Portraits 1823-1844, Canberra, Australian National Portrait Gallery, (2017), pages 17-18, and reproduced on page 66. (1)

£1,000 - £1,500

Stylistically this watercolour dates from circa 1815, two years after Danby’s arrival in Bristol. Danby had trained in Dublin and in 1813 visited London with his fellow artists James O’Connor (1792-1841) and George Petrie (17891866). They were there only a few weeks before they ran out of money and Danby and O’Connor walked to Bristol with the intention of ﬁnding a boat to take them back to Ireland. However he found in Bristol a market for his landscapes and portraits and resolved to stay a while. In 1824, he moved to London and ﬁrst exhibited at the Royal Academy in 1817. (1)

£800 - £1,200

Lot 159 Lot 160

162* Harford (John Scandrett, 1787-1866). View of Rome from Tower of Capitol, 1816, ﬁne panoramic pen, black ink and watercolour on four conjoined sheets of laid paper, laid down on original brown backing paper, with double rule brown ink ruled outer border, signed lower left and titled and dated to lower right, pale backboard stains, and a few spots, 47.5 x 84.5 cm (18 3/4 x 33 1/4 ins), gilt framed, glazed

An impressively detailed panorama of Rome from the Vatican, probably executed by Harford with the aid of a camera lucida, and showing part of the city since demolished. John Scandrett Harford F.R.S. (1787-1866) was the son of a Bristol banker and manufacturer, and owner of the Blaise Castle estate near Bristol. He was an accomplished artist and member of the Academy of Painting of St. Luke in Rome. His ﬁrst visit to the city took place in 1815, when he sought the assistance of Pope Pius VII in suppressing the Spanish and Portuguese slave trade. Harford visited the city again in 1846 and 1852, primarily to collect materials for his biography of Michelangelo (1857), the ﬁrst to be published in English.

Provenance: Private Collection, Bristol. (1)

£1,000 - £1,500

163* Rajasthan School. Radha Krishna seated, with cow and lion in the foreground and trees above, pen, black ink and opaque watercolour on thin card, heightened with gold, within an orange border, image size 22 x 16.3 cm, overall size 30 x 23.5 cm, framed and glazed (frame size 32 x 25.5 cm), together with a group of seven other Indian miniatures, including Two Kneeling Women, late 19th/early 20th century, ink and watercolour, heightened with gold and white on older paper, depicting two women kneeling on the ground by an ornately carved building, in a garden setting, Islamic text to upper and lower portions of the sheet, image size 14.2 x 10 cm (5 1/2 x 4 ins), mount aperture 23.5 10.4 cm (9 1/4 x 4 1/4 ins), framed, plus Two Figures, gouache, ink and wash, two ﬁgures in a domestic scene, one cooking the other outside with a fan in their hand, closed tear to upper right of image, secured to mount in two places, image size 21 x 9.5 cm (8 1/4 x 3 3/4 ins), sheet size 24 x 11.5 cm, framed, and four Indian miniatures of various domestic scenes, all framed. (8) £200 - £300

Lot 162

164* Silhouette Portraits. Silhouette portrait of John Dalton (17661844), circa 1820, left-facing profile, inscribed ‘John Dalton DCL, FRS’ beneath, sheet size 10 x 6.5 cm (4 x 2.5 ins), framed and glazed with modern label to verso stating ‘Silhouette drawn from the life’, together with a pair of silhouettes of an unidentified man and woman, probably husband and wife, c. 1820, left-facing profiles, black watercolour with white and gilt highlights on buff paper, images 8.5 x 7 cm (3.75 x 2.75 ins), plus an oil miniature on card of a young boy in a brown coat, early 19th century, image 7 x 5.5 cm (2.75 x 2.25 ins), black-stain wall mounts with gilt oval apertures and eye hook, modern labels to versos, plus a pencil sketch of an unknown Quaker woman by an unknown artist, early to mid 19th century, pencil on paper with traces of pink highlights, 11 x 7.5 cm (4.75 x 3 ins), plus 3 framed reproduction portraits and a three-quarter length albumen print portrait of Alfred Binyon (1800-1856), 18 x 13.5 cm (7 x 5.75 ins), framed and glazed

Provenance: From the family of Martha Spriggs (1777-1866), by direct descent. Most of these portraits are identiﬁed with modern labels to frame versos as having belonged to one or other member of the Binyon family. Alfred Binyon was a calico printer of Manchester and Kendal; grandfather of the poet Laurence Binyon. (9)

£200 - £300

Provenance: Estate of Martin R. Davies, Bristol. (1)

165* Varley (John I, 1778-1842). Landscape with tree and castle in the distance, circa 1820, watercolour and pencil on paper, signed lower right, some light overall toning, 18 x 12.5 cm (7 x 5 ins), framed and glazed, old gallery label of Leggatt Brothers, 30 St James’ Street, London, to verso and manuscript label with name of Natta L. Varley dated 1945 pasted below (1)

£300 - £500

166* Varley (John, 1778-1842). Philae, watercolour with traces of pencil on card, signed lower left, sheet size 25.5 x 55 cm (10 x 21 3/4 ins), modern gilt frame, glazed (44 x 70.5 cm)

£700 - £1,000

167* English School. Portrait of Edward Cock, 21 Jan 1822, watercolour with traces of pencil, and gouache, head and shoulders portrait, half-proﬁle to left, a young man wearing a bluegray coat, high white collar with blue tie and black waistcoat, initialled L. J. and dated to right edge, 109 x 86 mm (4 1/4 x 3 3/8 ins), mount painted onto glaze, framed (20 x 18 cm)

168* Attributed to Cornelius Beris Durham (1809-1884). Major Robert Martin (circa 1782-1855), late of the Ceylon Rifles, 1827, fine oval head and shoulders portrait miniature, watercolour heightened with white bodycolour, on ivory backed with paper, frame and backing card versos with extensive near contemporary ink manuscript inscriptions detailing the military career of the sitter, and his address: 4 Prospect Terrace, Douglas, Isle of Man, together with A Junior Officer in the British Army, probably the son of Major Robert Martin, 1840, fine oval head and shoulders portrait miniature, watercolour heightened with white bodycolour, on ivory backed with thin card (now detached), the card with contemporary ink manuscript ‘Cornelius Durham, 100 Strand, London, May 1840’, plus Portrait of a Young Girl, probably the daughter of Major Robert Martin, circa 1840, fine oval head and shoulders portrait miniature, watercolour on ivory backed with thin card, portraying a young girl in a blue-green dress with large puffed sleeves, frame apertures 71 x 57 mm (2 3/4 x 2 1/4 ins), uniformly framed in period wood frames with inset oval gilt metal surround, and hanging loop, glazed, some losses to frame edges, each 15 x 12.5 cm

Major Robert Martin: The inscription on the frame verso reads: This portrait was taken in 1827 when the Major was 45 years of age, he died 20th June 1855 age 73 at 6.30am, 4 Prospect Terrace, Douglas, Isle of Man.

The inscriptions on the backing card verso read: Major Robert Martin late of the “Ceylon Riﬂes”, 49 years in H.M. Service, Ensign “The Loyal Nottingham Fencibles” 2nd June 1801, Ensign 62nd Regiment 15th August 1804, Lieutenant 62nd Regiment 28th March 1805, Captain 62nd Regiment 21st November 1816 ... Major “Ceylon Riﬂes” [on reduction] 1847, Retired from the Service 1849, Campaign in Egypt - 8 years in the Field in SicilyTaking of Genoa 1814 - Two Campaigns in America and the taking of Castine & its dependencies on the river Penobscot. India, China and stationed at every British Colony except Australia.

Ivory Act 2018 self-declaration submission reference: PX4GRRPX. (3)

£700 - £1,000

£200 - £300

Edward Cock (1805–1892) was a British surgeon. A nephew of Sir Astley Cooper, he became a member of the staff of the Borough Hospital in London at an early age. He worked in the dissecting room for 13 years and then went on to become an assistant surgeon at Guy’s hospital in 1838. He rose through the ranks to reach consulting surgeon in 1871. During 18431849 Cock published many papers, and pioneered many techniques including opening the urethra through the perineum. He was an excellent anatomist, operator and writer, and though suffering from a stutter he used it to his advantage when lecturing with humorous effect. (1)

169* Cox (David, 1783-1859). Stormy Landscape, black and grey wash on thick wove paper, laid onto later printed newspaper backing, of a mountain landscape with castle ruin, signed lower right, sheet size 23.5 x 34 cm (9 1/4 x 13 3/8 ins), 20th century pencil annotation to verso quoting the attribution of this work to David Cox by A. E. Whitley, Birmingham Art Gallery, dated 1942, framed and glazed (42 x 51.5 cm)

Pencil note to verso reads "'Of the three monochrome drawings which you have, there is no doubt the romantic looking sketch of a landscape with a castle is by Cox. I am however not sure of the authorship of the others' A.E. Whitley, Birmingham Art Gallery 24.7.1942". Alfred Eric Whitley (1901-1945) was Deputy Director and Keeper of the Department of Paintings, Drawings, Prints and Sculpture at Birmingham Museum and Art Gallery. (1)

£300 - £500

171* Oakley (Octavius, 1800-67). Portrait of a Lady, circa 1830, watercolour, depicting a woman wearing a white dress and pale blue stole, her fair hair in ringlets tied with blue ribbon, sitting in a pink upholstered chair, 29 x 23 cm (11 3/8 x 9 ins) mount aperture, framed and glazed (42 x 36 cm)

Provenance: Bonhams, Knightsbridge, Fine Portrait Miniatures, 20th May 2009, lot 140 (a group of three watercolours). (1)

£200 - £300

£150 - £200

170* Nesﬁeld (William Andrew, 1793-1881). Mount Lachlau, watercolour heightened with bodycolour, on paper laid on card, a mountainous landscape, with ﬁgures on a road crossing a river on a wooden bridge, mount aperture 272 x 360 mm (10 3/4 x 14 1/4 ins), framed and glazed (47 x 55.5 cm), verso with printed label Heather Newman, Painswick, Gloucestershire, including typewritten artist and title details and ‘Inscribed on original mount’ (1)

172* Müller (Edmund Gustavus, 1836-1871). Coombe Dingle, 1834, watercolour heightened with touches of bodycolour on paper, signed, titled and dated lower left, sheet size 26 x 37 cm (10 1/4 x 14 1/2 ins), gilt frame with artist’s name plaque to lower edge of the frame, glazed (41.5 x 53 cm), framer’s label of H & R Dahne, Clifton, to verso

Provenance: Estate of Martin R. Davies, Bristol. (1)

£200 - £300

173* British School. A Mosque at the waterside, Constantinople, circa 1835-1840, ﬁne watercolour heightened with white and gum arabic on wove paper, sheet size 9.3 x 13.6 cm (3 3/4 x 5 1/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘144 / British circa 1835-40 / An Islamic Temple mosque at the Waterside - Constantinople? / Watercolours’, top of sheet a little toned, mounted, framed and glazed (26.5 x 31 cm), together with Constantinople, circa 1835-1840, ﬁne watercolour heightened with white and gum arabic on wove paper, sheet size 9.3 x 13.6 cm (3 3/4 x 5 1/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘142 / British circa 1835-40 / Constantinople / Watercolours’, some toning to edges of sheet, mounted, framed and glazed (27 x 31 cm) (2)

£400 - £600

174* British School. Padua, circa 1835-1840, ﬁne watercolour heightened with white and gum arabic on wove paper, sheet size 13.6 x 9.4 cm (5 1/4 x 3 3/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘112 / British circa 1835-40 / Padua / Watercolours’, mounted, framed and glazed (31.5 x 26.5 cm), together with In the Forum Romanum, circa 1835-40, ﬁne watercolour heightened with white and gum arabic on wove paper, sheet size 9.4 x 13.6 cm (3 3/4 x 5 1/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘126 / British circa 1835-40 / In the ‘Forum Romanum’ / Watercolours’, a little toned, mounted, framed and glazed (27 x 31 cm) (2)

£300 - £500

175* British School. Temple of the Sybil, Tivoli, circa 1835-1840, ﬁne watercolour heightened with white and gum arabic on wove paper, sheet size 9.4 x 13.5 cm (3 3/4 x 5 1/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘124 / British School circa 1835-40 / Temple of the Sybil Tivoli / Watercolours’, mounted, framed and glazed (27 x 31 cm), together with Ginsano, circa 1835-1840, ﬁne watercolour heightened with white and gum arabic on wove paper, sheet size 9.4 x 13.6 cm (3 3/4 x 5 1/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘140 / British circa 1835-40 / Ginsano / Watercolours’, mounted, framed and glazed (27 x 31 cm) (2)

£300 - £500

176* British School. The Vermillion Towers, Granada, circa 18351840, fine watercolour heightened with white and gum arabic on wove paper, sheet size 15.1 x 9.9 cm (6 x 4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘113 / British circa 1835-40 / The Vermillion Towers - Granada / Watercolours’, some light toning to edge of sheet, mounted, framed and glazed (31.5 x 26.5 cm), together with Bridges of Ronda, Granada, circa 1835-1840, fine watercolour heightened with white and gum arabic on wove paper, sheet size 13.1 x 9.4 cm (5 x 3 3/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘108 / British circa 1835-40 / Bridges of Ronda - Granada / Watercolours’, mounted, framed and glazed (31.5 x 26.5 cm), plus Granada, circa 1835-1840, fine watercolour heightened with white and gum arabic on wove paper, sheet size 9.4 x 13.6 cm (3 3/4 x 5 1/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘ 135 / British circa 1835-40 / Granada / Watercolours’, light toning to top of sheet, mounted, framed and glazed (27 x 31 cm), (3) £400 - £600

177* British School. Vicenza, circa 1835-1840, ﬁne watercolour heightened with white and gum arabic on wove paper, sheet size 13.6 x 9.3 cm (5 1/4 x 3 3/4 ins), William Drummond gallery label on verso of frame inscribed in pen and ink ‘110 / British circa 1835-40 / Vicenza / Watercolours’, mounted, framed and glazed (31.5 x 26.5 cm), together with Andernach, ﬁne watercolour heightened with white and gum arabic on wove paper, sheet size 12.2 x 8.7 cm (5 x 3 1/2 ins), some toning, mounted, framed and glazed (30 x 26 cm) (2) £300 - £500

Lot 176 Lot 177

178* Chalon (Alfred Edward, 1780-1860). Portraits of a Young Gentleman and Lady, 1836, a pair of chalk portraits on buff corner trimmed paper, the lady signed and dated lower left, sheet size 29.5 x 24 cm (11 5/8 x 9 3/8 ins), both with matching mounts and frames (55 x 46.5 cm) (2) £200 - £300 Lot 179

179* Edouart (Augustin, 1789-1861). Five silhouette portraits of the Spriggs family, 1837, black paper cut-outs on off-white paper, signed and dated by the artist at foot of each, one somewhat spotted, being portraits of William Spriggs surrounded by his four children Hester Savory, Lydia, William and Martha Anna (later Binyon), neatly mounted together as a group, framed and glazed, 33 x 36 cm, together with 13 other silhouettes of various members of the Spriggs and Binyon families, including Thomas Wakeﬁeld Binyon & Edith Elizabeth Crosﬁeld (mounted as a pair), William Spriggs, Arthur Spriggs, Martha Anna Spriggs, Martha Knight (x2), Thomas Binyon (x2), Benjamin Binyon, Margaret Binyon and Joseph Petley, mostly early to mid 19th century, various frames, glazed Provenance: Family of Martha Spriggs (1777-1866), by direct descent. (18) £400 - £600

180* Jackson (Samuel, 1794-1869). Looking up the Avon from below Kingsweston Down with Sea Mills and Cook’s Folly, watercolour with traces of pencil, 27 x 37 cm (10 5/8 x 14 1/2 ins) mount aperture, gilt frame, glazed (43 x 53 cm), with printed gallery label of David A. Cross, 3a Boyces Avenue, Clifton, Bristol 8

Provenance: Estate of Martin R. Davies, Bristol. (1) £1,000 - £1,500

Each lot is subject to a Buyer’s Premium of 20% (Lots

181* Jackson (Samuel, 1794-1869). St Vincent’s Rocks from Nightingale Valley near Bristol, watercolour heightened with white bodycolour, mounted on modern backing card, sheet size 208 x 295 mm (8 1/8 x 11 5/8 ins), gilt frame, glazed (39 x 47 cm), with Spink stock label (K3 6301) and typewritten description to verso

Provenance: Christie’s, London, 14th June 1977, lot 131; Spink & Son Ltd., King Street, St James’s, London, SW1, from whom purchased by Martin R. Davies, May 1978; Estate of Martin R. Davies, Bristol. (1)

£1,000 - £1,500

182* Jackson (Samuel, 1794-1869). The Avon from Durdham Down with Cook’s Folly, looking towards Portishead Point and the Bristol Channel, ﬁne watercolour with traces of pencil, 22 x 29 cm (8 5/8 x 11 3/8 ins) mount aperture, with Heather Newman Fine Quality Early English Watercolours gallery label to verso (erroneously giving the artist’s dates as 1830-1904), framed and glazed (44 x 50.5 cm)

Provenance: Heather Newman Fine Quality Early British Watercolours, Painswick, Gloucestershire; Estate of Martin R. Davies, Bristol. (1)

£1,000 - £1,500

183* Jackson (Samuel, 1794-1869). Cheddar Gorge, watercolour with traces of pencil on paper, with inscription in pencil by the artist to verso ‘Cheddar. Samuel Jackson, Senr.’, gallery label of Martyn Gregory, 34 Bury St. St. James’s, London, SW1’ to verso, facsimile copy (in a contemporary hand) of old attribution label also to verso, additional pencil sketch to verso, sheet size 12 x 19 cm (4 3/4 x 7 1/2 ins), framed and glazed (26 x 34 cm)

Provenance: Martyn Gregory, 34 Bury St., St James’s, London, SW1, by 2005; purchased by Martin R. Davies from Martyn Gregory; Offered Bonham’s, Bath, Wales and West Country Sale, 20th June 2005, lot 331; Estate of Martin R. Davies, Bristol. (1) £600 - £800

184* Pyne (George, 1800-1884). A View of Boppard on the Rhine near Coblenz, early 1840s, ﬁne watercolour heightened with white and gum arabic on wove paper, signed, sheet size 11.9 x 8.8 cm (4 3/4 x 3 1/2 ins), typed information label to verso, mounted, framed and glazed (30 x 26 cm) (1)

£200 - £300

185* Strudwick (John Melhuish, 1800-1862). Three Studies: Portrait Study of a Woman in Three Quarter View: and Studies of a Woman bending forward, left leg raised, nude and draped; with a Proﬁle Portrait study of a Woman, verso; and Studies of a draped Youth, seated in contemplation, and a Hand; with a Sketch of a Nude Woman standing in a picture gallery verso, pencil on thick wove paper, a few pale stains, some discolouration and surface dirt, the second and third with a short tear, the ﬁrst two 255 x 357 mm., the third 354 x 250 mm

We are grateful to Scott Thomas Buckle for this attribution. He notes that “The left hand study is possibly for Passing Days, the middle one appears to be an early idea for Love and Time (although the artist used a male ﬁgure in the ﬁnished composition), and the right hand study is for Isabella.” (3)

lot is subject to a Buyer’s Premium of 20%

£2,000 - £3,000

186* Circle of Peter De Wint (1784-1849). Cornfield, Ivinghoe, Buckinghamshire, watercolour on laid paper, depicting figures harvesting wheat, Ivinghoe Church and the Chiltern Hills visible in the distance, some spotting to sky area, sheet size 22 x 45.5 cm (8 5/8 x 17 7/8 ins), faint pencil note to verso 'De Wint', windowmounted (37 x 60 cm), 20th century handwritten note to verso 'Peter de Wint (from the collection of Iolo Williams)', together with another large-scale watercolour in the manner of Peter De Wint, of The Warren at Minehead, 1843, showing figures working their market garden, the coastline and hills of Minehead visible in the distance, some overall toning 47 x 71.5 cm (18 1/2 x 28 1/8 ins) mount aperture, framed and glazed 67 x 90.5 cm, later typed note 'Inscribed verso: Warren at Minehead Somersetshire/... de Wint/ Feby.18 1843' to verso

187* Binyon Family Portraits. A pair of half-length portraits of Rachel and Thomas Binyon, by William Vandyke Patten (active 1844-1871), August 1845 & 1847, pencil with red highlights on wove paper, signed and dated to lower margins, uniform overall toning to paper of ﬁrst portrait and some light toning to paper of second portrait, 30.5 x 25 cm (12 x 10 ins), matching maplewood frames, glazed, 42 x 37 cm

Provenance: from the family of Martha Spriggs (1777-1866), by direct descent. The sitters are Thomas Binyon (1795-1865) of Manchester and Worcester and his second wife, Rachel Arch (1817-1845).

(2)

£150 - £200

188* Metford (Samuel, 1810-1896). A group of three silhouettes of three adult members of the Binyon family, 1846, black paper cutouts with white highlights, all full-length in proﬁle to the right, against identical lithographic scenes of a drawing room with a boat seen through the window behind, each signed and dated by the artist at Manchester in brown ink lower left, some spotting, 27 x 17.5 cm, framed and glazed

£300 - £500

Provenance: (Cornﬁeld, Ivinghoe, Buckinghamshire, according to pencil inscription on backing board): Iolo Aneurin Williams (1890-1962), collector and author of Early English Watercolours and Some Cognate Drawings by Artists born not later than 1785 (London: Connoisseur, 1952). The original De Wint watercolour of Cornﬁeld, Ivinghoe, is in Tate Britain: The large view of the Warren at Minehead believed to be the property of Mary Ann Roundell of Gladstone House, Yorkshire, who studied under de Wint. (2)

Provenance: from the family of Martha Spriggs (1777-1866), by direct descent. Modern manuscript labels to frame versos identify the sitters as children of Thomas Binyon and Hannah (née Smith) of Manchester: 1) Thomas Binyon (b. 23 January 1795), died in Worcester 18 May 1865. 2) Hannah Binyon (b. 26 April 1801), married 1st Nathaniel Card, 2nd Jeremiah Barrett. 3) Ann Binyon (b. 16 June 1804), married Wilson Forster of Liverpool. (3)

£200 - £300

189* Ferneley (Claude Lorraine, 1822-1892). Sketchbook, 1849-51, pocket sketchbook belonging to the artist Claude Lorraine Ferneley, with his name to front pastedown in pencil, dated Melton Mowbray April 1849, artists supplier’s small printed ticket of S. & J. Fuller, 34 Rathbone Place to front pastedown, containing 27 leaves of studies, some heightened in white chalk, of architectural ornament at Luton Church including Lord Wenlock’s Tomb, armour, coastal view at Fleetwood, Isle of Barrow, Coniston Water, Lancashire, Wormersley Hall, Shadwell Grange, Humberstone Church, Leeds, Potter Newton, several sketches of horses including Gledhow, etc., there leaves unused, pencil notes (destinations and times, and list of colours in pencil by the artist to front and rear endpaper, original dark green moroccobacked cloth, with handwritten paper label to cover ‘Sketches Luton & c. 1849 Claude L. Ferneley 1822-1892’, rubbed, 9 1/2 x 13 1/2 cm Claude Lorraine Ferneley was the son of the animal painter John Ferneley. A collection of sketchbooks by both father and son is held by the British Museum, Department of Prints and Drawings.

(1)

£200 - £300

190* British School. Mrs Dalgairns [and] Lizzie Ornsby, née Dalgairns, circa 1840-1850, a pair of three-quarter length portraits, watercolour on paper, the ﬁrst portraying a seated lady holding a book, the second depicting a lady standing in the grounds of a house, wearing a blue dress and holding a book, Mrs Dalgairns with some foxing spots to background (slightly affecting headdress), Lizzie Ornsby with some darkening to skin and clothing, mount apertures 502 x 356 mm (19 3/4 x 14 ins) and 492 x 365 mm (19 3/8 x 14 3/8 ins) respectively, uniformaly gilt window mounted and framed (67 x 51.5 cm and smaller), Lizzie Ornsby glazed, both versos with typewritten label

The typewritten labels on the frame versos read: Mrs Dalgairns, née Dobrée, of The Rosaire, Guernsey, [and] Lizzie Ornsby, née Dalgairns, daughter of Captain Dalgairns.

Elizabeth Dalgairns (1819-1898) was born in St Peter Port, Guernsey to William Dalgairns (1786-1869) and Caroline Dobrée (1798-1852, of an old Guernsey landowning family). Elizabeth married Robert Ornsby (1820-1889) with whom she had one child: Harriet Lowe Ornsby (1848-?). Elizabeth died in Dublin, Ireland. William Dalgairns was an ofﬁcer in the Scots 7th Fusiliers during the Peninsular War - a Lieutenant rather than a Captain.

Robert Ornsby was a Fellow of Trinity College, and later a Professor in the Roman Catholic University of Ireland. Both he and John Dobrée Dalgairns (brother to Elizabeth) were contributors to John Henry Newman's 'Lives of the English Saints'.

(2)

£200 - £300

191* Scottish School. Edinburgh Castle, 19th century, watercolour on paper, heightened with white, a view of Edinburgh Castle possibly from Grassmarket, margins laid down to mount, partial inscriptions ‘Edinburgh’ in pencil and ‘From(?) ? Alfred’ in ink to verso, some toning, sheet size 25 x 22 cm (9 3/4 x 8 3/4 ins), framed and glazed (47.5 x 44.5 cm) (1)

£200 - £300

192* Wageman (Thomas Charles, 1787-1863). Charlotte Hind (1799-1829), husband of John Blayds (d. 1827), daughter of Martin Hind (d. 1841) of Newton Green, Leeds, pencil and watercolour, signed by artist bottom left, titled in pencil bottom right ‘Mrs J Blayds’, mount aperture 20.5cm x 17.5cm (8” x 6.75”), framed and glazed, together with an unidentiﬁed artist’s portrait in pencil and watercolour of Grace Hind (nee Treacher, daughter of Sir John Treacher of Oxford), spouse of Reverend Richard Hind (1738-1790), vicar of St Ann’s, Soho. date of painting under mount details 1832 when the sitter was 75 years of age, further inscription bottom right reading ‘Henley...’, mount aperture 22cm x 17.5 cm (8.7” x 6.8”), framed and glazed.

(2)

£200 - £300

193* Gilbert (Sir John, 1817-97). Portarait of a Woman in a black gown, 1851, coloured chalks, depicting a well-dressed victorian lady in a black gown with lace off the shoulder edging, ﬂowers pinned to the middle of her bust, signed and dated lower left, 54 x 40.5 cm (21 1/4 x 16 cm) mount aperture, in antique-style gilt frame with arched recess, (75 x 63 cm), old printed label for J.J. Patrickson, framers to verso

John Gilbert was a self taught artist, providing illustrations for books and publications including Punch. He exhibited widely at the Royal Academy, the Royal Watercolour Society and elsewhere and became President of the Watercolour Society from 1871. He was knighted in 1872.

(1)

£200 - £300

194* Binyon (Benjamin, 1790-1865). ‘Reminiscences of 1798/991810 in Sugar House contiguous to Water Street, sketched and drawn by Benjamin Binyon, 1852’, watercolour on paper, presumed to show the home, (or the view from the home), on Water Street in Manchester of the family of Thomas Binyon, featuring brick houses on a cobbled street with two trees and a brick wall, with ﬁgures and dogs walking along the pavement in the foreground, a steam train visible in the left background, titled and inscribed (?by the artist) to verso, 31.5 x 46 cm (12 1/2 x 18 ins), framed and glazed Provenance: Family of Martha Spriggs (1777-1866), by direct descent.

Thomas Binyon was born in Manchester in September 1766, and was in business as a Fustian or Cotton Manufacturer at Blue Ball Court, Manchester. At his marriage to Hannah Smith on 19 August 1789 he was described as living at Royton in the parish of Oldham. Hannah and Thomas Binyon’s ﬁrst child Benjamin was born in the parish of Manchester on 10 August 1790. The next two children Edward (1792) and Mary (1793) were born at Oldham in the parish of Prestwich. The following three children Thomas (1795), Samuel (1796) and Ruth (1798) were born at Intack within Royton in the parish of Prestwich. The move to one of the houses shown in the picture – or a house from which the scene portrayed was the outlook –presumably then took place, before the birth of the remaining ﬁve children, all born in the parish of Manchester: Hannah (1801), Eliza (1803), Ann (1804), William (1807) and Margaret (1809).

The assumption that Sugar House was a residence rather than a place of business is based on the fact that at the beginning of the period mentioned in the title Benjamin Binyon the artist was only seven or eight years old, and presumably not yet at work. (His brother Thomas was at Ackworth School until the age of 14.) There are several Water Streets in modern Manchester: the most likely is Water Street, Manchester 3 which is beside the River Irwell in the centre of the city, close to the original terminus of the LiverpoolManchester Railway (now the Museum of Science & Industry) and to an area of wharves. There is also a Water Street in Salford, a short distance away on the opposite side of the River Irwell, off Chapel Street and Blackfriars Street. Benjamin Binyon was not looked on as a success by the family, but few details of his career are known. In 1817 he became a partner with his brothers, Edward and Thomas in their business as Tea and Coffee Merchants in Saint Anne’s Square, Manchester, but took no active part. He twice withdrew his capital to participate in other business ventures, the second being an Eating House: this was strongly disapproved of by the family. From his brother Thomas’s diary, it appears that he was still living in Manchester in 1846, and a visitor to his brother’s house. Benjamin died at Sevenoaks, Kent in 1865, his wife Mary, (née Waterhouse), having died in 1850. They had no children.

(1)

195* Binyon (Benjamin, 1790-1865). ‘South front view of Knole House, Sevenoaks, Kent, the Seat of Earl Am[h]erst’, circa 1855, watercolour on paper, contemporary manuscript title beneath, 27.5 x 58 cm (11 x 23 ins), framed and glazed

Provenance: from the family of Martha Spriggs (1777-1866), by direct descent.

William Pitt, 1st Earl Amherst, lived at Knowle between 1839 and his death in 1857, through his marriage to May Sackville, daughter of the 3rd Duke of Dorset. This and the painting of Water Street are the only two paintings by Benjamin Binyon known to survive. Benjamin had reproductions made of this picture, which he sold to visitors to Knowle.

(1)

£300 - £500

196* Digby (Sir Kenelm, 1795-1880). Views on the Grand Tour, 6 pen and ink drawings, depicting various Italian scenes, including: Arch of Titus, St Peter’s Basilica, Tivoli, Gaia Cestia, etc., one with description in pencil to lower left, some fraying to sheet edges, sheet size 20 x 26.2 cm (7 7/8 x 10 1/4 ins), and similar, all uniformly framed and glazed (29 x 35 cm)

(6)

£200 - £300

£300 - £500

197* Gill (Samuel Thomas, 1818-1880). Fishing on the Upper Yarra, Australia, pen, ink and sepia wash on wove paper, heightened with gum arabic, artist initials lower left, 94 x 137 mm (3 3/4 x 5 3/8 ins), laid on mount board around edges, lower right corner of mount board with artist’s blind stamp, window-mount, framed and glazed (285 x 325 mm)

Samuel Thomas Gill (1818-1880) was born in Perriton, Somerset. His father was a Baptist Minister and amateur artist who gave Gill his initial instruction in drawing. Thomas commenced employment in London as a draftsman and watercolour painter for the Hubard Proﬁle Gallery.

In 1839 Gill and his family emigrated to South Australia and established a studio in Adelaide. In 1846 he became one of the party led by J. A. Horrocks to explore the Spencer Gulf. In 1852 he travelled to the Victorian Goldﬁelds and spent the next twenty years producing drawings of Victoria and New South Wales, many of which were produced as lithographs. He also had a studio in Collins St, Melbourne and his lithographs continued to be published until the 1870s. Examples of Gill’s work including watercolour drawings and prints, are held in the National Library, Canberra, the Mitchell Library, Sydney, and the National Galleries of Victoria and South Australia, and the Art Gallery of New South Wales.

(1)

£400 - £600

198* Pyne (George, 1800-1884). Floating Harbour, Bristol, looking towards the Prince Street Bridge with St. Mary Redcliffe, 1866, pencil and watercolour on paper, heightened with white, signed and dated lower right, sheet size 25.2 x 38.7 cm (10 x 15 1/4 ins), modern gilt frame, glazed (48.5 x 60 cm) artist’s name plaque to lower edge of the frame

Provenance: Michael Danny, Watercolours and Drawings, Wellow, Bath, by 1983; Purchased by Martin R. Davies from Michael Danny, 25th January 1983 (£850); Estate of Martin R. Davies, Bristol (owner’s purchase documentation included with this lot).

(1)

£500 - £800

199* Attributed to Eugene Boudin (1824-1898). Scène de Plage, Deauville, oil sketch on thin card, unsigned, with some loss to lower right corner, and tears to left side of the composition (without loss), to verso several old numeric inscriptions in a French hand in pencil, and portion of a landscape sketch in black chalk, 125 x 230 mm (5 x 9 ins), modern paper mount, gilt frame, glazed (37 x 52 cm)

Provenance: Private Collection, Buckinghamshire. (1)

£700 - £1,000

200* Dodgson (George Haydock, 1811-1880). Coastal Landscape, 1870, watercolour, depicting a busy estuary with wooden sailing boats, a horse and cart standing on the bank with ﬁgures standing on the cart and around, signed and dated lower left, 25 x 52.5 cm (9 7/8 x 20 5/8 ins), gilt mount with artist’s name in black ink, in gilt decorative frame (43.5 x 71 cm), Cotman Gallery label to verso

Provenance: Vendor’s grandparents purchased from the Dowager House, Little Ingestre from the Earl of Shrewsbury’s estate in the 1960-70s. (1)

£300 - £500

201* Hunt (Alfred William, 1830-1896). Whitchurch Mill, watercolour, a view a lake looking towards a collection of buildings on the right, on the left a group of ﬁgures working the land, 23 x 37 cm (9 x 14 1/2 ins) mount aperture, with title and artist’s name in black ink to gilt mount, together with Sonning Bridge, watercolour, depicting a view over a river, an arched bridge to the right, dwellings on the far side of the bank, some overall spotting, 23 x 37 cm (9 x 14 1/2 ins) mount aperture, with title and artist’s name in black ink to gilt mount, both with Cotman Gallery labels to verso, and both in matching gilt decorative frames (46 x 60 cm)

Provenance: Vendor’s grandparents purchased from the Dowager House, Little Ingestre from the Earl of Shrewsbury’s estate in the 1960-70s. (2)

£400 - £600

202* Orsi (Carlo, 1835-1894). Lavabo (washing bowl), Florence Cathedral Interior, watercolour on board, depicting a member of the church entering the Sagrestia delle Messe containing the marble lavabo created by Buggiano, signed twice in pencil and ink lower left, title in italian to verso, small chip to upper right corner, 36.3 x 26.6 cm (14 1/4 x 10 1/2 ins), framed and glazed (41.4 x 31 cm) (1)

£300 - £500

203* West Indies. Island Landscape in the Caribbean, circa 187080, watercolour with bodycolour, depicting a gentleman sitting on a rock by the shore wearing a straw hat and smoking a pipe, behind him a mountainous landscape (perhaps Grenada), mount staining and some toning, sheet size 36.8 x 50 cm (14 1/2 x 19 5/8 ins), mounted (47 x 63.5 cm) (1)

£150 - £200

204* Goodwin (Albert, 1845-1932). The Venetian Fruit Market, 1872, watercolour with bodycolour heightened with gum arabic, underdrawn in pencil, areas of scratching out, signed lower right Albert Goodwin ‘72, inscribed label to verso ‘The Venetian fruit market / Albert Goodwin / 2 Finboro Road / West Brompton / S.W. / Sold’, old auction stencil and labels to verso, T Rushworth & Sons framers’ label to verso, minor fading and some scattered spotting to the upper portion of the sheet, laid down, sheet size 51.5 x 91 cm (20 3/4 by 37 7/8 ins), framed and glazed (62 x 98.5 cm)

Exhibited: London, The Royal Watercolour Society, Winter, 1872, No. 247.

Sotheby’s, London, British Drawings, Watercolours and Portrait Miniatures, 22 November 2007, Lot 160.

(1)

£2,000 - £3,000

205* Manner of John Everett Millais (1829-1896). Portrait of Efﬁe Gray James née Millais, 1875, watercolour on wove paper, laid onto blue paper mount with oval aperture, head and shoulders portrait, half proﬁle to left, of a young girl wearing a blue bow under her white collar, her fair hair coiled and pinned up at the back of her head, monogrammed and dated 1875 lower right, aperture size 27.7 x 20.5 cm (10 7/8 x 8 1/8 ins), sheet size 38.3 x 27.3 cm (15 x 10 3/4 ins), mount size 44.4 x 34.5 cm (17 1/2 x 13 1/2 ins) (1) £200 - £300

206* Nattes (John Claude, 1765-1822). River Landscape, possibly Devon, pencil with grey and pale brown wash on paper, laid onto thin card, showing a figure in a fishing boat, horses grazing by the edge of the river, a rocky gorge beyond, sheet size 21.5 x 27.5 cm (8 1/2 x 10 3/4 ins), window-mounted (41 x 49 cm), together with Pyne (James Baker, 1800-1870). Studies of Broken Classical Columns, pencil on wove paper, with artist's name and dates to verso in red pencil, sheet size 36.5 x 52 cm (14 3/8 x 20 1/2 ins), plus Attributed to Peter De Wint (1784-1849). Sketch of a Mountain Landscape, black and white chalk on brown wove paper, inscribed in pencil De Wint to verso in a later hand, 21 x 27.5 cm (8 1/4 x 10 3/4 ins), window-mounted (38 x 50.5 cm), and five other similar by artists including an early pencil and watercolour wash landscape study on laid paper of Secundra Mali [Uttar Pradesh, India], artist's colour notes in pencil to margin, titled and indistinctly signed, sheet size 22.5 x 37.5 cm (8 3/4 x 14 3/4 ins), Thomas Miles Richardson (1784-1848), The Interior of the Old Castle, Newcastle, watercolour, mounted with old pencil inscription to verso 'The Interior of the old Castle, Newcastle, T. M. Richardson Snr, Purchased from Mr John Richardson son of the artist Oct 19. 1876', 24.5 x 20 cm (9 5/8 x 7 7/8 ins), window-mounted (43.5 x 39 cm), George Shepherd (active 1800-1830), Fisherman by a River, pen, ink and grey wash on wove paper, 25.3 x 36 cm (10 x 14 ins), framed and glazed, Alexander Monro (1802-1844), and Rustic Landscape with House and Figure on a Path, pencil on laid paper, 21 x 34 cm (8 1/4 x 13 3/8 ins) (9) £300 - £500

Lot 204

207* Sandys (Frederick, 1832-1904). Portrait of Mrs Herbert Jary, 1876, coloured chalks on paper, titled, signed and dated upper right, large area of background to left of figure filled in by a modern restorer with pale cream chalk, with 7cm tear from left edge, mount aperture 745 x 535 mm (29 3/8 x 21 ins), fine contemporary Aesthetic gilt-decorated wood frame, with wide gilt inner border impressed with alternating circular trefoil and Yin Yang motifs, the outer frame with triple fluted design incorporating similar motifs, glazed (108 x 86.5 cm), frame verso with typewritten label 'Frederick Sandys Exhibition 1974, Brighton Art Gallery, Mappin Art Gallery, Sheffield, Rot. No. 27, Cut. No. 118' (the numbers written in ink manuscript), plus old stencilled Christie's number 47857 (repeated on inner frame)

Exhibited: Brighton Art Gallery and Mappin Art Gallery, Shefﬁeld, Frederick Sandys 1829-1904, 1974.

It is most likely that the sitter is Julia Harriet Mary Bromilow (1844-1920), the daughter and only child of wealthy colliery owner David Bromilow and his wife Harriet Susan Sothern of Battlesden Park, Bedfordshire and Bitteswell Hall Leicestershire. Julia married Robert Herbert Heath Jary (1830-1920) in 1862. Robert was an Army Major, a Justice of the Peace for Norfolk, Bedfordshire and Lancashire, and held the ofﬁce of Deputy Lieutenant of Norfolk. In 1901 Jary was High Sheriff of Norfolk. They lived together at The Hall, South Walsham, and also Burlingham House, both in Norfolk, as well as Bitteswell Hall. (1)

£1,500 - £2,000

208* Tarrant (Percy, 1855-1934). A Fugitive, 1879, watercolour and ink on card, a woman in Victorian clothes ventures out in the snow, title, artist and date in ink to lower margin of mount recto, old information labels to frame verso, card secured on recto to mount with tape in four places, some very minimal spotting, mount aperture 17.7 x 12.1 cm (7 x 4 3/4 ins), card size26 x 21 cm, framed (33.5 x 28.5 cm), together with Craig (William Marshall, 1765-1827). Classical Tableau, early 19th century, pen on laid paper, ‘W. M. Craig’ in pencil to lower left, a scene with semi-nude ﬁgures, an angel, a lion and a Phoenix-like bird, some spotting, a few small creases, sheet size 11.3 x 8.5 cm (4 1/2 x 3 1/4 ins), framed and glazed (27.5 x 25 cm), and Walker (Frederick, 1840-1875). Your Father’s Grave, pencil and wash on paper, sheet size 11.2 x 8 (4 1/4 x 3 1/4 ins), framed and glazed (31 x 26 cm) (3) £200 - £300

209* Orrock (James, 1829-1913). River Irthing, Gilsland, Cumberland, 1886, watercolour on thin card, showing the river Irthing ﬂowing through Cumbrian moorland, a ﬂock of sheep grazing on one side, signed and dated 1886 lower right, 48 x 72 cm (18 7/8 x 28 1/4 ins), printed Cumbrian Fine Art Galleries label to verso of backing board with artist and title in ink, framed and glazed (72 x 94 cm), together with Landscape with Windmill, watercolour, showing a windmill (possibly Woodhouse Mill, Leicestershire), a horse-drawn carriage passing by, a storm approaching overhead, 17.3 x 29.2 cm (6 3/4 x 11 1/2 ins) mount aperture, framed and glazed (34 x 44.5 cm), plus four other English landscape sketches by Orrock, comprising: Rough Sea (possibly Brighton), no 286-158 in pencil to verso; Gay Ling, Yorkshire; Moorland nr Aysgarth, (no 103-144 in pencil to verso), and Bradgate Park, Leicestershire (no 224-122 in pencil to verso), all with title and artist's name to verso, 33 x 51 cm (13 x 20 ins) and similar (6)

£300 - £500

210* Orrock (James, 1829-1913). Iona Abbey, 1875, watercolour on card, showing Iona Abbey, figures in the foreground making hay, across the water the Isle of Mull visible in the distance, signed and dated lower left, 37.5 x 56 cm (14 3/4 x 22 ins), window-mounted (48 x 67 cm), together with Donnington Castle, 1881, watercolour on paper, showing a figure sitting on the grass in front of Donnington Castle (possibly sketching), signed and dated lower right, 27.1 x 37.5 cm (10 5/8 x 14 3/4 ins), window-mounted (47 x 57 cm), plus a Tower near Edinburgh, 1893, watercolour on thick paper, showing a large stone building looking over a valley, a church in the distance, figures working in the fields, titled 'Tower near Edinburgh' signed and dated lower left, 30 x 37 cm (11 3/4 x 14 1/2 ins), windowmounted (51 x 57 cm), and three other Swiss watercolour landscapes by Orrock, comprising: At Unterseen, 1873, signed and dated, framed and glazed (71 x 56 cm); Travellers on a Bridge, the Swiss Alps behind them, A Village in the Alps, various sizes, largest 50 x 36 cm, and Paris (George de, 1829-1911). At Unterseen, pencil on card, laid onto backing card, signed and titled in pencil, some mount staining, sheet size 45.5 x 32 cm (17 7/8 x 12 1/2 ins) (7)

£300 - £500

211

212

211* Brewer (Henry Charles, 1866-1950). Liverpool Cathedral Chancel and Organ, watercolour on card, tipped onto red mount board, sheet size 68.5 x 48 cm (27 x 18 7/8 ins), together with 6 other pencil, and watercolour drawings of cathedral interiors, plus 7 watercolour landscapes, including: Monte Rosa from the Val d’Amsaca N Italy, Interlaken 1867, and Ightham Moat House Kent, 1883, various sizes, 24 x 40.5 cm (9 1/2 x 16 ins), and smaller (14)

£150 - £200

212* Hardy (Edwin George, 1859-1896). Fujiyama, circa 1890, watercolour and gouache, signed ‘E G Hardy’ lower left, a view of Mount Fuji with a group of locals in the foreground, Chantry Fine Art label to verso, mount aperture 49.5 x 35 cm (19 1/2 x 13 3/4 ins), framed and glazed (71 x 55.5 cm) (1)

£200 - £300

213* Hughes (Edward Robert, 1851-1914). Seated female nude, black chalk on cream laid paper, signed lower left, some light overall toning, a few small spots, aperture size 34.2 x 24.1 cm (13 1/2 x 9 1/2 ins), framed and glazed (53.5 x 41 cm), typewritten label on verso with brief artist’s biography (1)

£500 - £700

214* Wimperis (Edward Morison, 1835-1900). Moorland Landscape, watercolour, depicting a view across a flat open moorland, a flock of sheep grazing next to the water, 33 x 45.5 cm (13 x 17 7/8 ins) mount aperture, framed and glazed (55 x 66 cm), together with Alexander (George Edward, 1865-1950). Countryside Landscape, watercolour, depicting an English countryside scene, a flock of sheep grazing in the field with a figure looking on, a windmill in the distance, signed lower right, 34 x 49 cm (13 3/8 x 19 1/4 ins) mount aperture, framed and glazed (57 x 71 cm) (2)

£200 - £300

215* Hardy (Thomas Bush, 1842-1897). Off Pevensey, Sussex, 1891, pencil and watercolour highlighted with white, signed and dated lower left, some spotting, 24.5 x 73.5 cm (9 5/8 x 29 ins) mount aperture, framed and glazed (38.5 x 87.5 cm), black stencil and white chalk numbers to verso, together with two other watercolours attributed to Hardy (3)

£300 - £500

216* Henshall (John Henry, 1856-1928). Girl with a Guitar, 1892, watercolour, depicting a girl in a black beaded dress, leaning against her guitar, a red sash across her neck, signed and dated upper margin, 30.5 x 21.5 cm (12 x 8 1/2 ins), mounted, framed and glazed (45 x 36.5 cm) (1)

£300 - £500

217* Attributed to Robert Sanderson (1848-1908). A wreck on the Firth of Forth, watercolour heightened with white, unsigned, laid down, old auction stencil to frame verso ‘NV250’, sheet size 27 x 38.3 cm (10 1/2 x 15 ins), framed and glazed (43.5 x 54.5 cm) This work is strikingly similar to the oil painting ‘A wreck on the Firth of Forth’ by Robert Sanderson, which was sold on 13 January 2009, at Bonhams London’s British and Continental Pictures sale. (1)

£200 - £300

218* Giallina (Angelos, 1857-1939). Temple of Olympian Zeus, Athens, Greece, watercolour with pen and ink on thick cream wove paper, signed lower left, 28.5 x 51.5 cm (11 1/4 x 20 3/8 ins) (1)

£300 - £500

£300 - £400

219* Snape (Martin, 1852-1930). Ullswater, Lake District, 1913, watercolour on paper, heightened with white, signed and dated lower left, sheet size 22 x 23.3 cm (8 3/4 x 9 1/4 ins), laid down on card, unframed, plus Severn (Arthur, 1842-1931). Flüelen, Switzerland, circa 1900, watercolour on paper, signed lower right, a view of the town of Flüelen from Lake Lucerne, with the 14th-century church of St George and St Nicholas in the background, titled '83 Fluelen Lake of Lucerna' in ink to verso, small surface abrasion towards lower edge at centre, 15.4 x 23.2 cm (6 1/8 x 9 1/8 ins), laid down on card, plus twelve further late 19th and early 20th century British and Continental watercolours, mainly landscape views Snape exhibited at the Royal Academy between 1874 and 1901. (14)

220* Woodlock (David, 1842-1929). A Small Canal by St Mark’s Venice, watercolour, depicting a woman with a red umbrella standing on a balcony above a small canal by St Mark’s in Venice, signed lower left, title and artist name in black in to gold mount, mount aperture 25 x 17 cm (9 7/8 x 6 3/4 ins), David Woodlock’s own label with title handwritten in black ink, title and artist again in ink both to verso, presumably in artist’s own hand, framed and glazed (44 x 36.5 cm)

David Woodlock trained at the Liverpool Academy of Arts, and then under John Finnie at Liverpool School of Art. In 1872 he helped found the Liver Sketching Club and would also become a member of the Liverpool Academy of Arts. In 1880 he began to exhibit in London, he showed at the Royal Academy of Arts from 1888 and in 1897 became President of the Liver Sketching Club. Throughout the latter part of 1890s Woodlock travelled to Venice and North Africa. (1) £200 - £300

Lot

221* De Morgan (Evelyn, 1855-1919). Rosamund, a study for Queen Eleanor and the Fair Rosamund, circa 1901-1902, coloured chalks and pastel on buff paper, head and shoulders portrait, half-proﬁle turned to the right, her left arm crossing her chest and the right hand placed on her shoulder, visible sheet size 29.8 x 22 cm (11 3/4 x 8 3/4 ins), framed and glazed (41 x 31.5 cm)

Provenance: English private collection formed circa 1950-1970, thence by descent.

The present work is a study of Rosamund in Queen Eleanor and the Fair Rosamund, held by the De Morgan Foundation (Object Number P EDM 0030), which shows her seated in an identical pose, with Queen Eleanor to her right. The painting is rich in symbolism, a maze, two lovers in an embrace, a poison bottle, and shadowy evil forms – dragons, apes, and blood red roses lie at the Queen’s feet. In contrast, winged cherubs and doves of peace accompany Rosamund and white roses, symbolising purity and innocence, lie at her feet.

(1)

£3,000 - £5,000

222* European School. Carriage in a Snowstorm, 1902, watercolour heightened with gouache on paper, indistinct signature ‘M Bakko’? and date to lower right, a carriage pulled by three horses moves at speed through a snowstorm, Technische Zeichen-Papier blindstamp to lower left of sheet, laid down to board, pin-holes to three corners, sheet size 53.5 x 70.2 cm (21 x 27 1/2 ins), framed and glazed (64 x 81.5 cm)

(1)

£150 - £200

223* Hughes (Edward Robert, 1851-1914). Portrait of a Woman, July 5 1904, black chalk on cream laid paper, dated upper right, couple of brown spots to upper right, mount aperture 25.4 x 32.8 cm (10 x 13 ins), framed and glazed (45 x 49.5 cm), typewritten label on verso with brief artist’s biography

According to a modern handwritten note on the frame verso, this may be a portrait of Hilda Virtue Tebbs - the note refers to The Lyle Ofﬁcial Review, 1992, page 276.

(1)

£500 - £700

Lot 222

224* De Morgan (Evelyn, 1855-1919). Boreas, a study for Boreas and the Fallen Leaves, circa 1910-1914, coloured chalks and pastel on buff paper, head and shoulders portrait, half-proﬁle turned to the left, his lips pursed and arms outstretched, visible sheet size 29.8 x 22 cm (11 3/4 x 8 3/4 ins), framed and glazed (41 x 31.5 cm)

Provenance: Private Collection, UK, thence by descent.

The present work is a study for the ﬁgure of the ancient Greek god Boreas in Boreas and the Fallen Leaves, held by the De Morgan Foundation (Object Number P EDM 0044), which shows Boreas swirling round a large gnarled tree, with the leaves depicted as maidens with golden hair being blown to the ground. Boreas is the ancient Greek god of the north wind, and the most important of the four wind gods. He was winged and had two faces: one to see where he was going and one to see where he had come from. (1)

£3,000 - £5,000

225* De Morgan (Evelyn, 1855-1919). Preparatory study of a female head, circa 1914, coloured chalks and pastel on buff paper, head and shoulders portrait, half-proﬁle turned to the left, long ﬂowing black hair, eyes gazing slightly to the right, sheet size 35.7 x 23.5 cm (14 x 9 1/4 ins), framed and glazed (41 x 31.5 cm)

Provenance: English private collection formed circa 1950-1970, thence by descent.

This may be a study for Purity in Evelyn de Morgan’s The Vision (1914). The work is an allegory of the First World War and depicts two women in the foreground as the personiﬁcation of Peace and Purity, a menacing demon behind them personiﬁes war and destruction. (1)

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

£3,000 - £5,000

226* Pichler (Giovanni, 1734-1791 ). A collection of 130 plaster cameo intaglios presented in two wood cases, Rome, early 19th century, 130 white plaster intaglios or impronte miniature impressions in relief of portraits, ancient gems, cameos, coins and medals, each bordered with pale yellow paper, manuscript number and edged in gilt, various sizes, generally between 2 and 5 cm (a few with some slight dustsoling), small label at head of each frame with ‘Opere di Gio. Pichler’ in manuscript, mounted on lining paper in two contemporary glazed wood frames (frames rubbed, one lacking part of top of frame to the reverse), frame size 35 x 22.5 cm

A ﬁne collection of early nineteenth-century plaster intaglios, probably by Luigi Pichler (1773-1854) after gem designs by his half-brother Giovanni Pichler (1734-1791) and father Anton Pichler (1697-1779).

The cameos depict a range of subjects including classical mythology, Greek and Roman gods, emperors, sports, art history and sculptures, and were highly popular among travellers, especially from England on the Grand Tour during the early part of the nineteenth-century.

The subjects present include a discus-thrower, the Three Graces, St. George and the Dragon, Apollo, a charioteer among others.

(2)

£700 - £1,000

227* Devaulx (Theodore Francois, 1808-1870). The Signing of the Magna Carta, bronze, signed, 45 x 51 cm

(1)

£3,000 - £5,000

228* After Claude Michel Clodion (1738-1814). Bacchus and Putto, circa 1880, bronze sculpture, showing the young Bacchus with grapes and tambourine, leaning over a reclining putto atop a slain lion, on a D-shaped base, length 26 cm, height 25 cm (1)

£300 - £400

229* After Christophe-Gabriel Allegrain (1710-1795). Venus sortant du Bain, or Venus emerging from the Bath, [and] after Étienne Maurice Falconet (1716-1791), La Baigneuse, or The Bather, later castings, probably late 19th century, two bronze sculptures, each modelled as a nude female bather, the ﬁrst signed ‘Allegrain’, the second signed ‘Falconet’, uniformly mounted on square marble bases, both of overall height 29 cm (2)

£300 - £500

230* Italian School. Battle of the Lapiths and Centaurs, probably late 19th century, after Eugenio Bellosio (1847-1927), a circular bronze dish, with a mythological battle scene in relief, representing the Battle of the Lapiths and Centaurs, and an ornamental border incorporating vases and winged putti, diameter 347 mm (13 5/8 ins)

Provenance: Sidney J. A. and Stella Churchill (1862-1921): Ruth Plant (daughter): Juliette Petty of Bristol (granddaughter).

Sidney Churchill was a well-travelled British diplomat who also became a connoisseur of art. After working for some years in India and Persia, he became British Consul ﬁrst in Palermo (1898-1909) and then in Naples (1909-1912), before being promoted to Consul-General in Naples, where he remained until 1918. It is likely that he collected this piece whilst in Italy. Eugenio Bellosio created his Medusa dish (piatto della medusa) in 1884: our copy was probably made not long afterwards. The original is in the collection of the Castello Sforzesco, Milan. (1)

£200 - £300

231* After Georges Van Der Straeten (1856-1928). Young Woman with Cherries, late 19th century, bronze sculpture, showing the bust of a young woman in a feathered hat, holding cherries in her teeth, signed on reverse, back of base with foundry stamp Bellman & Ivey, 37 Piccadilly, London, height 66.5 cm (1)

£400 - £600

232* Pegram (Henry, 1862-1937). Two Figures by a Fire, 1891, oval plaster relief panel, incised signature and date, a proﬁle view of two nude ﬁgures warming themselves by a brazier, approx. 48 x 29 cm (19 x 11 /12 ins), held in a contemporary wooden frame (45 x 63 cm) (1)

£200 - £300

Lot 231

234* Ryuko (Tsutaya, 1868-1933). Sleeping Geisha, watercolour heightened with white on paper, signed lower left, a Geisha sleeps with her head resting on a takamakura, a teapot and white yunomi on a tray by her head, and an open notebook to her left, visible sheet size 31 x 48 cm (12 1/4 x 18 3/4 ins), framed (with some minor damage)

“…a young apprentice geisha must learn a new way of sleeping after her hair is styled for the ﬁrst time. She doesn’t use an ordinary pillow any longer, but a takamakura... It’s not so much a pillow as a cradle for the base of the neck. Most are padded with a bag of wheat chaff, but still they’re not much better than putting your neck on a stone.” Arthur Golden from Memoirs of a Geisha (1)

£150 - £200

233* Cafﬁeri (Hector, 1847-1932). Boating Scene, watercolour heightened with gouache on paper, signed lower left, old auction stencil and labels to verso, mount aperture 49 x 34.5 cm (15 1/4 x 13 1/2 ins), framed (67 x 50.5 cm) (1)

£200 - £300

235* Shaw (John Byam, 1872-1919). Woman on a Horse, black and white chalk on mottled brown ﬁbrous wove paper, BS monogram to top right in black chalk, a woman wearing a ﬂamboyant hat sits sidesaddle on a horse, sheet size 67.5 x 49.5 cm (26 x 19 1/2 ins), framed (1)

£200 - £300

Lot 234

236* George (Winifred, active circa 1907-1939). Boy with a Hat, 1907, pastels and charcoal on mid-brown paper, signed Wyn George and dated 07 lower right, mount aperture 32.8 x 22.6 cm (13 x 8 7/8 ins), framed and glazed (62 x 50.5 cm) (1)

£200 - £300

237* English School. Young girl leading a working horse & Two horses at work pulling a plough, early 20th century, a pair of oils on canvas, both signed with the monogram ‘FC’ or ‘CF’, each relined, canvas size 38 x 28 cm (15 x 11 ins) and 35.5 x 25.5 cm (14 x 10 ins) respectively (2)

£200 - £400

238* Pilichowski (Leopold, 1869-1933). Portrait of Stella Kisch, oil on canvas, a half-length portrait of a lady in a blue gown with white detailing, and a brown wrap, wearing a string of pearls, signed lower right, canvas verso with pencilled inscription, 913 x 610 mm (36 x 24 ins), original painted decorative frame, painted by the artist, with foliate curls in dark reds, blues and browns on a gilt background, 112 x 81.5 cm

Provenance: Stella Kisch (1882-); thence by family descent.

The pencilled inscription on the canvas verso reads: Stella, daughter of Phineas + Abigail Hands, née da Costa Andrade. Born August 12 1882. Wife of Percy Kisch, son of Albert + Annie, née Davidson. Mother of Richard (6), Edward (5) + Norman (2 years). Painted by L. Pilichowski, London 1919.

A further pencilled inscription gives an address of Warrington Crescent, Maida Vale, London. (1)

£500 - £800

239* Robert (Marius Hubert, 1885-1966). Landscape at sunset with bathers, 1911, a set of four watercolours forming a sunset lake scene, with female bathers, trees, and architectural features, all signed and dated lower margin, each 50 x 16.5cm (19.75 x 6.5ins), mounted and in matching frames, glazed (69 x 35 cm) (4)

£200 - £300

240* Wyllie (William Lionel, 1851-1931). The Thames at Gravesend, 1913, oil on canvas, relined, signed and dated lower right, 66.5 x 99.5 cm (26 1/4 x 39 ins), antique-style gilt wood frame

Provenance: Private Collection, Gloucestershire, UK. (1)

£2,000 - £3,000

Lot 239

241* Stretton (Philip Eustace, 1865-1919). Portrait of Boris a black labrador, circa 1914, oil on canvas, signed lower right, with handwritten label to verso by a family member ‘Boris. Given to my father by my mother 1914. Painted by famous animal artist Philip Stretton, who they met while on holiday near Falmouth (they were staying at the same hotel). Stretton came and stayed for a week in our house to paint Boris’, 51 x 40.5 cm (20 x 16 ins), period gilt wood frame

Provenance: By descent from Ernest Faulkner Wright of Mayﬁeld, Sussex. (1) £1,000 - £1,500

242* Shapley (Annie Foster, 1879-1933). Clutton, oil, depicting a country cottage in Clutton, Somerset, ﬁgures outside, signed lower left, 13.8 x 23.3 cm mount aperture, (5 1/2 x 9 1/8 ins), Frost and Reed labels to verso with hand written title and artist in brown ink on one, and no. 1364 and date 24/0?/10 in pencil on the other (1)

£300 - £500

243* Alberts (Jacob, 18601941). Coastal Landscape, oil on canvas, signed lower left, ‘Neue tereirse(?) auf Wien’ in pencil to stretcher verso, areas of craquelure, canvas size 54 x 71.5 cm (21 1/4 x 28 ins), in a contemporary wooden frame (some areas of loss) (1) £500 - £800

Lot 241

244* Alberts (Jacob, 1860-1941).

Heidel am Meer, 1919, oil on canvas, signed lower left, landscape view of countryside with tracks leading down towards the sea, title in blue pencil and ‘Jacob Alberts ? 1919’ in red pencil to stretcher verso, relined, canvas size 81 x 91.5 cm (1) £400 - £600

245* Austrian School. Winter Landscape, oil on canvas, indistinctly signed lower right, a view of snow-covered buildings with mountains in the background, areas of craquelure, canvas size 20 x 28.5 cm (8 x 11 1/4 ins), framed (25 x 33 cm) (1) £150 - £200

246* Filliard (Ernest, 1868-1933). Still Life of Flowers in a Bowl, watercolour on card, signed E Filliard lower right, various coloured Zinnias in a Middle Eastern style turquoise bowl, card size 13.7 x 16.8 cm (5 1/2 x 6 3/4 ins), in a contemporary ornate wooden frame in blue, red and gold (21.5 x 24.5 cm)

Ernest Filliard was born in 1868 in Chambery and was trained from his youth with the painter Chamberly Benoit. Filliard is recognised for his very ﬁne still life pictures of ﬂowers which won numerous prizes. His paintings are often small in scale and framed in similar ornate frames. (1)

£300 - £500

Lot 244

247AR* Kelly (Gerald Festus, 1879-1972). Burmese Dancer, oil on canvas, study of a Burmese dancing girl in a yellow costume (almost certainly Ma Seyn Me), with original patterned cotton lining to verso (probably by the artist), to which is attached a typewrit ten autograph letter from the artist to Christina Foyle, dated 3rd December 1964, 44 x 29 cm (17 1/4 x 11 1/2 ins), framed and glazed (49.5 x 35 cm)

Provenance: Christina Foyle (1911-1999): Christopher Foyle (1943-2022).

The letter attached to the verso is addressed in ink manuscript to Dear Christina [Foyle] and reads, “...It occurs to me that you might like to have a sketch by me. I have given most of my friends one, and I count you as one of them. To do this you would have to come and have a look at what I’ve got, and choose the one that would amuse you...”. It is signed in ink manuscript Gerald K. Gerald Kelly spent many years in Burma, where the actress and dancer Ma Seyn Me was one of his favourite models. Kelly travelled to Burma in 1908 after a failed love affair, and was inspired by the beautiful Burmese dancers whom he made the subjects of a series of exotic and enigmatic paintings. Ma Seyn Me in particular, who he described as, “... gay and full of zestful life”, appeared in his paintings for many years. (1)

Each lot is subject to a Buyer’s Premium of 20% (Lots

£2,000 - £3,000

248* Kramer (Jacob, 1892-1962). Head of a Woman, 1920s, black and blue chalks on buff paper, signed in black chalk lower right, mount opening 50.5 x 42.5 cm, framed and glazed (72 x 62.5 cm), together with Kramer (Jacob, 1892-1962). Portrait of a Man, 1924, chalk and pastel on buff paper, signed and dated in black chalk lower right, mount opening 45 x 32 cm (17 5/8 x 12 1/2 ins), framed and glazed (59.5 x 45cm)

Provenance: Collection of Michael and Megan Dawson. (2)

£300 - £400

249* Smith (James Calvert, 1878-1962). Rowing across the Harbour, oil on canvas, depicting two woman rowing a young boy and man in a wooden rowing boat towards the harbour, signed lower left, 46 x 58 cm (18 x 22 7/8 ins), in near contemporary gilt gesso frame (65 x 76.5 cm), number and letters stamped into verso of frame (1)

£300 - £500

250* Sparks (Nathaniel,1880-1957). St. Mary Le Port Street, Bristol, pencil and watercolour on paper, signed, 31 x 20.5 cm (12 x 8 ins) mount aperture, framed and glazed, with gallery label with David Cross Glerry label to verso, together with two other later 19th century watercolours, one of ﬁshermen by a river and mill, by A. Hondcock, signed and dated 1893, and another of Old Thatched Farm Buildings, unsigned, both framed and glazed Nathaniel Sparks was a native of Bristol, who studied at the Royal College of Art, and was a member of the Royal Society of Painter Etchers. (3)

£200 - £300

251* De Lacy (Charles John, 1856-1936). Zeebrugge Raid, May 1921, three original watercolours heightened with bodycolour on Whatman board, illustrations for Captain A.F.B. Carpenter’s book The blocking of Zeebrugge, London: Herbert Jenkins, 1925, each depicting a different scene comprising: The Fight on the Mole, Storming the Mole, and The Vindictive Homeward to England (not published), each signed (and two dated) lower left, The Fight on the Mole with ‘from sketch by Capt Carpenter VC’ also to lower left, each with handwritten notes by De Lacy including ‘This drawing has been passed by Capt Carpenter V.C. as correct’ to verso, sheet size 31.3 x 54 cm (12 1/4 x 21 1/4 ins), all in matching frames (42 x 59 cm) and slightly smaller

One of the foremost British marine artists of his period, De Lacy is especially known for his warship imagery and was regularly commissioned by Elswick, Tyne and Wear shipbuilder W. G. Armstrong Whitworth. He worked closely with Alfred Francis Blakeney Carpenter, often from his sketches, to produce ﬁve drawings for The Blocking of Zeebrugge by Captain Carpenter V.C. (London: Herbert Jenkins, 1925).

Captain Alfred Francis Blakeney Carpenter, VC (1881-1955) was a Royal Navy officer, who, on the night of the 22nd April 1918, was in command of HMS Vindictive. When the "Vindictive" was within a few yards of the mole at Zeebrugge it came under heavy fire. Carpenter supervised the landing from the "Vindictive" onto the mole, and directed operations on deck, encouraging his men in the most dangerous and exposed positions. For these actions he was selected by his fellow officers and men to receive the Victoria Cross.

(3)

£400 - £600

252 Gill (Eric, 1882-1940). Monogram for Betty Rothenstein, 1921, black ink on pale cream wove paper, manuscript monogram with calligraphic inscription within the letters BR, inside the two letters inscribed 'November 7th 1921 / from Eric Gill' and remaining letters 'etty Rothenstein' down the central column of the monogram, image size approx. 6.5 x 10 cm (2 1/2 x 4 ins), sheet size 17.8 x 26 cm (7 x 10 1/4 ins), unframed

Elizabeth 'Betty' Rothenstein (1905-1989) was the daughter of Sir William Rothenstein and the actress Alice Mary Knewstub. Betty was one of four children, her siblings being John, Michael and Rachel. The Rothenstein children maintained numerous connections with Eric Gill, he drew or etched portraits of John and Rachel. John Rothenstein also published a monograph of Eric Gill in 1927.

(1)

£200 - £300

253* Austin (Robert Sargent, 1895-1973). Woman’s Head (artist’s wife), 1925, black chalk with ﬂeks of brown chalk, signed and dated in brown to lower right, RSA studio stamp to lower margin, 3.29 in pencil to lower margin, sheet size 39 x 30.5 cm (15 1/4 x 12 ins), number ‘14’ in pencil to verso, mounted, (44 x 41 cm), together with Mother’s Child No.1, red, black and brown chalk on laid paper, with ‘INGRES’ watermark, signed to lower right, studio stamp to lower margin, with title and ‘2.7’ in pencil, some light general toning, a small pin hole to each corner, sheet size 53 x 38 cm (20 7/8 x 15 ins), ‘18’ in pencil to verso, mounted (60 x 44.5 cm), plus

Seated Child, 27 June 1933, black and brown chalk with ink on laid paper, with ‘Charles I’ watermark, signed and dated in pencil to lower right, ‘15’ in pencil to lower margin, sheet size 46.5 x 33 cm (18 1/4 x 13 ins), mounted (63 x 50 cm), and 9 other drawings, mainly ﬁgure studies in pencil, charcoal and ink, 2 signed, dated and stamped, largest 45.5 x 57 cm (17 3/4 x 22 1/2 ins)

Robert Sargent Austin was born in Leicester, England on May 23, 1895. A student of printmaking at the end of the “etching revival,” Austin studied at the Leicester Municiple School of Art (1909 - 1913), and then at the Royal College of Art in London preceeding and after World War I. There he studied engraving under Sir Frank Short, and was awarded the Rome Scholarship to study engraving in Italy in 1922. While there, he met and married writer Ada May Harrison. The couple returned to England in 1926 and Austin began teaching at the Royal College.

During World War II Austin enlisted as a war artist, recording the efforts of women in the Royal Air Force and nursing services. Upon his return, he taught at the Royal College of Art, and worked as an advisor on the design of banknotes to the Bank of England.

254* Hennell (Thomas Barclay, 1903-1945). Interior of a Blacksmiths, 1928, watercolour on thick handmade wove paper, underdrawn in pencil, two ﬁgures at work in a Blacksmiths, one at an anvil, initialled ‘T.H.’ in pencil to lower right, inscription in pencil to verso ‘Thomas Hennell A.R.W.S. / 1928’, remnants of old tape to margins verso, sheet size 28.5 x 39.5 cm (11 x 15 1/2 ins)

(1)

£300 - £500

In 1927 he was elected a Fellow of the Royal Society of Painter-Etchers and Engravers, he was elected a full member of the Royal Watercolour Society in 1934, and later also served as president, from 1957 to 1973. He was elelcted an Associate of the Royal Academy in 1939 and to the full membership in 1949. (13)

£400 - £600

255* Hennell (Thomas Barclay, 1903-1945). Jacob’s Ladder Bath, 1928, watercolour on thick handmade wove paper, underdrawn in pencil, a view of Jacob’s Ladder in Bath’s Alexandra Park, signed ‘T Hennell’ in pencil lower left, inscription in pencil to verso “Jacobs’ Ladder” Bath. Oct 24th 1928, 38 x 28 cm (15 x 11 ins), together with Garden Landscape, watercolour on wove paper, signed ‘T. Hennell’ in pencil, small areas of loss to lower left corner and upper right margin, sheet size 28 x 38 cm (11 x 15 ins) (2)

£400 - £600

256* Burleigh (Averil, 1883-1949). Portrait of the artist’s husband, Charles Burleigh, oil on canvas, half-length portrait, half-proﬁle to left, of a white-haired gentleman seated, wearing a grey jacket over a blue shirt and yellow waistcoat, a blue silk cravat at his neck, and ﬁlling a pipe in his left hand with tobacco from a pouch, signed lower right, 76 x 63.5 cm (30 x 25 ins), framed (91.3 x 78.3 cm)

Averil and Charles Burleigh, and their daughter Veronica, were an interesting trio of artists who spent most of their lives working in and around Sussex. Averil and Charles met whilst studying at the Brighton School of Art, and they were married in 1905. Averil was encouraged by her husband to continue painting, and by 1915 both were exhibiting regularly at the Royal Academy and the Royal Institute. Veronica, who was born in 1909, won a scholarship to the Slade School of Fine Art, returning home to her parents in Brighton afterwards, where she became an accomplished portrait painter. The three artists worked closely together, but despite clear cross-inﬂuences among them, each developed a distinctive style. Averil, who became a leading ﬁgure in the revival of the use of egg tempera recalling artists of the Italian Renaissance, was arguably the most talented of the trio.

(1)

257 No Lot

£200 - £300

258* Hill (Oliver, 1887-1968). West Dean, Sussex, circa 1930's, oil on paper, signed with initial H to lower left corner, 30 x 46.5 cm (11 3/4 x 18 1/4 ins) mount aperture, modern gilt frame, glazed

Provenance: Oliver Hill, by whom gifted to Mrs. Dorothea Leeper when she stayed at Daneway House, Gloucestershire.

West Dean, near Chichester, Sussex was the home of the poet and important patron of the arts Edward James (1907-1984). The Arts and Crafts (later modernist) architect Oliver Falvey Hill was a leading British architect and designer of the 1920s and 30s. From 1948 he lived at Daneway House, the former home and workshop of the designer Ernest Gimson.

(1)

£200 - £300

Lot 258

259* Kelly (Nancy Agnes, 20th century). The Sperrins, Northern Ireland, circa 1930's, oil on canvas, unsigned, 41 x 56 cm (16 x 22 ins), period mottled white framed, glazed, together with a watercolour by the same artist of a house interior at Welbrook, Cookstown, Northern Ireland, unsigned, 24.5 x 36.5 cm (9 1/2 x 14 1/2 ins) mount aperture, period thin wood veneer frame

Provenance: Nancy Agnes Kelly; Romilly Leeper.

Doctor Nancy Agnes Kelly worked as a GP in Gillingham, Kent, but was also active as a painter, particularly of scenes in her native Northern Ireland. (2)

£300 - £500

260AR* Cox (Morris, 1903-1998). Life/Creativity Diagram, 1931, tempera on canvas laid onto panel, small area (6.9 x 8.5cm) of missing canvas to upper left corner neatly painted (possibly original?), small closed tear to canvas top right, 40.5 x 46 cm (16 x 18 ins), label with printed title to verso

Provenance: From the family of Alan Tucker (1933-2017), Stroud bookseller and poet, and co-author of Morris Cox and the Gogmagog Press (1991).

Morris Cox was a printer, poet, printmaker, painter and puppeteer. At the age of 13 he recieved a scholarship to West Ham School of Art where he studied for 6 years. In 1957 he set up Gogmagog Press resolving to print his own work in his own way. Cox painted in oil and watercolour for over 60 years. In 1994 an exhibition of his work was held at the Victoria & Albert Museum, to celebrate the acquisition of Cox’s personal archive of Gogmagog books and early colour prints.

(1)

£500 - £700

Lot 260

Lot 259

261* Martin (Frank, 1921-2005). Study of Ann Sothern, watercolour, signed in ink bottom right and titled bottom central (Harriette Lake, after 1933, Ann Southern) mount aperture 39.5cm x 28.5cm (15.5” x 11.25”), some very light time toning revealed by mounting, framed and glazed Ann Sothern (1909-2001) was an American Hollywood actress. (1)

£200 - £300

262AR* Cox (Morris, 1903-1998). Estuary, 1934, tempera on thin panel, signed and dated upper right, title lower left, some rubbing with slight loss of colour to right edge (possibly from being previously framed, some blue paper adherred in places), thin baton of wood nailed to verso, 42.3 x 34 cm (16 5/8 x 13 3/8 ins)

Provenance: From the family of Alan Tucker (1933-2017), Stroud bookseller and poet, and co-author of Morris Cox and the Gogmagog Press (1991). (1)

£600 - £800

263* Hennell (Thomas Barclay, 1903-1945). Estuary View, probably Rathcoursey, County Cork, ink and grey wash on laid paper, signed in pencil to lower right margin ‘T.Hennell’, mount aperture 22.5cm x 30.5cm (8.7 x 12 ins), full sheet 24cm x 31.2cm (9.4 x 12.5 ins.), occasional light spots, original ebonised frame, glazed.

Provenance: Private Collection, Kent, UK. (1)

£400 - £600

264* Levin (Julo, 1901-1943). Dünenlandschaft an der Ostsee (Dune Landscape on the Baltic Sea), watercolour with traces of pencil on paper, signed lower right, mount aperture 455 x 580 mm (18 x 22 7/8 ins), framed and glazed (68.5 x 80 cm)

Provenance: Pommersche Kunstauktion, Koserow, Germany, Kunst - Hälfe des 20.Jahrhunderts, 23 May 2015, lot 36.

Julo (or Julius) Levin was born into a Jewish family in Stettin, Poland. He studied art ﬁrst at the Essen School of Applied Arts and then at the Munich School of Applied Arts. In 1923 he moved to the Düsseldorf Art Academy, where he completed his studies, joining the Young Rhineland (Das Junge Rheinland) group of artists, and later also joining the Rhine Secession in Düsseldorf. Whilst exhibiting with both of these groups, Levin also joined the Association of Revolutionary Visual Artists of Germany (Assoziation revolutionärer bildender Künstler Deutschlands), which was closely allied with the German Communist Party. During the late 1930s, Levin taught drawing at various schools in Düsseldorf and then in Berlin, but in 1941 these schools were closed and Levin had to undertake forced labour. On 7 April 1943 Levin was arrested, and a few days later deporated to Auschwitz, where he died.

(1)

£400 - £600

265AR* Riley (Harry Arthur, 1895-1966). Mabel Dixon, St Ives, 1935, watercolour on ﬁbrous buff paper, signed and dated in pencil, a view of a woman sitting against a large rock, with clothes strewn over it, and bathers in the background, Turtle Fine Art label with title and short biography of the artist to verso, mount aperture 26.5 x 36.5 cm (10 1/2 x 14 1/4 ins), framed and glazed (47 x 55.5 cm )

(1)

266* Fedorovitch (Sophie, 1893-1953). Young Man, circa 1937, acrylic on acetate, a design for a ballet costume, inscribed ‘young man / ?’ to lower left of image, pencil inscription to verso ‘Horoscope / musical scenes’, remnants of old tape to top of sheet to verso, bottom edge of sheet unevenly trimmed, approx. sheet size 43 x 24 cm (17 x 9 1/2 ins)

Sophie Fedorovitch was a Russian-born theatrical designer who worked with ballet choreographer Sir Frederick Ashton from his ﬁrst choreographed ballet in 1926 until her accidental death in 1953. In her 2012 article in Research in Dance Education, Elizabeth McLean’s view was that Fedorovitch had a “formative inﬂuence” on British ballet design of the 1930s and 1940s, and that she should be considered the equal of her contemporary, Christian Bérard.

Horoscope is a ballet created in 1937 by Frederick Ashton (1904-1988) with music by Constant Lambert (1905-1951) and costume design by Sophie Fedorovitch. It was premiered by Vic-Wells Ballet at Sadler’s Wells Theatre in January 1938, and starred Michael Somes as The Young Man and Margot Fonteyn as The Young Woman.

Provenance: From the estate of Martyn Thomas (partner of Frederick Ashton), thence by descent to the present owner.

(1)

£200 - £300

267* Abbey (Edwin Austin, 1852-1911). Sultan with Attendant, late 19th-century, pencil on paper, signed lower right, mount aperture 11.7 x 16.3 cm (4 1/2 x 6 1/2 ins), framed and glazed (23.5 x 27 cm), and von Herkomer (Herbert, 1849-1914). The Artist’s Brother, 1878, black and white chalk on green wove paper, research information to frame verso, mount aperture 14.8 x 16.9 cm (6 x 6 3/4 ins), framed and glazed (26 x 27.5 cm), plus Woodd (Charles Henry Lardner, 1821-1893). Cheltenham, circa 1830, pencil drawing, titled in pencil to lower margin, mounted, framed and glazed (23 x 28.5 cm), plus another pencil drawing by the same artist, Arabian Ruins, circa 1836, signed lower left, 14 x 8.2 cm mount aperture, framed and glazed (33.5 x 25 cm), with Sharrocks (Alfred Burgess, 1919-1988). Ruffs, circa 1950, watercolour and pencil, 11.5 x 15 cm, mounted, framed and glazed (24 x 27.5 cm), note to verso with artist, title and ‘the original drawing for one of a series of menus for Cunard c.1950’, together with three 19th-century English watercolours and drawings, all framed and glazed (8)

£150 - £200

268AR* Cox (Morris, 1903-1998). Immaculate Conception, circa 1938, tempera on panel, signed lower right (faded), 45.8 x 30.5 cm (18 x 12 ins), label with printed title and white chalk ‘14’ to verso Provenance: From the family of Alan Tucker (1933-2017), Stroud bookseller and poet, and co-author of Morris Cox and the Gogmagog Press (1991). Exhibited: Morris Cox, Centennial Exhibition - A Selection of Visual Art (1921-1996), 2003. (1)

£600 - £800

269AR* Spencer (Stanley, 1891-1959). The Annunciation, circa 1939, pencil, depicting a young lady in a ball gown, a ﬁgure standing on the left with one ﬁnger over their mouth, overall spotting, 30 x 22.5 cm mount aperture, framed and glazed (48.5 x 39.5 cm), yellow and white numbers in chalk, and New Grafton Gallery label to verso Exhibited: New Grafton Gallery, 15th January 1973, number 712. (1)

£500 - £800

270AR* Bone (Stephen, 1904-1958). Near Osmington Village, Dorset, oil on board, signed lower left, verso with title and artist’s name & address inscribed by the artist, 25 x 35.5.cm (9 7/8 x 14 ins), framed (35.5 x 46.5 cm)

(1)

£300 - £500

271* Bradshaw, (Frank, 1884–1969). Portrait Study, oil on board, signed, head and shoulders proﬁle portrait of a woman wearing a green short-sleeved blouse, title and artist’s address in ink to board verso, board size 38.5 x 28.5 (15 1/4 x 11 1/4 ins), framed and glazed (47.5 x 37.5 cm)

Frank Bradshaw studied at the Royal College of Art and taught art at schools in Croydon, Huddersﬁeld, and at Wheelwright Grammar School, Dewsbury, before becoming a part-time tutor at Dewsbury Technical School. His work was regularly exhibited locally at summer exhibitions at Cartwright Hall and further aﬁeld at exhibitions in Liverpool, Leeds and Harrogate. A Lake District watercolour, ‘Braithwaite’ was also shown at a Royal Academy summer exhibition in 1940. Four of his paintings are in the permanent collection of Bradford Museums and Galleries.

(1)

272* Räuber (E., 20th century). Still Life with Flowers, 20th century, oil on canvas still life of chrysanthemums, delphiniums and other summer ﬂowers in a vase by a small twin-handled bowl on a draped table, signed ‘E. Räuber / Munchen.’ lower left, Christie’s label to verso, canvas size 77 x 88 cm (30 1/4 x 34 3/4 ins), in an oranate gilt wood frame (97 x 107.5 cm)

Christie’s, At Home - British & Continental Pictures and Works on Paper, 15 January 2004, lot 1040.

(1)

£200 - £300

Lot 271

273* Needell (Philip Gregory, 1886-1974). Early Morning, Autumn, Mill Hill, oil on board, depicting a wooded landscape, signed lower left, titled and signed to verso, sheet size 24.7 x 34 cm (9 3/4 x 13 3/8 ins), with another by the same artist entitled Purbeck Hills, oil on paper, laid onto board, signed lower right, titled to verso, faint pencil lines to edge margin, 24.5 x 34 cm (9 5/8 x 13 3/8 ins), together with approximately 120 of Needell's drawings and sketches contained in two folders, mainly in pencil, dated from 1930 -1965, mostly landscapes and buildings, including: Grasmere, Nayland nr Stoke, Norfolk, Morsden, Wells, Blakeney, Shute Devon, Kings Lynn, Hastings, Pulborough, Corfe, Oban, etc., a few include extensive observational notes in pencil, some initialled, titled and dated, various sizes, largest 18 x 25 cm (7 x 9 3/4 ins) (5)

£150 - £200

274* Underwood (Leon, 1890-1975). The Cot Valley, circa 1940, watercolour on paper, signed in ink bottom right, titled and dated on label verso, mount aperture 19 x 27 cm (7 1/2 x 10 3/4 ins), framed and glazed, together with Merida, 1928, watercolour on paper, signed in ink bottom right, titled and dated, sheet measures 35.5 x 50.5 cm (14 x 20 ins), unframed (2)

£200 - £400

275AR* Bloch (Martin 1883-1954). Rhododendrons/Flowers at Night, 1942, black chalk on paper, signed lower left, information note to verso relating to the exhibition ‘Martin Bloch / The Arts Council of Great Britain 1957’ with the original exhibition catalogue included, and another gallery sticker to verso noting work’s alternative title, mount aperture 39 x 51 cm (15 1/4 x 20 ins), in a mid-century wooden frame with hessian inlay (58.5 x 68 cm)

276AR* Cox (Morris, 1903-1998). The Traveller, 1943, tempera on wood panel, signed and dated upper right, 38 x 34.5 cm (15 x 13 5/8 ins), label with printed title and ‘21’ in white chalk to verso

Exhibited: Martin Bloch, London: The Arts Council of Great Britain, 1957; titled ‘Flowers at Night’. (1)

£200 - £300

Provenance: From the family of Alan Tucker (1933-2017), Stroud bookseller and poet, and co-author of Morris Cox and the Gogmagog Press (1991). (1)

£600 - £800

Lot 275

279* Northern Ireland. Slieve Gullion, County Tyrone, circa 1946, watercolour with traces of pencil, unsigned, sheet size 268 x 375 mm (10 1/2 x 14 3/4 ins), framed and glazed, with printed framers label of John Mcgee Fine Art Dealer, Stationer & Framemaker for Donegall Square West, Belfast, to verso (dated in ink November 1946), together with another small 20th century watercolour landscape in County Donegal, circa 1930s, unsigned, 80 x 126 mm (3 x 5 ins) mount aperture, gilt frame, glazed

277AR* Cox (Morris, 1903-1998). Girl with a Snail, 1946, tempera on panel, with handprint (artist’s?) signed and dated lower right, 36.5 x 31.5 cm (14 3/8 x 12 4/8 ins), printed title on label to verso Provenance: From the family of Alan Tucker (1933-2017), Stroud bookseller and poet, and co-author of Morris Cox and the Gogmagog Press (1991). Exhibited: Morris Cox, Centennial Exhibition - A Selection of Visual Art (1921-1996), 2003, (titled Woman with a Snail). (1)

£500 - £700

278* Hoﬂer (Max, 1892-1963). A Summer’s Day, Wittenham Berks, 1946, oil on board, signed lower right, a landscape view of countryside with a scattered group of cows in the foreground, The Fine Art Society Ltd label to verso, board size 50.5 x 60 cm (20 x 23 1/2 ins), in an ornate gilt wood frame (67 x 76 cm) Before boundary changes in 1974 Little Wittenham (and the famous Wittenham Clumps) were part of Berkshire. They are now part of South Oxfordshire. (1)

£200 - £300

Provenance (Donegal watercolour): Major W. C. Leeper and Dorothea Lititia Lloyd; thence by descent. (2)

280AR* Cox (Morris, 1903-1998).

Female Nude, circa 1948-50, ebonised wood carving, showing a tall female nude with one arm on her head, the other around her waist, small chip to edge of base, signed by artist in black pen to base, 56.5 cm high

Provenance: From the family of Alan Tucker (1933-2017), Stroud bookseller and poet, and co-author of Morris Cox and the Gogmagog Press (1991).

£200 - £300

Scarce, there are no known records of Cox’s sculptures coming up for auction. In a letter to Corrie Guyt, sent on the 29th September 1975, and published in Gogmagog ‘Between 1948-50 I did about 25 small sculptures in wood...Most of these sold readily although I was not anxious to sell them...The few I have kept have a special meaning for me and I would not like to part with them’ page 82. (1)

£200 - £300

281AR* Cox (Morris, 1903-1998). Study of a Woman and Cat, circa 1948-50, wood carving, showing a naked woman kneeling with a cat between her knees, signed by the artist in black pen to base, 21.5 cm, together with Europa and Zeus, wood carving, showing a naked woman riding a bull, on a sleigh shaped base with volute detail, signed by the artist in black pen to base, 21.5 cm high

282* Muir Head (David Thompson, 1867-1930). Thatched Cottage by the Woods, oil on thin wood panel, signed lower right, and additionally inscribed in pencil with the artist's name to verso, chamfered to left and right edges on verso, 114 x 216 mm (4 7/16 x 8 1/2 ins)

(1)

£100 - £150

£200 - £300

Provenance: From the family of Alan Tucker (1933-2017), Stroud bookseller and poet, and co-author of Morris Cox and the Gogmagog Press (1991). Scarce, there are no known records of Cox’s sculptures coming up for auction. In a letter to Corrie Guyt, sent on the 29th September 1975, and published in Gogmagog ‘Between 1948-50 I did about 25 small sculptures in wood...Most of these sold readily although I was not anxious to sell them...The few I have kept have a special meaning for me and I would not like to part with them’ page 82. (2)

283* McWilliam (Colin, 1928-1989). Seaton Delaval Hall, August 1949, brown ink and wash, titled and dated lower right, 12 x 17.5 cm (4 3/4 x 6 7/8 ins) mount aperture, framed and glazed (26.5 x 31.5 cm), handwritten label with printed Gonville and Caius College Arms to verso, together with Thorigny (Felix, 1824-1870). Meaux, 1850, pencil and wash, signed, dated and titled in pencil to lower margin, 27 x 20 cm (10 5/8 x 7 7/8 ins) mount aperture, framed and glazed (40 x 32 cm), plus Attributed to Alfred Rimmer (1829-1893). Market Drayton, Shropshire, pen and ink with wash, 16.2 x 10.5 cm (6 3/8 x 4 1/8 ins) mount aperture, framed and glazed (29.5 x 22 cm), and two others comprising: pencil drawing of St. Peter’s attributed to James Dufﬁeld Harding, and a 19th century topographical watercolour, largest framed and glazed (36 x 47 cm) (5)

£200 - £300

Lot 282

284* Attributed to Ethelbert White (1891-1972). View through Woodland, watercolour on paper, unsigned, sheet size 33.5 x 38 cm (13 2/5 x 15 ins) mount aperture size 25.5 x 31.5 cm (10 x 12 2/5 ins), some time toning, framed and glazed. (1)

285* Brockhurst (Gerald, 1890-1978). Study for a Decoration, 1923, etching on cream laid paper, from the edition of 76 artist’s proofs, signed in pencil, mount stained, plate size 15.7 x 12.1 cm (6 x 4.3/4 ins), sheet size 28.8 x 22.2 cm (11.3 x 8 3/4 ins), unframed, plus Anderson (Stanley, 1884-1966). ‘Old Father Time’, of Wiltshire, 1944, copper line engraving on laid paper, signed in pencil, from the edition of 100 artist’s proofs, ‘Ed = 100’ by the artist lower left in pencil, titled ‘Old Father Time, of Wiltshire. (Line-engraving) Edition 100 prints’ by the artist to lower sheet edge, tipped-on to backing board at the upper sheet corners recto, plate size 9.5 x 8 cm (3 3/4 x 3 ins), sheet size 23 x 17.8 cm (9 x 7 ins), hinge-mounted, and Spencelayh (Charles, 1865-1958). The Last Night of Hanuka, etching, signed, titled and numbered 7/30 in pencil, plate size 25 x 20 cm (9 3/4 x 8 ins), framed and glazed (55.5 x 45.5 cm), with Lindsay (Lionel, 1874-1961). Zocodover Gate, Toledo, etching with drypoint, signed in pencil, from the edition of 75 proofs, P. & D. Colnaghi label to frame verso, plate size 29.5 x 19.9 cm (11 3/4 x 8 ins), framed and glazed (56.5 x 42 cm), together with a drypoint etching signed ‘J. Gavin’ of workers operating a press, and two etchings of views of Chelsea, London by Charles William Sherborn, all framed, signed Brockhurst: Wright/Fletcher 46. Anderson: Meyrick and Heuser 243. (7) £400 - £600

£150 - £200

286AR* Cox (Morris, 1903-1998). Bookends, wood carving showing an elephant and another animal mounted on two wooden plinths and laid onto mushroom shaped plywood, some clear adhesive visible at feet of elephant, notes in pencil to verso of elephant ‘Morris Cox, bookend, no trace of a pair, AT’, some minor chips to plywood base, 15.5 cm high, together with a wood carving of a voluptuous female ﬁgure, 27 cm long

£100 - £200

287* Hawke (Marjorie, 1894-1979). Village in Moonlight, oil on canvas, signed ‘Hawke’ lower left, use of impasto, manuscript label with title and artist to verso, James Bourlet & Sons Ltd. label to verso, some small areas of craquelure and paint loss, canvas size 40.5 x 51 cm (16 x 20 ins), framed (54 x 63 cm)

288AR* Webb (Clifford, 1895-1972). The Yew Tree, oil on board, label to verso with title, artist and address (Dormers, Abinger Hammer, Surrey), frame aperture measures 45 x 75 cm (17 3/4 x 29 1/2 ins), board measures 46 x 80 cm (18 x 31 1/2 ins), framed (1)

£150 - £200

289AR* Bratby (John, 1928-1992). Triple Portrait, 1956, oil on board, signed lower left ‘Bratby’, a portrait of three female ﬁgures, with use of impasto, various old auction labels to verso, board size approx. 148 x 122 (58 1/4 x 48 ins), in a contemporary hessian frame (162 x 136 cm)

Provenance: Burstow and Hewett, Fine Art and Sculpture, 25 January 2024, lot 515

Rosebery’s, Modern British 20th & 21st Century Art, 6 June 2023, lot 143 Christie’s, London, 20th Century British Art, 15 July 2009, lot 77 (1) £1,000 - £1,500

£200 - £300

Draughtsman and painter in oil, born in London. She studied at Heatherley’s, the Central School of Arts and Crafts and the Westminster School of Art, under Bernard Meninsky. Her work found its way into many private collections in Britain and abroad from mixed exhibitions at Leicester Galleries, O’Hana and galleries in Greece, France and Italy. Her single artist shows included Bear Lane Gallery, Oxford, and the Rotunda Gallery (David Buckman, Artists in Britain Since 1945, 2007). (1)

290* Brooke (Anne, 1916-2002). Fountains Abbey, oil on canvas, signed lower left, a view of the ruins of Fountains Abbey from the south, Renoir Galleries Ltd., Harrogate label to verso, canvas size 40.5 x 51 cm (16 x 20 ins), framed (49 x 59.5 cm)

Provenance: From the collection of the British composer Edward Williams. Anne Brooke was a Yorkshire-born painter and teacher. From 1937 to 1942 she studied at Chelsea School of Art, Huddersﬁeld School of Art and the London University Institute of Education. She exhibited at the Royal Academy, Royal Scottish Academy, Royal Cambrian Academy, Women’s International Art Club, and the Paris Salon. Her solo exhibitions were held at Swarthmore Centre, Leeds in 1962, and Renoir Gallery, Harrogate in 1977. (1)

£500 - £800

291* Brooke (Anne, 1916-2002). Village in the Yorkshire Dales, oil on canvas, signed ‘A Brooke’ lower left, sheep wander through a village in the Dales with hills in the background, Renoir Galleries Ltd., Harrogate label to verso, canvas size 40.5 x 51 cm (16 x 20 ins), framed (50 x 59.5 cm)

Provenance: From the collection of the British composer Edward Williams. (1) £500 - £800

292* Martin (Frank, 1921-2005). Studies of Barbara Stanwyck (American actress, model and dancer), pencil drawing, double study on single sheet, signed in ink bottom right and titled bottom left, mount aperture 38cm x 27.5cm (15” x 10.7”), framed and glazed, together with a second single pencil study of Barbara Stanwyck by the same artist, signed bottom right and titled bottom left, dated circa 1931, mount aperture measures 33cm x 26cm (13” x 10.5”), some slippage in mount revealing time toning, framed and glazed (2)

£200 - £300

293* McKenzie (Hugh, 1909-2005). Seven Sketch Books, circa 1960-90s, approximately 340 leaves contained in seven sketchbooks, mostly pencil, watercolour with pen and ink, others in black chalk, depicting various street scenes, ﬁgure and life studies, covering various locations including: Kent, Walmer, Deal, Deptford High Street, London, Broadstairs, King William Walk Greenwich, etc., mostly to one side of leaf only, some signed, all with various card or board bindings, 22.5 x 21 cm (8 7/8 x 8 1/4 ins) and smaller (7)

£200 - £300

294* Toms (Carl, 1927-1999). Twelve original portrait studies of members of the premiere cast of the opera A Midsummer Night’s Dream, 1960, watercolour and pencil on wove paper, three with heightening in white, a mixture of full-face, half-proﬁle and proﬁle poses, each with character and corresponding singer’s name in pencil, some with additional design notes in blue biro, occasional light handling creases, each sheet 37.5 x 25 cm (14 3/4 x 9 3/4 ins)

Characters and singers (as inscribed) include:

Carl Toms designed the set and costumes for Benjamin Britten’s opera A Midsummer Night’s Dream. Britten adapted the libretto with Peter Pears from Shakespeare’s play of the same name, and it was premiered on 11 June 1960 at the Aldeburgh Festival, conducted by the composer.

These designs all feature premiere members of the cast and were presumably used as a reference for Toms during the design process. Some include additional notes referencing singer’s hair designs: ‘extra piece to pin on’, ‘height here’ and ‘pepper with salt grey ﬂecks’. (12)

£700 - £1,000

295* Walker (M, 20th century). Magie, 1964, oil on canvas, titled and dated by the artist to verso in red paint, a few areas of cracking and loss to surface, canvas size 76 x 61 cm (30 x 24 ins), unframed (1)

£200 - £300

296AR* Annigoni (Pietro, 1910-1988). Wethersﬁeld, Amenia (New York), 1965, pen, wash and china ink on wove paper, 51.5 x 67.5 cm (20 1/2 x 26 1/2 ins), window mounted, framed and glazed (54.5 x 71 cm)

Provenance: Margaret Rawlings, Lady Barlow (1906-1996), English stage actress and Jane Sacchi, née Barlow (1943-). (1)

£500 - £800

297* Ngatane (Ephraim Mojalefa, 1938-1971). Street Workers at Night, Johannesburg, watercolour and gouache with black ink on thick paper, laid down on board, signed lower right, 520 x 680 mm (20 1/2 x 26 3/4 ins), framed and glazed (72 x 88 cm), frame verso with several adhered South African newspaper cuttings regarding the artist and his exhibitions, and with gallery label of Art Nova, 70c Rissik St, JHB [Johannesburg]

Ephraim Ngatane studied at the Polly Street School of Art under Cecil Skotnes, then continued his studies under the tuition of Rev. Hall Duncan. In 1963 he held his ﬁrst one-man exhibition ‘Johannesburg Township Life’ at the Adler-Fielding Gallery in Johannesburg. (1) £2,000 - £3,000

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

298* Ngatane (Ephraim Mojalefa, 1938-1971). Township scene, watercolour on paper, signed lower right, mount aperture 213 x 306 mm (8 3/8 x 12 ins), framed and glazed (35.5 x 43 cm), plus Struben (Edith, 1868-1936), Street scene, watercolour on card, signed lower left, mount aperture 347 x 248 mm (13 3/4 x 9 3/4 ins), framed (58 x 44 cm), verso with framer’s label: Herbert Evans & Co [Johannesburg]

300* Mackley (George, 1900-1983). Countryside Landscapes, 1971-80, a small collection of 15 watercolours on thick wove paper, depicting various scenes, mainly English country landscapes, riverscapes, waterfalls, rocky scenery and buildings, etc., mainly all signed and dated, largest 39 x 55 cm (15 3/8 x 21 5/8 ins) (15)

£150 - £200

£300 - £500

301AR* Maeckelberghe (Margo, 1932-2014). Boscastle, oil on board, depicting a view from the sea looking towards Boscastle harbour and the village, board size 30 x 60.5 cm (11 3/4 x 23 3/4 ins), Sancreed Studios label to verso, framed (43.4 x 73.5 cm), together with a small folder of postcards, some with handwriting from the artist to a friend

299AR* Kelly (Percy, 1918-1993). Boats, Newlyn, Cornwall, 1971, watercolour and black ink heightened with gouache on paper, signed and dated lower right, ﬁshing boats in the harbour at Newlyn, some light scattered spotting, mount aperture 49 x 67 cm (19 x 26 1/4 ins), framed and glazed (65 x 81 cm) (1)

£300 - £500

Margo Maeckleberghe was born in Penzance, where she grew up and lived for most of her life. Her studio was situated at the top of the moors between Penzance and Zennor, and was thus both the actual as well as metaphoric centre of her vision. She studied at Penzance School of Art, and then from 1949 to 1952 attended Bath Academy of Art at its postwar home, Corsham Court in Wiltshire, rather than at the Slade in London where she had also been offered a place. Corsham had become an important centre for modern painting in Britain, whose principal, Clifford Ellis, appointed artists of stature to head its specialist courses; the head of painting was William Scott. many visiting tutors came from Cornwall, including Bryan Wynter, Terry Frost and Peter Lanyon, the latter being a particularly important inﬂuence on Margo’s work. (1)

£500 - £700

302AR* Blackburn (David, 1939-2016). Beach with Cross and Stone & Beach with Stones and Trailing Form, 1974, two pastel on paper, both with faded signature and date to lower right, sheet size each 39.5 x 30 cm (15 1/2 x 11 3/4 ins), both titled and dated ‘1974’ with ‘Rowneys & Rembrandt pastel ﬁxed (3) with Windsor & Newton Fixing spray - 1975’ to verso, mounted together, framed and glazed (69 x 99 cm)

(1)

£400 - £600

303AR* Brown (Ralph, 1928-2013). Lovers Valley, study for bronze relief, 1974, pencil on cream sketchbook paper, initialled and dated lower right, some small chips to paper edge, two small holes in sheet to upper right margin, some minor mount staining, rough sketch to verso sheet size 50.5 x 38 cm (19 7/8 x 15 ins), with detached contemporary handwritten label with medium, and title in pencil and note of exhibition in pen

Exhibited: Royal Academy of Arts, Summer Exhibition, 4th May - 28th July 1974, number 1335.

(1)

£150 - £200

304* Sihlali (Durant Basi, 1935-2004). No 5 Shaft - Durban Deep, 1975, watercolour on paper, signed and dated lower right, mount aperture 525 x 741 mm (20 3/4 x 29 1/8 ins), framed (75 x 95 cm), together with Rainy Day at Zola, 1974, watercolour on paper, signed and dated lower right, mount aperture 400 x 289 mm (15 3/4 x 11 3/8 ins), framed and glazed (54.5 x 43 cm), ink manuscript title on frame backing paper, plus A family scene, watercolour on paper, depicting a couple with a young child, the woman sitting weeping, signed lower left, mount aperture 538 x 378 mm (21 1/8 x 14 7/8 ins), framed and glazed (71 x 54.5 cm)

Durant Basi Sihlali was born in Germiston, South Africa. He studied ﬁrst at the Moroko Chiawelo Centre (1950-1953) and then until 1958 at the Polly Street Art Centre, where he was taught by Cecil Skotnes. Sihlali was Head of Fine Arts at the Federated Union of Black Artists (Fuba) from 1983 until 2004. He exhibited in Beverly Hills, Nuremberg, Palermo and Athens. His painting No 5 Shaft - Durban Deep was later reproduced as a lithograph. (3)

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

£600 - £800

305* Mackley (George, 1900-1983). Hillside Farm, 1977, watercolour on thick cream wove paper, with traces of pencil and black chalk, signed and dated lower left (somewhat indistinct), ‘6’ in pencil to top left corner, image size 34 x 49.5 cm (13 1/2 x 19 1/2 ins), sheet size 37 x 52.5 cm, window-mounted, and Edge of the Forest, 1979, watercolour on thick wove paper, underdrawn in pencil, a view of trees with forest and open ﬁelds in the background, signed and dated lower left in pen, ‘1’ in pencil to top left corner, remnants of tape to upper margin, image size 34 x 46 cm (13 1/4 x 18 ins), sheet size 36 x 48.3 cm, together with Coastal Landscape, circa 1979, watercolour on thick wove paper, underdrawn in pencil, a view of a coastline with rising cliffs and rocky outcrops, unsigned, ‘5’ in pencil to top left corner, old tape to upper margin, areas of staining to all margins (not affecting image), image size 34 x 49.5 cm (13 1/2 x 19 1/2 ins), sheet size 38 x 53.3 cm

Provenance: Patricia Jaffé (née Milne-Henderson, 1935-2018), art historian. (3) £300 - £500

306* Smith (D. H., 1947-). Storm I, 1977, watercolour, signed and dated lower left, 12.9 x 10.4cm, framed and glazed, with typed gallery labels on backboard for Fischer Fine Art, and artist’s manuscript label ‘No.4. To touch the incomprehensible power’, (frame 41.1 x 34.5 cm)

D. H. Smith studied at Grimsby School of Art, and the Royal College of Art in London where he was taught by Peter Blake. He held his ﬁrst exhibition at the end of his second year at the New Art Centre in Sloane Street. (1)

£100 - £150

307AR* Cox (Morris, 1903-1998). Maeve, 1981, acrylic and oil glaze on board with incised lines, signed and dated lower right, 61 x 46 cm (24 x 18 1/8 ins), printed label and white chalk ‘386’ to verso, together with Girl with a Patterned Dress, 1991, acrylic on panel with incised lines and collage, signed and dated lower right, 61 x 46 cm (24 x 18 1/8 ins)

Provenance: From the family of Alan Tucker (1933-2017), Stroud bookseller and poet, and co-author of Morris Cox and the Gogmagog Press (1991). Exhibited: Morris Cox, Centennial Exhibition - A Selection of Visual Art (1921-1996), 2003. (2)

£300 - £500

308* Farthing (Stephen, 1950-). Ornament Word no. 14, 1982, black charcoal and gouache on paper, signed, dated, and titled in pencil, 365 x 270 mm (14.3 x 10.6 ins) mount aperture, framed and glazed (1)

£100 - £150

309AR* Davies (Brian 1942-2014). Still Life of Peaches and Grapes, resting on a wooden table with silver and glass tumbler, oil on canvas, signed lower right, canvas size 20 x 30.5 cm (7 7/8 x 12 ins), John Adams Fine Art label to verso, framed (30 x 40.5 cm) (1)

£400 - £600

310AR* Davies (Brian 1942-2014). Still Life of Peaches, in a silver bowl on a table, oil on canvas, signed lower left, canvas size 35.5 x 30.5 cm (14 x 12 ins), John Adams Fine Art label to verso, framed (46 x 41.5 cm) (1)

£400 - £600

311AR* Davies (Brian 1942-2014). Still Life of Plums, in a white dish resting on a wooden table, a knife, glass goblet and grapes around it, oil on canvas, signed lower right, canvas size 35.5 x 51 cm (14 x 20 1/8 ins), framed (56.5 x 71.5 cm) (1)

£400 - £600

Lot 310

Lot 309

312* Cox (Morris, 1903-1998). Troubled Ease, 1986, acrylic on board with incised lines and collage, signed and dated lower right, 61 x 46 cm (24 x 18 1/8 ins), printed label and white chalk ‘434’ to verso, together with Woman with the Snake Bracelet, circa 1985, acrylic on panel with incised lines and collage, white drip mark to right hand side (possible bird), 61 x 46 cm (24 x 18 1/8 ins)

Provenance: From the family of Alan Tucker (1933-2017), Stroud bookseller and poet, and co-author of Morris Cox and the Gogmagog Press (1991). (2)

£300 - £500

313* Cox (Morris, 1903-1998). Reposed, 1987, acrylic on board with incised lines and collage, signed and dated lower right, 61 x 46 cm (24 x 18 1/8 ins), printed label and white chalk ‘451’ to verso, together with

Nude in a Garden, 1989, acrylic on panel with incised lines and collage, signed and dated lower right, 61 x 46 cm (24 x 18 1/8 ins), printed label and white chalk ‘481’ to verso

Provenance: From the family of Alan Tucker (1933-2017), Stroud bookseller and poet, and co-author of Morris Cox and the Gogmagog Press (1991).

Exhibited: Morris Cox, Centennial Exhibition - A Selection of Visual Art (1921-1996), 2003.

(2)

£300 - £500

314* Cox (Morris, 1903-1998). Cosmic Dog, 1988, acrylic and oil glaze on board with incised lines and collage, signed and dated upper right, 51 x 38 cm (21 x 15 ins), printed label and white chalk ‘459’ to verso, together with Unbelievable, 1989, acrylic on panel with incised lines and collage, signed and dated upper right, 45.5 x 41 cm (18 x 16 ins), printed label, white chalk ‘470’ and incised lines from a preliminary work to verso, and Woman Walking, 1989, acrylic on panel with incised lines and collage, some white paint smears, signed and dated lower left, 61 x 45.5 cm (24 x 18 ins)

(3)

£400 - £600

Lot 313 Lot 314

315* Hemming Bray (Rachel, 1947-). From the Paragon to Ashton Park, Bristol, 1989, pastel, initialled and dated, mount aperture 34.5 x 37 cm (13 1/2 x 14 1/2 ins), framed and glazed (45 x 47.5 cm), together with Three Young Cellists, 1987, pastel, initialled lower left, various labels to verso, mount aperture 27 x 36.5 cm (10 1/2 x 14 1/4 ins), framed and glazed (45 x 54.5 cm) (2)

£150 - £200

316AR* Cox (Morris, 1903-1998). Person in a Red Hat, 1990, acrylic on panel with collage and incised sections, signed and dated upper right, 45.5 x 51 cm (17 7/8 x 20 ins), label with printed title to verso Provenance: From the family of Alan Tucker (1933-2017), Stroud bookseller and poet, and co-author of Morris Cox and the Gogmagog Press (1991).

317AR* Mackeown (James, 1961- ). The Open Window, oil on board, signed lower right, a woman sits reading on a sofa with an open window above her head, title in pencil to frame verso, board size 150 x 49.8 cm (59 x 19 1/2 ins), framed (176.8 x 76.5 cm)

Exhibited: Morris Cox, Centennial Exhibition - A Selection of Visual Art (1921-1996), 2003. (1)

£200 - £300

James MacKweon was educated at Gresham’s School in Norfolk. He is a prize-winning artist in the UK and France, having been highly commended in the 1981 National Portrait Gallery portrait competition. He has held solo shows throughout Britain and Ireland, including at the Phoenix Gallery, Lavenham, Fermoy Centre, King’s Lynn, Bury St Edmunds Art Gallery, West Wales Arts Centre, Fishguard, and the Solomon Gallery, Dublin. (1)

£300 - £500

318* Goya y Lucientes (Francisco de, 1746-1828). Obsequio a el maestro and Subir y bajar, (Gift to the Teacher and Up and Down), two etchings with aquatint on wove paper, from Los Caprichos, plates 47 & 56, the xxth state, some mount staining, plate size 21.6 x 15.1 cm (8 1/2 x 6 ins), sheet size 31 x 23 cm (12 1/4 x 9 ins), framed and glazed (35.5 x 28.5 cm)

(2)

£300 - £500

319* Baldrey (Joshua Kirby, 1754-1828). East Window of King’s College Chapel, Cambridge, 1809, ﬁne hand-coloured stipple etching on two conjoined sheets, overall plate size 110 x 61 cm (43.5 x 24 ins), with margins, framed and glazed (frame size 122 x 77 cm or 48 x 30 1/4 ins)

Fine large-scale coloured print of the famous east window at King’s College Chapel, Cambridge, a late Gothic stained glass window showing the Passion sequence.

(1)

£200 - £300

320* Crome (John, 1768-1821). Road by a Stricken Oak, 1813, etching on laid paper, from the portfolio titled Thirty-One Original Etchings of Views of Norfolk, issued in 1821, plate size 15.25 x 19 cm (6 x 7 1/2 ins), sheet size 17.3 x 21.3 cm (6 7/8 x 8 3/8 ins), wood frame, glazed, together with Burgess (William Walter, 1856-1908). Cheyne Walk, west of Beaufort Street, Chelsea, 1894, etching on japon paper, from the edition of 100 proofs, printed for the artist by Frederick Goulding and published in 1894, signed in pencil lower left, plate size 145 x 280 mm, with margins, framed and glazed, plus a view of a castle by Paul Sandby (3)

£200 - £300

Lot 318

Lot 319

321* Harvey (William, 1796-1866). Assassination of L. S. Dentatus, after Benjamin Robert Haydon, 1821, wood-engraving on sevenpiece block, printed on chine-collé, after a painting by Benjamin Robert Haydon, countersigned by the engraver in brown ink, printed with great contrast, laid down to backing board, plate size 37.5 x 29 cm (14 3/4 x 11 1/2 ins), sheet size 52 x 38 cm, in a contemporary wooden and gilt frame (some losses to left side) 79.5 x 61 cm

This scale and virtuosity of this exceptionally large wood-engraving for the period matches the ambition of the painting it reproduces. As such it was probably intended to demonstrate that although Harvey had abandoned his ambitions as a painter, the lessons he had learnt at Haydon’s feet would enable him to raise the status of the humble wood-engraving to that traditionally reserved for line-engraving

Another impression of this work is held by the RA (Accession Number 07/884).

322* Turner (Joseph Mallord William, 1775-1851). A collection of 55 proof engravings of European views after J. M. W. Turner, circa 1830s, proof engravings on India paper, mostly landscape format, many with pencil captions to lower margin, engravers include J. B. Allen, J. C. Armytage, R. Brandard, J. Cousen, S. Fisher, T. Higham, T. Jeavons, W. Miller, W. Radclyffe, J. Smith, R. Wallis, and J. T. Willmore, plate size approximately 150 x 230 mm (6 x 9 ins), sheet size 290 x 420 mm (11 1/2 x 16 5/8 ins), loosely contained together in 19th-century black morocco-backed cloth covered portfolio with brass lock clasp, portfolio titled ‘Annual Tour’ in gilt (55)

£200 - £300

One of England’s greatest early wood engravers and designers for wood engraving, William Harvey was apprenticed at age fourteen to Thomas Bewick, the father of English wood engraving. Harvey quickly gained a privileged place among Bewick’s pupils and worked extensively with his master on the engravings for his famous Aesop’s Fables. Harvey left Bewick in 1817 to study under B. R. Haydon. (1)

323* Haden (Seymour, 1818-1910). Kensington Gardens II (Large Plate), 1859, etching with drypoint, printing with selectively wiped plate tone, signed in pencil to lower margin, image size 19.7 x 12.5 cm (7 3/4 x 4 7/8 ins), sheet size 23.5 x 15.6 cm (9 1/4 x 6 1/8 ins), framed and glazed (42.3 x 32.4 cm), together with Out of Study Window, etching, depicting a view of a city emerging from behind trees and bushes, image size 10.5 x 25.6 cm (4 1/8 x 10 1/8 ins), framed and glazed (32 x 42.5 cm) Schneiderman 31.

Provenance: Out of Study Window was purchased in April 1987 from Garton & Cooke, thence by descent through the family. (2)

£150 - £200

324* Manet (Edouard, 1832–1883). Charles Baudelaire de Face III (Portrait of Charles Baudelaire, Full Face), 1868, etching on thin laid paper, the 4th and ﬁnal state, with printed inscription to lower margin of the image ‘Peint et Gravé par Manet 1865’ and ‘Imp. A. Salmon’, plate size 94 x 82 mm (3 7/8 x 3 1/4 ins), sheet size 197 x 149 mm (7 3/4 x 5 7/8 ins), hinge-mounted, framed and glazed Moreau-Nélaton 16; Guérin 38; Harris 61.

Final published state of Manet’s portrait of Baudelaire, after a photograph by Nadar. (1)

£300 - £500

325 Austen (Robert Sargent, 1895-1973). The Angel of Saint Matthew, Orvieto, 1924, etching on buff laid paper, signed in pencil, titled in the lower margin, from the edition of 40 artist’s proofs, with margins, tipped-on to backing board with tape to top corners verso, plate size 11.5 x 10.1 cm (4 1/2 x 4 ins), sheet size 25.2 x 18.7 cm (10 x 7 1/4 ins), hinge-mounted, plus Sisters of Assisi, 1925, etching and engraving on ivory laid paper, signed and dated in pencil, titled in the lower margin, from the edition of 30 artist’s proofs, with margins, tipped-on to backing board with tape to top corners verso, plate size 13.1.x 10.6 cm (5 x 4 1/4 ins), sheet size 26.6 x 21.1 cm (10 1/2 x 8 1/4 ins), hinge-mounted, and The Bell No 2, 1927, copper line engraving on laid paper, signed and dated in pencil, with title to lower left corner of sheet, with margins, plate size 11.4 x 15.7 cm (4 1/2 x 6 1/4 ins), sheet size 24 x 18.2 cm (9 1/2 x 7 1/4 ins), unframed, and four further prints by the same artist, including ‘Zoutlande’, ‘Boy and Calf’, ‘Italian Fair’ and a further copy of ‘The Angel of St Matthew, Orvieto’, all signed, some dated, all unframed Campbell Dodgson 51, - , 73, 82, 68, 40 (7)

£400 - £600

326* Renoir (Pierre-Auguste, 1841-1919). Le Chapeau Epinglé (third plate), 1894, etching, signed in the image lower left, on cream wove paper, the second state, as issued in the book Renoir et ses Amis by Georges Riviere (1921), plate size 120 x 830 mm (4 3/4 x 3 1/4 ins), framed and glazed (1)

£150 - £200

327* Lewisohn (Raphael, 1863-1923). La danse en Bretagne, 1897, colour lithograph on chine volant, published in an edition of 100 impressions, one or two light creases to blank margins, generally in very good condition, sheet size 43 x 57 cm together with Lunois (Alexandre, 1863-1916). Une bomme pique, 1897, lithograph in colours, signed in blue pencil lower-right, outer margins with some surface skinning caused by removal of adhesive, sheet size 46 by 60 cm, laid down on backing card

Johnson 71. Published in an edition of 100 proofs in the Album d’estampes originales de la Galerie Vollard (2)

£200 - £300

328AR* Gibbings (Robert, 1889-1958). The Retreat from Serbia, 1916, woodcut printed in colours, on wove paper, signed and dated to lower right blank margin in pencil, some light spotting, image size 17.8 x 17.8 cm (7 x 7 ins), sheet size 23.7 x 21.1 cm

This woodcut was used as the frontispiece to The Wood Engravings of Robert Gibbings, edited by Patience Empson. “The Retreat from Serbia is based on a remarkable photograph taken by a war correspondent, published in ‘The Illustrated London News’ on 15 January 1916. The Serbian commander-in-chief, Marshall Putnik, was heading the retreat from the Germans through Albania. His soldiers carried him in a sedan chair over the Bridge of the Visiers, which crossed a river, the White Drin. The artist’s eye was caught by the stark but beautiful lines of the stonework of the sixteenth-century Ottoman bridge. Its distinctive parabola form, without any parapet, was characteristic of many bridges adapted from Roman architecture by Ottoman military engineers throughout the Turkish Empire. A subject matter for his early prints, Gibbings often used the silhouetted forms of architecture, as they were peculiarly suited to the hard-edged patterns rendered by the woodcut block. The subtle colouring enhances the melancholy nature of the subject.” Margaret Timmers, ed., Impressions of the Twentieth Century: Fine Art Prints from the V&A Collections (London: V&A Publications, 2001). (1)

£1,000 - £1,500

329* Brangwyn (Frank, 1867-1956). Les Villes Tentaculaires, 1919, a collection of 36 artist’s proofs for Émile Verhaeren’s collection of poems La Ville Tentaculaires, engravings on ivory laid japon, of which three are signed, some with titles in pencil, all with large margins, sheet sizes 29.2 x 23 cm (and smaller), most tipped (top or left edge) into individual window mounts, the whole contained in a near contemporary handmade cardboard slipcase (some wear), with ink manuscript labels on spine

Provenance: From the Brangwyn family estate in Belgium.

‘[Les Villes Tentaculaires was Verhaeren’s] most ruggedly powerful book of poetry. Although this ends with a statement of faith in science, it is a deeply pessimistic collection, a thrilled and hallucinatory account of the desecration of nature by machinery. This theme would present an appropriate challenge to Brangwyn, a negative counterpart to his vital imagery of man the worker, and his ﬁnished illustrations demonstrate how successfully he demonstrated it.’

Illustrators, The British Art of Illustration 1800-1999, Seymour-Smith. (1) £300 - £500

330* Strang (William, 1859-1921). The Thunderstorm, 1889, etching with drypoint on laid paper, signed lower right, title in another hand to verso, the third (of three) states, printed with plate tone, tipped-on to backing board, mount stained, scattered spotting, plate size 30 x 35 cm (12 x 13 3/4 ins), sheet size 32 x 41 cm, framed and glazed, together with The Bathers, 1932, etching on laid paper, signed lower right in pencil ‘Wm. Strang fec. DS.’, additionally signed by David Strang, tipped-on to backing card, plate size 17.5 x 20.2 cm (7 x 8 ins), sheet size 20.2 x 22.6 cm, framed and glazed (34.5 x 35.5 cm), together with Stevens (Geoffrey, 1899-1979). The Well, 1933, etching on laid paper, signed in pencil, plate size 15.5 x 22.8 cm (6 x 9 ins), framed and glazed (35.5 x 42 cm) and Landscape with Chapel, 1933, etching, signed in pencil, plate size 19.5 x 26.6 cm (7 3/4 x 10 1/2 ins), framed and glazed (39 x 46 cm), plus ﬁve further works by various artists including John Dixon (The Axe of Brandonan), Alfred Waldron (Bathers in Tree) and John Nicholls, various sizes

(9)

£300 - £400

331* Wadsworth (Edward, 1889-1949). Modern Woodcutters 4, London: Herbert Furst, The Little Art Rooms, April 1921, 12 (of 14) black and white woodcut plates (printed from the original blocks), each with printed title caption to lower margin, scattered spotting, bookplate of Charles Lambert Rutherston to inside front wrapper, original printed orange paper wrappers, somewhat worn, with fraying and some loss to spine, some light soiling and marks, slim 4to (26 x 19 cm)

The two missing plates are ‘Tugs’ and ‘Still Life’. (1)

£200 - £300

Lot 333

£200 - £300

332* Renoir (Pierre-Auguste, 1841-1919). Jeunes Filles Fleurissant Leurs Chapeaux, 1921, original drypoint etching by Renoir: Jeunes Filles Fleurissant Leurs Chapeaux, as issued in Renoir et ses Amis, by Georges Rivière, Paris: H. Floury, 1921, colour and monotone illustrations, front wrapper lithograph in sanguine: Tête de Jeune Fille, 273pp., some pages uncut, original printed wrappers, some wear and loss to head and foot of spine, portion of glassine overwrapper to rear cover only, 4to (26.5 x 20.5 cm) (1)

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

134

333* Brockhurst (Gerald, 1890-1978). Geneviève, circa 1922, etching on ivory laid paper, signed in pencil, with characterful inky artist’s ﬁngerprints to upper and lower sheet edges, with margins, titled ‘Geneviève’ in another hand to lower blank margin, tippedon to backing board at the upper sheet corners verso, plate size 20 x 15 cm (8 x 6 ins), sheet size 29.2 x 23.5 cm (11 1/2 x 9 1/4 ins), hinge mounted, together with Le Beguin, 1922, etching on cream laid paper, signed in pencil, also with inky ﬁnger marks to sheet edges, with margins, titled ‘Le Beguin’ in another hand, tipped-on to backing board at the upper sheet corners verso, plate size 13.8 x 11 cm (5 1/2 x 4 1/4 ins), sheet size 18.5 x 23 cm (7 1/4 x 9 ins), hinge mounted, plus Aglaia, 1926, etching on ivory wove paper, signed in pencil, with margins, titled ‘Agalia (sic) (Mrs Brockhurst)’ to lower blank margin, tipped-on to backing board at the upper sheet corners verso, plate size 12.5 x 8.7 cm (5 x 3 1/2 ins), sheet size 28 x 21.4 cm (11 x 8 1/2 ins), hinge mounted Wright 30; 33; 54.

The sitter in all three etchings is Brockhurst’s ﬁrst wife, Anaïs Folin. (3) £500 - £800

335* Walcot (William, 1874-1943). Pont Neuf, watercolour on mould-made paper, signed in pencil bottom left, label verso for Fine Art Society, October 1974, mount aperture measures 25.3 cm x 37.7 cm (10 x 14 3/5 ins), watercolour in good original condition, gentle ruckling inherent to paper, framed and glazed (1)

£300 - £500

334* Gill (Eric, 1882-1940). The Shepherds, 1924, wood engraving on laid paper, printed in the intaglio manner, signed and numbered 33/50, with margins, tipped-on to mount at the upper sheet edge verso, light mount staining, very minimal scattered spotting, plate size 7.2 x 8 cm (2 3/4 x 3 1/4 ins), sheet size 19.4 x 14 cm (7 3/4 x 5 1/2 ins), in a very large window mount Physick 301. (1)

£200 - £300

336* Kasimir (Luigi, 1881-1962). The Minaret, New York, 1927, etching printed in colours, in an edition of about 100 impressions, signed in pencil to lower margin, very pale mount stain, paper to verso skinned by mount tabs at upper corners, generally in very good condition, plate size 45.2 x 27.7 cm (17 3/4 x 10 7/8 ins)

A view of Fifth Avenue, New York. (1)

£200 - £300

337AR* Brockhurst (Gerald Leslie, 1890-1978). The Two Melisandes, 1928, etching on cream wove paper, with J. Whatman watermark, from the edition of 111 proofs, signed in pencil by the artist, a crisp impression, title and date in another hand to lower blank margin with the same information to the mount recto, with margins, minimally hinged with tape to left margin verso, plate size 15.5 x 8.8 cm (6 x 3 1/2 ins), sheet size 28.5 x 21.5 cm Wright 60.

(1)

£200 - £300

338AR* Raverat (Gwen, 1885-1957). The Goatherd, 1928, wood engraving on wove paper, signed and numbered in pencil, image size 68 x 102 mm (2 3/4 x 4 ins), sheet size 15 x 17 cm, mounted Selborne & Newman 149.

(1)

£200 - £300

339 Kasimir (Luigi, 1881-1962). Park Avenue, New York, circa 1929, etching printed in colours, in an edition of about 100 impressions, signed in pencil to lower margin, pale mount stain, generally in very good condition, plate size 44.5 x 27.3 cm (17 1/2 x 10 3/4 ins), with full margins

(1)

£300 - £500

340* Kasimir (Luigi, 1881-1962). Brooklyn Bridge, New York, circa 1930, etching printed in colours, signed in pencil to lower margin, pale mount stain, generally in very good condition, plate size 29.5 x 43.7 cm (11 3/4 x 15 1/8 ins), with full margins (1)

£400 - £600

Lot 339

342* Mackley (George, 1900-1983). Island Slipway, circa 1930, wood engraving on thin laid paper, signed, titled, numbered 33/75, a strong impression, with margins, minimally tipped on to backing board, image size 12.6 x 17.6 cm (5 x 7 ins), sheet size 20.2 x 25 cm, mounted, and Litter Basket, circa 1950s, wood engraving on cream wove paper, signed, titled, numbered 27/60, tipped on to mount board, image size 9.8 x 7.5 cm (4 x 3 ins), sheet size 18.3 x 12.7 cm, mounted, together with Cow Parsley from Weeds and Wild Flowers, signed and mounted Provenance: Patricia Jaffé (née Milne-Henderson, 1935-2018), art historian. (3) £200 - £300

£200 - £300

341* Kasimir (Luigi, 1881-1962). New York Public Library, circa 1930, etching printed in colours, signed in pencil to lower margin, pale mount stain, generally in very good condition, plate size 43.2 x 30 cm (17 1/8 x 11 3/4 ins), with full margins (1)

343* Quick (Hilda, 1895-1978). Snow & Fog, and The Potter, two woodcuts, one depicting snowy rooftops, the other a man bent over a potter’s wheel, both signed and titled in pencil to lower margin, The Potter numbered 11/25 in pencil to margin, 99 x 120 mm (3 7/8 x 4 3/4 ins) and smaller, both framed and glazed (25.5 x 22 cm), together with Gill (Eric, 1882-1940). Adam and Eve in Heaven of The Public-House in Paradise, 1927, engraving, some spotting, print size 113 x 70 mm (4 1/2 x 2 3/4 ins), mounted, framed and glazed (30 x 26.5 cm) Physick 480 (Adam and Eve). (3)

£150 - £200

344

345

344* Hughes-Stanton (Blair, 1902-1981). The Stranger, 1933, wood engraving on wove paper, signed in pencil bottom right, titled bottom right, with inscription to Frank (Frank Martin), dated June 19th 1959, block size 22 x 12 cm (8 7/10 x 4 3/4 ins), mount aperture measures 25 x 18.5 cm (10 x 7 1/4 ins), framed, together with Underwood (Leon, 1890-1975). The Dream of Mardocheus, wood engraving on wove, with printed titled, block measures 18 x 12.6 cm (7 x 5 ins), sheet measures 33 x 22 cm (13 x 8 1/2 ins), unframed (2)

£150 - £200

345* Buckland Wright (John, 1897-1954). Bather 1934, wood engraving on wove paper, one of 30 editioned impressions, signed in pencil bottom right, titled bottom left ‘Bather 1934’, block size 7.6 x 7.6 cm (3 x 3 ins), sheet size 15 x 14.5 cm (6 x 5 3/4 ins), light time toning and two marks to border, unframed, together with a wood engraving of a celestial maiden, printed on Japon, attributed to the same artist, block measuring 4 x 4.5 cm (1 3/5 x 1 3/4 ins), sheet size 12 x 12 cm (4 3/4 x 4 3/4 ins), unframed (2)

£300 - £400

346AR* Brockhurst (Gerald Leslie, 1890-1978). Melisande, 1920, etching on cream laid paper, from the edition of 55 proofs, published July 1920, signed in pencil, P. & D. Colnaghi label to frame verso, plate size 139 x 113 mm (5.5 x 4.5 ins), mount aperture 15.5 x 13 cm, framed and glazed (43 x 34.5 cm)

Wright/Fletcher 7. (1)

£150 - £200

347* Ravilious (Eric, 1903-1942). Children in the Park, woodengraving on hand-made Japanese vellum paper, from the edition of 100 printed by Ian Mortimer from the original block at I.M. Imprimit, published by Merivale Editions, numbered in pencil 72/100, the full sheet, image size 16.7 x 12.2 cm (6 1/2 x 4 3/4 ins), sheet size 29.3 x 20.7 cm (11.5 x 8.2 ins), loose in original red printed wrapper

First printed in an edition of 20 and exhibited at the Seventh Annual Exhibition of the Society of Wood Engravers in 1926. (1)

£200 - £300

348* Gill (Eric, 1882-1940). Twenty-Five Nudes, 1937, six wood engravings from the set of twenty-six, on wove paper, published by J.M. Dent & Sons, 1938, all in very good condition, some trimmed to or fractionally within the image in places (presumably as published), sheet sizes all approximately 22.3 x 13.5 cm (8 3/4 x 5 1/4 ins), all uniformly window mounted (29.5 x 21 cm), together with four wood-engraved initials from Autumn Midnight, 1923, by the same artist (Initial T Man with Thistles, Initial I with an Old Nurse, Initial M with a Bedroom, Initial Y with Susan and Diana), each measuring approximately 2.5 x 2.5 cm (1 x 1 ins), all uniformly window mounted

Physick: Twenty-Five Nudes, 936, 939, 941, 945, 955, 960. Autumn Midnight, 236, 239, 243, 244.

(10)

£150 - £200

349* Anderson (Stanley, 1884-1966). Alperton, Middlesex, 1911, etching on laid Japon paper, a ﬁne impression with real contrast, signed in pencil, from the edition of 25 artist's proofs, with margins, tipped-on to backing board at the upper sheet corners recto, in ver y ﬁne condition, plate size 13.8 x 19.8 cm (5 1/2 x 8 ins), sheet size 17.2 x 23 cm (63/4 x 9 ins), hinge-mounted, together with Eynsford, Kent, 1913, etching on wove paper, signed in pencil, edition size not recorded (the artist is thought to have destroyed much of the edition), with margins, tipped-on to backing board at the upper sheet corners recto, plate size 12.6 x 20.1 cm (5 x 8 ins), sheet size 17 x 23.8 cm (6 3/4 x 9 1/4 ins), hinge-mounted

Meyrick & Heuser 45 & 69.

(2)

£300 - £400

Lot 348

Lot 349

350* Anderson (Stanley, 1884-1966). 'Old Father Time', of Wiltshire, 1944, copper line engraving on wove paper, a ﬁne impression, signed in pencil, from the edition of 100 artist's proofs, titled 'Old Father Time, of Wiltshire. (Line-engraving)' by the artist to lower sheet edge, with margins, tipped-on to backing board at the upper sheet corners recto, P. & D. Colnaghi label to frame verso, plate size 9.5 x 8 cm (3 3/4 x 3 ins), sheet size 20.3 x 15.5 cm (8 x 6 ins), framed and glazed (43 x 34.5 cm) Meyrick and Heuser 243. (1)

£200 - £300

351* Anderson (Stanley, 1884-1966). Avignon, from the Rhône, 1926, etching with drypoint on wove paper, a fine impression, signed in pencil, from the edition of 75 artist's proofs, titled 'Avignon, from the Rhône. Edition 75 proofs -' by the artist to lower sheet edge, with margins, tipped-on to backing board at the upper sheet corners verso, P. & D. Colnaghi label to frame verso, evenly toned, plate size 22.2 x 39.8 cm (8 3/4 x 15 3/4 ins), sheet size 29.7 x 50.1 cm (11 3/4 x 19 3/4 ins), framed and glazed (42.5 x 60 cm), plus Le Marché, Falaise 1926, etching with drypoint on Millbourn wove paper, signed in pencil, from the edition of 60 artist's proofs, titled 'Le Marché, Falaise. Edition, 60 proofs -' by the artist to lower sheet edge, with margins, tipped-on to backing board at the upper sheet corners verso, light mount staining, plate size 19.1 x 26.7 cm (7 1/2 x 10 1/2 ins), sheet size 28.1 x 42.6 cm (11 x 16 3/4 ins), hinge-mounted, and La Lieutenance, Honfleur, 1926, etching with drypoint on Whatman watermarked wove paper, a rich impression, signed in ink, from the edition of 60 artist's proofs, titled 'La Lieutenance. Honfleur. Edition. 60 proofs.' by the artist in pen to lower blank margin, with margins, tipped-on to backing board at the upper sheet corners verso, plate size 19.9 x 37.8 cm (7 3/4 x 15 ins), sheet size 27.9 x 45.1 cm (11 x 17 3/4 ins), hinge-mounted, together with two further drypoint etchings 'Les Arcades, Dieppe' and 'Place St Gervais, Falaise', each signed by the artist, mounted Meyrick & Heuser 173; 172; 171; 180. (5)

£500 - £800

353* Buckland Wright (John, 1897-1954). Camber Sands, 1953, wood engraving on wove paper, one of 30 editioned impressions, signed in pencil bottom right, titled bottom left ‘Camber Sands’, block size 17.7 x 25.2 cm (10 x 7 ins), sheet size 25.2 x 38.2 cm (9 4/5 x 15 ins), light time toning and handling, unframed (1) £200 - £300

352* Anderson (Stanley, 1884-1966). Stone Breaker, 1940, copper line engraving, on pale cream wove paper, a proof aside from the published edition of 50, signed in pencil, titled ‘The Stone Breaker. (Line Engraving)’ by the artist in the lower margin, printing with great clarity and rich contrasts, with margins, in very good condition, tipped-on to backing board at the upper sheet corners verso, plate size 18.2 x 13.9 cm (7 1/4 x 5 1/2 ins), sheet size 32.2 x 25.5 cm (12 3/4x 10 1/8 ins), hinge-mounted, together with The Basket-Maker, 1942, copper line engraving, on thick (partially) watermarked BFK Rives wove paper, signed in pencil, inscribed ‘Ed. 50’, from the edition of 50 artist's proof, signed in pencil, titled ‘The Basket-Maker. (Line Engraving) / Edition 50 prints.’ by the artist in the lower margin, an excellent impression, with margins, a deckle edge at bottom, tipped-on to the backing board at the upper sheet corners recto, evenly mount toned, some very scattered spotting, otherwise in good condition, plate size 17 x 16.7 cm (6 3/4 x 6 1/2 ins), sheet size 31.7 x 25 cm (12 1/2 x 9 3/4 ins), hinge-mounted Meyrick & Heuser 226 & 234.

The engraved verse on Stonebreaker is taken from a poem by the humourist Thomas Hood, entitled The Broken Dish. The text on Basket-Maker is taken from Ecclesiastes 3. (2)

£300 - £500

354* Hilder (Rowland, 1905-1993). Smith’s Farm, High Halton, Kent, colour etching on paper, signed and numbered 11/195 in pencil, research and biographical notes to frame verso, plate size 25 x 54.5 cm (9 3/4 x 21 1/2 ins), framed and glazed (1)

£200 - £300

355* Lindsay (Lionel, 1874-1961). A bridge Estremadura, 1926, etching with drypoint on paper, signed in pencil, with plate tone, from the edition of 75 artist's proofs, published by P. & D. Colnaghi, London, Eveling & Tress label to frame verso, plate size 17.7 × 25.1 cm (7 x 10 ins), framed and glazed (39 x 47.5 cm), together with Schaefels (Hendrik Frans 'Rik', 1827-1904). Longboats at Arnemuiden, 1882, etching on paper, signed in the plate 'Rik Schaefels', image size 14 x 21.4 cm (5 1/2 x 8 1/2 ins), framed and glazed (35 x 43.5 cm)

A bridge Estremadura, Mendelssohn 388.A trial proof of this print is held in the National Gallery of Victoria, Australia - Accession Number 1021-4. (2)

£150 - £200

356* Mackley (George, 1900-1983). Rock House, wood engraving on thin japan paper, from the published edition of ﬁfty impressions, signed, titled and numbered 5/50 in pencil, some light creases and minor marks to blank margins, image size 12.5 x 15 cm (5 x 6 ins), sheet size 20.5 x 23.5 cm (8 x 9 1/4 ins)

(1)

£150 - £200

357* Waldron (Alfred, 1912-). Thou Shalt Not, woodcut on japon nacré, signed titled and numbered 26/40, with margins, 43 x 31.5 cm (17 x 12 1/2 ins) mount aperture, black painted wood frame, glazed

Alfred Waldron was born in Birmingham and attended Birmingham Art School under Eric Malthouse between 1931 and 1934. After graduating, he joined the artist’s colony on the island of Sark in the Channel Islands, which included Mervyn Peake, Eric and Lisel Drake. he exhibited in the British Pavilion at the New York World’s Fair in 1939, and across Canada and the USA in 1940, as well as various locations in South America in 1943-44. It remains unknown what happened to the artist after 1945.

(1)

£150 - £200

358* Anderson (Stanley, 1884-1966). The Clothes Peg Maker, 1953, copper line engraving on wove paper, signed in pencil, from the edition of 60 artist’s proofs, editioned bottom left, plate size 17.5 x 22.6 cm (9 x 7 ins), sheet size 30 x 34.7 cm (11 4/5 x 13 4/5), mounted Meyrick and Heuser 260.

(1)

360AR* Cox (Morris, 1903-1998). On the Seashore, 1946, woodcut in four colours, signed and dated with limitation number and title in pencil to lower margin, 17.8 x 24.1 cm (7 x 9 1/2 ins), mounted, framed and glazed (30 x 38 cm), printed label to verso ‘Original Colourprint by Morris Cox...Blocks Destroyed’

Limited edition 3/43 copies.

£300 - £400

359 Tanner (Robin, 1904-1988). The Old Road, Elegy for the English Elm I, 1976, etching on laid William Morris ‘Apple’ paper, the ﬁrst state (of three), signed in pencil, title and paper detail in artist’s hand in pencil to lower portion of sheet, with margins, plate size 29.8 x 23.7 cm (11 3/4 x 9 1/4 ins), sheet size 40.5 x 33.2 cm (16 x 13 ins), unframed, together with Hedge Flowers, 1936, etching on cream wove paper, a separate impression printed by the artist in September 1983, aside from the published edition of 12 impressions issued in 1982 by Garton and Cooke, signed, titled and additionally inscribed by the artist ‘This impression is for Fay & Ray: Fron Fawr. Sept., 1983.’, with margins, plate size 23.2 x 16.2 cm (9 x 6 1/2 ins), sheet size 33.7 x 26.5 cm (13 1/4 x 10 1/2 ins), unframed Garton 36 (i/iii - before the area to the left of the road between the tree and hedge is burnished) & 20.

(2)

£300 - £500

Provenance: From the family of Alan Tucker (1933-2017), Stroud bookseller and poet, and co-author of Morris Cox and the Gogmagog Press (1991). (1)

£150 - £200

361AR* Dali (Salvador, 1904-1989). The Temptation of Saint Anthony, colour lithograph on paper, signed and limited CXII/CXXV in pencil to lower margin, studio stamp to lower left margin, image size 43.5 x 58 cm (17 1/8 x 22 3/4 ins), with margins, mounted, framed and glazed (72 x 84 cm) (1)

£200 - £300

362AR* Kelly (Felix, 1914-1994). Drifters and Steamers, 1946, colour lithograph, printed at the Baynard Press for School Prints Ltd., London, sheet size 49.4 x 76 cm (19 1/2 x 30 ins), unframed (1) £150 - £200

363AR* King (Sydney, active 1950's). Spanish Triptych, 1953, pen, black ink, watercolour and gouache on paper, two signed and dated, two with numerous imaginative abstract figures and one depicting a single female figure, each with flavours of Neoromanticism, two sheets with perforated notebook edges, each mount aperture 22.1 x 13.3 cm (8 x 5 1/4 ins), framed and glazed (37.5 x 61 cm)

(1)

£300 - £500

364AR* Drury (Paul, 1903-1988). Forms in a Wood, 1950, etching and aquatint on cream wove paper, signed, a proof before the unnumbered edition, with margins, tipped-on to backing board, plate size 16.4 x 22.5 cm (6 1/2 x 8 3/4 ins), sheet size 35.5 x 43.5 cm, framed and glazed (46.5 x 52 cm)

(1)

£200 - £400

365* Moore (Henry, 1898-1986). Henry Moore and Irina Radetsky, circa 1930s, gelatin silver print, an image of Moore and his wife in his studio, with sculptures in the background, Moore is smoking a pipe and Radetsky is partially dressed, inscribed ‘Henry Moore & Irina Radetsky (wife)’ in pencil to verso, in good condition, 12.5 x 17.8 cm (5 x 7 ins) While teaching part-time at the Royal College in London, Moore met Irina Radetsky (1907-1989), a painting student. They married in 1929 and the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small group of avant-garde artists. Focusing primarily on female ﬁgures, Moore drew inspiration from his wife, who served as his muse for six decades. (1)

£100 - £150

Lot 364

Lot 363

366

367

366AR* Austin (Robert Sargent, 1895-1973). Still life with ﬂowers in a glass jug, watercolour on paper, signed bottom right, mount aperture measures 29.3 cm x 22.5 cm (11 1/2 x 8 9/10), framed and glazed (1)

£300 - £400

367* Buckland Wright (John, 1897-1954). Dancer II, 1953, etching on wove paper, one of 40 editioned impressions, signed in pencil bottom right, titled bottom left ‘Dancer II’, with personal inscription ‘for Frank’ (Frank Martin), plate size 21.5 x 18.7 cm (8 2/5 x 7 3/10 ins), sheet size 33 x 27 cm (13 x 10 7/10 ins), light time toning to extreme borders, unframed (1)

£300 - £400

368* Buckland Wright (John, 1897-1954). La Visiteuse du soir, 1953, etching on wove paper, signed in pencil bottom right, titled bottom left ‘La Visiteuse du soir’, with personal inscription ‘for Frank’ (Frank Martin), plate size 15 x 10.2 cm (5 4/5 x 4 ins), sheet size 24 x 16.8 cm (9 1/2 x 6 3/5), light time toning to extreme borders, unframed, together with Psyche and Cebrus, 1937, etching on mould paper, signed with initials in the plate, titled in pencil bottom left and date bottom right, plate size 12.8 x 8.8 cm (5 x 3 2/5 ins), sheet size 33 x 25.5 cm (13 x 10 ins), studio stamp verso, mounted (2) £200 - £300

369* Hermes (Gertrude, 1901-1983). Bullﬁght 3, 1954, woodcut on laid paper, signed in pencil bottom right, titled bottom left, one of published edition of 50, block size 24.5 x 30.3 cm (9 1/2 x 12 ins), sheet size 42 x 52 cm (16 1/2 x 22 1/2 ins) framed and glazed, some light time toning, together with Bullﬁght 3 No. 8, woodcut on laid paper, signed in pencil bottom right, dated 1955, titled in pencil bottom left, block measures 36.5 x 58 cm (14 2/5 x 22 4/5 ins), mount aperture measures 39 x 60 cm (15 4/5 x 22 4/5 ins), some ruckling and creases to sheet along with overall time staining, framed and glazed (2)

£200 - £300

370* Hamilton (Richard, 1922-2011). Man Machine & Motion, London: Institute of Contemporary Arts, 1955, printed catalogue to accompany the exhibition by Richard Hamilton as part of the Independent Group, from an edition of 1000, catalogue designed and typewritten by Anthony Froshaug, 223 item catalogue, 49pp, 40 black and white illustrations on tinted paper, original paper wrappers, very tiny area of loss to upper corner of rear wrapper, otherwise excellent, 8vo (1)

£1,000 - £1,500

371* Mackley (George, 1900-1983). Breadwinner, 1959, wood engraving on wove paper, signed, titled, numbered 43/50, a deep impression, minimally tipped on to backing board, image size 12.6 x 15.1 cm (5 x 6 ins), sheet size 15 x 19.5 cm, mounted, with The Ferry, 1951, wood engraving on cream wove paper, signed, titled, and numbered 43/75, partial Basingwerk Parchment watermark, with margins, minimally tipped on to backing board, small amount of spotting to righthand margin, image size 15 x 12.7 cm (6 x 5 ins), sheet size 24.9 x 17.9 cm, mounted

Provenance: Patricia Jaffé (née Milne-Henderson, 1935-2018), art historian. (2) £200 - £300

Lot 370

372* Mackley (George, 1900-1983). The Little Bridge, wood engraving on cream wove paper, signed, titled, numbered 19/50, large margins, tipped on to backing board, image size 12.7 x 10.1 cm (5 x 4 ins), sheet size approx. 24 x 18 cm, mounted, plus Cataract, circa late 1940s, wood engraving on wove, signed, titled, numbered 41/75, with margins, minimally tipped on to backing board, image size 10 x 12.7 cm (4 x 5 ins), sheet size 16.7 x 19.2 cm, mounted, together with The Creek, wood engraving on cream wove paper, signed, titled, numbered 15/75, with margins, tipped on to backing board, small area of spotting, image size 7.5 x 10.1 cm (3 x 4 ins), sheet size approx. 13 x 18.5 cm, mounted

Provenance: Patricia Jaffé (née Milne-Henderson, 1935-2018), art historian. (3) £300 - £400

373* Pettoruti (Emilio, 1892-1971). Coin du Silence, circa 1960, lithograph printed in colours on Arches wove paper, after the painting dated 1926, signed and numbered in pencil ‘97/125’, published by Mourlot, Paris, information label to sheet verso, the full sheet, a little dust soiled, image size 39 x 44 cm (15 1/4 x 17 1/4 ins), sheet size 47.8 x 65 cm, together with Lumière-élan, lithograph printed in colours on Arches wove paper, after the painting dated 1916, signed and numbered in pencil ‘110/125’, published by Mourlot, Paris, information label to sheet verso, the full sheet, areas of dust soiling, image size 44 x 34 cm (17 1/4 x 13 1/4 ins), sheet size 65 x 47.5 cm, plus another colour lithograph by the same artist of an abstract design, signed and numbered ‘51/100’, the full sheet (3) £200 - £300

374* Davie (Alan, 1920-2014). Motif 7, 1961, screenprint in colours on wove paper, signed in the plate, a design for the paper covers of Motif 7 Summer 1961, the book edited by Ruari McLean and published by Shenval Press, Soho, London, light handling creases, image size 39 x 53.5 cm (15 1/4 x 21 ins), sheet size (45.5 x 58.5 cm) (1) £100 - £150

375* Pennie (Michael, 1936-2019). The Succession of Life Through Geological Time, 1961, colour screenprint, signed and dated ‘72 in pencil, and artists’ proof for printer in pencil to lower left, additionally signed by the British novelist B.S. Johnson (1933-1973) in green ink, small closed tear to lower edge, image size 52 x 68 cm (20.5 x 26.75 ins), sheet size 70.2 x 105 cm (27 5/8 x 41 1/4 ins) (1) £150 - £200

Lot 373

376 Paolozzi (Eduardo, 1924-2005). Metaﬁsikal Translations, London: Kelpra Studio, 1962, ﬁrst edition, signed and dedicated in pencil by the artist ‘To Ruari McLean / Eduardo Paolozzi / March 1963’ and numbered 73/100 in blue pencil to front free endpaper, 44pp of black and white screenprints, white laminated card covers with blue screen printed title, covers a little sunned, spine with some minor wear, slim 4to (29.6 x 20.8 cm)

Metaﬁsikal Translations was Paolozzi’s frist book. The British sculptor, collagist, printmaker, and writer, was one of the founders of the British pop art movement. The book was printed for the artist by the Kelpra Studio. Kelpra was pivotal in the development of the screenprinting medium throughout the 1960s and 70s, and worked with artists including Richard Hamilton, Patrick Caulﬁeld and Peter Blake. Ruari McLean (1917-2006), to whom Paolozzi dedicated this copy, was a leading British typographic designer.

(1)

377* Albert-Birot (Pierre, 1876-1967). Paradis, 1964, silkscreen print in colours on wove, artist and date printed to lower margin, printed by Wild Hawthorn Press, the full sheet, some small areas of creasing and toning to the extreme edge of the upper blank margin, sheet size 44 x 57 cm (17 1/4 x 22 1/2 ins)

Graeme Murray 1.8, Ian Hamilton Finlay & The Wild Hawthorn Press, A Catalogue Raisonné 1958 - 1990, 1990, page 1.

This particular poem-print inspired one of Ian Hamilton Finlay's most wellknown works, the poem-print Le Circus, published in the same year (see lot 378 for an example).

(1)

£400 - £600

£150 - £200

378* Hamilton Finlay (Ian, 1925-2006). Poster Poem (Le Circus), 1964, screenprint in colours on wove paper, title, artist and date printed lower right, printed by Wild Hawthorn Press, the full sheet, a few creases, sheet size 44.3 x 57.7 cm (17 3/4 x 22 3/4 ins)

Graeme Murray 5.4, Ian Hamilton Finlay & The Wild Hawthorn Press, A Catalogue Raisonné 1958 - 1990, 1990, page 19.

(1)

£200 - £300

379* Mon (Franz, 1926-2022). Epitaph für Konrad Bayer, 1964, silkscreen in colours on wove paper, title, artist and date printed to lower margin, printed by Wild Hawthorn Press, the full sheet, scattered spotting, old creases, sheet size 56.5 x 43 cm (22 1/4 x 17 ins) and Kriwet (Ferdinand, 1942-2018). Poem/Print, 1964, silkscreen in colours on wove paper, artist and date printed to lower margin, printed by Wild Hawthorn Press, the full sheet, sheet size 55.5 x 44 cm (21 1/2 x 17 1/4 ins), together with Phillips (Tom, 1937-2022). A Humument, version II of p. 51., 1970, screenprint in colours on wove paper, signed, dated and numbered 20/75 in pencil, the full sheet, image size 65 x 42 cm (25 1/2 x 16 1/2 ins), sheet size 76.5 x 54.5 cm

£200 - £300

Graeme Murray 1.7 and 1.9, Ian Hamilton Finlay & The Wild Hawthorn Press, A Catalogue Raisonné 1958 - 1990, 1990, page 1. (3)

380AR* Piper (John, 1903-1992). Exton, Rutland: monument by Grinling Gibbons 1686, 1964, colour lithograph on Barcham Green Crisbrook paper, printed by Curwen Studio and published by Marlborough Fine Art, London, signed and numbered 43/70 in pencil, plate 5 from the portfolio ‘A Retrospective of Churches’, the full sheet, minimal mount staining to blank sheet edges, image size 74 x 51 cm (29 1/4 x 20 1/4 ins), sheet size 81 x 58.5 cm (31 3/4 x 23 ins), framed and glazed (97 x 71 cm) Levinson 126.

(1)

£300 - £500

381AR* Piper (John, 1903-1992). St Anne’s, Limehouse, London, by Nicholas Hawksmoor, 1964, colour lithograph on Barcham Green Crisbrook paper, printed by Curwen Studio and published by Marlborough Fine Art, London, signed and numbered 48/70 in pencil, plate 20 from the portfolio ‘A Retrospective of Churches’, the full sheet, mount staining and some scattered toning (particularly to blank sheet edges), image size 70.5 x 48 cm (27 3/4 x 19 ins), sheet size 81.5 x 59.5 cm (32 x 23 1/2 ins), mounted Levinson 141.

(1)

£300 - £500

Lot 380

Lot 381

382AR* Piper (John, 1903-1992). St James the Less, Westminster, by G. E. Street, 1964, colour lithograph on Barcham Green Crisbrook paper, printed by Curwen Studio and published by Marlborough Fine Art, London, signed and numbered 32/70 in pencil, plate 23 from the portfolio ‘A Retrospective of Churches’, scattered spotting (mainly to blank sheet edges), image size 49 x 65 cm (19 1/4 x 25 1/2 ins), sheet size 59.5 x 79.4 cm (23 1/2 x 29 1/2 ins), framed and glazed (72.5 x 85.5 cm)

Levinson 144.

(1)

£400 - £600

383AR* Piper (John, 1903-1992). St Nicholas, Liverpool: smokeblack dockland church, 1964, colour lithograph on Barcham Green Crisbrook paper, printed by Curwen Studio and published by Marlborough Fine Art, London, signed and numbered 13/70 in pencil, plate 15 from the portfolio ‘A Retrospective of Churches’, the full sheet, handling crease to lower portion of blank margin, image size 62 x 45 cm (24 1/2 x 17 3/4 ins), sheet size 81 x 59.5 cm (31 3/4 x 23 12 ins), unframed

Levinson 136.

(1)

£400 - £600

384AR* Piper (John, 1903-1992). St Nicholas, Liverpool: smokeblack dockland church, 1964, colour lithograph on Barcham Green Crisbrook paper, printed by Curwen Studio and published by Marlborough Fine Art, London, signed and numbered 42/70 in pencil, plate 15 from the portfolio ‘A Retrospective of Churches’, light mount staining to blank sheet edges, image size approx. 62 x 45 cm (24 1/2 x 17 3/4 ins), sheet size 80.6 x 59 cm (31 3/4 x 23 1/4 ins), framed and glazed (88.5 x 64 cm)

Levinson 136.

(1)

£400 - £600

385* Furnival (John, 1933-2020). Polar, 1965, silkscreen in colours on wove, artist and date printed lower left, printed by Wild Hawthorn Press, the full sheet, small areas of creasing, old pin holes to each corner, sheet size 55 x 44 cm (21 1/2 x 17 1/4 ins), together with Albert-Birot (Pierre, 1876-1967). Paradis, 1964, silkscreen print in colours on wove, artist and date printed to lower margin, printed by Wild Hawthorn Press, the full sheet, some small areas of creasing and toning to the extreme edge of the upper blank margin, sheet size 44 x 57 cm (17 1/4 x 22 1/2 ins) and Kriwet (Ferdinand, 1942-2018). Poem/Print, 1964, silkscreen in colours on wove paper, artist and date printed to lower margin, published by Wild Hawthorn Press, the full sheet, sheet size 55.5 x 44 cm (21 1/2 x 17 1/4 ins)

Graeme Murray 1.10, 1.8 and 1.9, Ian Hamilton Finlay & The Wild Hawthorn Press, A Catalogue Raisonné 1958 - 1990, 1990, page 1. (3)

£200 - £300

386* Furnival (John, 1933-2020). The Eyeful Tower, 1966, screenprint in brown on thick wove paper, signed and dated in black ink lower left, published by Openings Press, the full sheet, some spotting, sheet size 58.5 x 29.5 cm (23 x 11 1/2 ins), together with Kilpeck Corbels, screenprint on thick wove paper, signed in pencil by the artist, from an unnumbered edition, the full sheet, sheet size 64 x 49.5 cm (25 1/4 x 19 1/2 ins), and an exhibition poster for The Locative Case Topographical Drawings, a solo exhibition held at the Cairn Gallery in 1994 (3)

£200 - £300

387* Hamilton Finlay (Ian, 1925-2006). Au Pair Girl, 1966, screenprint in green on cream wove paper, printed by Jonathan Willcocks of Bath Academy of Art at the Openings Press, Woodchester, signed by Jonathan Willcocks, numbered 6/10 and dated in pencil, the full sheet, spotted, a few small creases, sheet size 55 x 38 cm (21 1/2 x 15 ins), with Mon (Franz, 1926-2022). Epitaph für Konrad Bayer, 1964, silkscreen in colours on wove paper, title, artist and date printed to lower margin, printed by Wild Hawthorn Press, the full sheet, some old creases, sheet size 56.5 x 43 cm (22 1/4 x 17 ins) and Kriwet (Ferdinand, 1942-2018). Poem/Print, 1964, silkscreen in colours on wove paper, artist and date printed to lower margin, printed by Wild Hawthorn Press, the full sheet, sheet size 55.5 x 44 cm (21 1/2 x 17 1/4 ins) plus Phillips (Tom, 1937-2022). A Humument, version II of p. 51., 1970, screenprint in colours on wove paper, signed, dated and numbered 74/75 in pencil, the full sheet, image size 65 x 42 cm (25 1/2 x 16 1/2 ins), sheet size 76.5 x 54.5 cm Graeme Murray 1.7 and 1.9, Ian Hamilton Finlay & The Wild Hawthorn Press, A Catalogue Raisonné 1958 - 1990, 1990, page 1. (4)

£200 - £300

388* Hamilton Finlay (Ian, 1925-2006). Sea Poppy I, 1966, screenprint in colours on wove paper, unnumbered (as issued) from an edition of circa 400, printed by Tarasque Press, Nottingham, the full sheet, image size 33.7 x 30.5 cm (13 1/4 x 12 ins), sheet size 56 x 43 cm

389* Hamilton Finlay (Ian, 1925-2006). Star/Steer, 1966, screenprint, silver on steel grey paper, the full sheet, unnumbered (as issued) from the edition of 350, the full sheet, printed by Tarasque Press, Nottingham, sheet size 57 x 44.5 cm (22 1/2 x 17.5 ins)

Star/Steer is a Christmas print by Finlay, referring to the Star of Bethlehem steering the three wise men to Jerusalem. This is one of the artist's most successful and well-known mid-1960s concrete poetry prints. Though the date is often cited as 1966 (see Murray and Simig), in fact the print was made and released in 1968 by Tarasque Press on behalf of Finlay, who had a heart attack and was not printing at the time. Edward Wright collaborated with Finlay on the project, creating the graphic design and layout.

Graeme Murray 5.6, Ian Hamilton Finlay & The Wild Hawthorn Press, A Catalogue Raisonné 1958 - 1990, 1990, page 19.

A copy of the print with 'Edition of 350' written on verso was found in the archive of Stuart Mills, Tarasque publisher, which conﬁrms the edition size. (1) £200 - £300

Graeme Murray 5.7, Ian Hamilton Finlay & The Wild Hawthorn Press, A Catalogue Raisonné 1958 - 1990, 1990, page 19. (1)

£200 - £300

390 Various Artists. Maeght Editeur Paris. Lithographies et eauxfortes originales, livres illustres originaux, afﬁches, Derriere Le Miroir, London: Redfern Gallery, 1966, 47 [3] pages printed on Chiffon de Mandeure, introduction by John Russell in English, other text in French, 8 original colour lithographs by Marc Chagall, Joan Miro, Alexander Calder, Raoul Ubac, Pierre Tal-Coat, Eduardo Chillida, Saul Steinberg and Ellsworth Kelly, two colour reproductions after lithographs by Georges Braque and Alberto Giacometti, original printed wrappers with original colour lithograph by Joan Miro to upper cover, small 4to (25.5 x 19 cm), VG (1) £400 - £600

391* Houedard (Dom Sylvester 1924-1992). Ken Cox Memorial, 1968, double-sided screenprint in black, blue and red on pink wove paper, printed title, initials and date to lower margin, unnumbered (as issued) from an edition of circa 300, printed at the Compton Press, Compton Chamberlayne, Salisbury, small crease to lower right corner, tiny stain (approx. 5 x 4 mm) to left margin, the full sheet, sheet size 57 x 50.3 cm (22 1/2 x 19 3/4 ins)

392* Mackley (George, 1900-1983). Barn at Giethoon, 1968, wood engraving on Japon, signed, titled, numbered 74/75, printed with real contrast, with margins, minimally tipped on to backing board, image size 10 x 12.5 cm (4 x 5 ins), sheet size 20.6 x 20.8 cm, mounted, together with Gateway, 1962, wood engraving on laid paper, signed, titled, numbered 39/75, with margins, tipped on to backing board, image size 12.8 x 10.1 cm (5 x 4 ins), sheet size 20 x 15.3 cm, mounted, plus Memory of Montfoort, wood engraving on laid paper, signed, titled, numbered 13/75, large margins, tipped on to backing board, 12.7 x 10 cm (5 x 4 ins), sheet size 23.5 x 20 cm, mounted

Provenance: Patricia Jaffé (née Milne-Henderson, 1935-2018), art historian. (3)

£300 - £400

£200 - £300

This work is dsh’s memorial tribute to the artist Ken Cox (1927–1968). The verso of the work, printed in black, contains the full-length title “the suncheese wheel-ode, a double-rolling-gloster memorial for kencox” and the complex workings of Houedard’s Consonant and Vowel System as well as acknowledging Semi-Bold Flaxman by Edward Wright. The letters K- E- NC- O- X are missing from the composition, reﬂecting the loss of the artist. The piece was also printed on white, green and yellow paper. (1)

393* Jensma (Wopko, 1939-c.1993). Head, 1969, woodcut on japon, initialled and dated ‘WJ 69’, numbered ‘2/20’, some discolouration to lower portion of sheet, a few short creases, mount aperture 49 x 35 cm (19 1/4 x 13 5/8 ins), framed and glazed (64 x 49 cm), together with Untitled, 1969, woodcut on japan, initialled and dated ‘WJ 69’, numbered ‘1/20’, two horizontal creases to top and bottom margin, small amount of staining, mount aperture 34 x 33 cm (13 1/2 x 13 ins), framed and glazed (64.5 x 63 cm)

Wopko Jensma is a South African poet, painter, and printmaker. He studied at the University of Potchefstroom and for a Bachelor’s Degree in Fine Arts at the University of Pretoria. His art is heavily based on ethnic inﬂuences, and also by his own ‘jazz-like’ poetry. Jensma disappeared without a trace in 1993.

(2)

£200 - £300

Lot 392

394AR* Nicholson (Ben, 1894-1982). 6 Eaux-Fortes et Eaux-Fortes-Aquatintes de Ben Nicholson, 1969, the complete suite of six etchings and etchings with aquatint on wove as published by François Lafranca, Locarno, March 1969, each signed, dated and numbered 33/50 in pencil, from the edition of 50 impressions (plus 6 artist proofs) each with Lafranca blindstamp to lower left corner, full sheets, ﬁve of the six prints loose with original tissue wrapper with the title, date and size printed to the upper wrapper (as issued), single printed sheet Justiﬁcation du Tirage on BFK Rives paper, numbered in pencil ‘33’, all (except one, mug and goblet) loosely contained in original grey card chemise with ‘Ben Nicholson’ and Lafranca logo to upper cover, housed in the original publisher’s silver aluminium hinged protective case designed by Ferruccio Mantovani, Locarno (58 x 51 cm), etching of mug and goblet separately framed and glazed (59.5 x 54 cm)

La Franca 65, 90, 97, 126, 86, 102.

The titles of the six etchings are: long horizontal Patmos (1967), Torcello 2 (1967), glasstopped bottle (1968), mug and goblet (1968), two bottles and glass (1968) and Euboea (vertical) (1967)

Patmos, plate size approx. 33 x 14.5 cm, sheet size 29.5 x 44 cm | Torcello 2, plate size approx. 31.5 x 31 cm, sheet size 44 x 47.5 cm | glasstopped bottle, plate size approx. 25.5 x 35.5 cm, sheet size 37 x 49 cm | mug and goblet, approx. 25 x 22 cm, sheet size | two bottles and glass, plate size approx. 32 x 32 cm, sheet size 42.5 x 47 cm | Euboea (vertical), 36 x 34 cm, sheet size 50 x 45.5 cm

In this set, the impression of Euboea (vertical) has ﬁve additional pencil lines added to the composition by the artist.

(6)

£8,000 - £12,000

395AR* Houedard (Dom Sylvester 1924-1992). Successful Cube

Tranceplant in Honor of Chairman Mao, 1970, silkscreen printed in red and black on wove paper, signed, dated and numbered in pencil ‘69/75 dsh 70’, printed by Openings Press, the full sheet, pale discolouration to two blank margins (not affecting image), sheet size 77.5 x 58.4 cm (30 1/2 x 23 ins)

(1)

£300 - £500

396AR* Houedard (Dom Sylvester 1924-1992). Successful Cube

Tranceplant in Honor of Chairman Mao, 1970, silkscreen printed in red and black on wove paper, signed, dated and numbered in pencil ‘3/75 dsh 70’, printed by Openings Press, the full sheet, some areas of minor discolouration, sheet size 77.5 x 58.4 cm (30 1/2 x 23 ins)

(1)

£300 - £500

397* Pan Tianshou (1897-1971). Fish, woodblock print on laid paper, signed and numbered ‘12/20’ in pencil to lower right, red stamp and Chinese characters below image, sheet edged with light blue fabric, image size approx. 19.5 x 32 cm (7 3/4 x 12 1/2 ins), sheet size 34 x 45 cm, unmounted, together with Zou Changyi, 邹昌义 (1944-2023). Dong Village, 1992, woodcut print on laid paper, a monochrome image of a Chinese Dong village at the foot of stylised rolling hills, with a Drum Tower to the right, lower margin contains Chinese characters and Arabic numerals in pencil, including title ‘Dong Village’, edition ‘12/30’, ‘China Chongqing Sichuan Academy of Fine Arts’, artist’s signature in pencil and red stamp, and date ‘1992’, image size 52.5 x 51 cm (20 3/4 x 20 ins), framed and glazed (72 x 68 cm)

Pan Tianshou was a Chinese painter, art educator and art theorist, who was one of the most important traditional Chinese painters of the 20th century. Zou Changyi studied painting at the Sichuan Academy of Fine Arts. He returned to the Sichuan Academy as an Associate Professor, before becoming a Master Tutor and Director of the Woodblock Studio. His work is held in institutions in China and across the rest of the world, including Shanghai Oriental Art Museum, Chongqing Art Museum, Jeonbuk Museum of Art in South Korea and the British Museum. (2)

£200 - £300

400* Riley (Bridget, 1931-). Bridget Riley Hayward Gallery 21 July to 5 September 1971, screenprint poster, in red, green, blue and black, printed by PKM Studio, three vertical folds and one horizontal fold, framed and glazed (79 x 104.5 cm)

398* Phillips (Tom, 1937-2022). A Humument (1970), colour lithograph on wove paper, signed with initials, from edition of 100, sheet size 19cm x 14cm (7.5” x 5.5”), together with four others from the same edition, all signed in pencil with initials (page numbers 150, 216, 235, 296 and 339), and a pencil signed loose single sheet folder published by Tetrad Press. (1)

£150 - £200

399* Furnival (John, 1933-2020). Time Is Money, 1971, offset lithograph on wove paper, signed in pencil, the full sheet, old pin holes to four corners, sheet size 50.5 x 38 cm (20 x 15 ins), and The Deﬁnitive Penultimate, offset lithograph on wove paper, signed in pencil, the full sheet, some dust soiling and light spotting, sheet size 38 x 50.5 cm (15 x 20 ins), together with six further prints by the same artist, Corridors of Flower Power (1967), Manhattan a.k.a. Aliquotality (1973), Eyeful Tower (c.1966), Night and Day, Real I Sing (1974) and Attention Please (8)

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

£150 - £200

The image featured on this poster is of Riley’s ﬁrst screenprint in colour Firebird from 1971. (1)

£150 - £200

401AR Arikha (Avigdor, 1929-2010). Samuel Beckett, The North with three original etchings by Avigdor Arikha, London: Enitharmon Press, 1972, 3 etchings on barcham green hand-made paper, printed by Studio Prints, London, each signed by the artist in pencil, the text printed by Rampant Lions Press, Cambridge, loose in original card wrapper with title stamped in blind to upper wrapper, with matching cloth chemise and slip case, large folio (sheet size 39 x 29 cm)

Limited edition of 1 of 137 copies, signed by Samuel Beckett. (1)

£300 - £500

402* Holloway (Edgar, 1914-2008). Benson Vermont, Christmas Greetings 1972, wood engraving on cream laid paper, signed, titled and dated by the artist, image size 69 x 101 mm (2 11/16 x 3 15/16 ins), sheet size 97 x 144 mm (3 13/16 x 5 5/8 ins), together with another similar size copper engraving by Holloway, signed in pencil to lower margin inscribed ‘Christmas Greetings’ in black ink by the artist, plate size 72 x 95 mm (2 12/15 x 3 3/4 ins), sheet size 108 x 127 mm (4 3/16 x 5 ins), plus seven other various modern prints, comprising: three etchings by Simeón Sáiz Ruiz (1956-), all signed in pencil and numbered from additions of 50 or 75 to lower margin; three engravings with aquatint by Eliška Fučíková, all signed in pencil to lower margin, and one etching by André Masson (Christmas Greetings card from Galerie Sagot-Le Garrec, Paris, 1973), unsigned, various sizes (largest sheet size 32 x 22.5 cm), and an original pen brown ink and brown wash landscape study attributed to Eugenio Lucas y Padilla (1824-1870), unsigned, sheet size 163 x 229 mm, (6 3/8 x 9 ins), the latter gifted to John Rowlands by Fernando Zobel

£200 - £300

Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum. (10)

403AR* Piper (John, 1903-1992). Death in Venice III, 1973, screenprint in colours on Grand Vélin Arches paper, printed by Kelpra Studios, published by Marlborough Fine Art, London, signed and numbered 37/70 in pencil, from the portfolio ‘Death in Venice’, with Kelpra stamp ‘K’ and ‘8159’ to sheet verso (as issued), the full sheet (printed without margins as issued), Goldmark Gallery labels to frame verso, verso of sheet with some overall toning, sheet size 78 x 68 cm (30 3/4 x 26 3/4 ins), framed and glazed (106.5 x 93 cm) Levinson 227.

(1)

£500 - £800

404AR* Piper (John, 1903-1992). Death in Venice: side panel right, 1973, screenprint in colours on Grand Vélin Arches paper, printed by Kelpra Studios, published by Marlborough Fine Art, London, signed and inscribed A/P in pencil, from the portfolio ‘Death in Venice’, with Kelpra stamp ‘K’ and ‘8167’ to sheet verso (as issued), the full sheet (printed without margins as issued), verso of sheet with light overall toning, sheet size 77.6 x 68 cm (30 1/2 x 26 3/4 ins), framed and glazed (cm)

Levinson 233.

(1)

£500 - £800

Lot 403

Lot 404

405AR Hayter (Stanley William, 1901-1988). Samuel Beckett, Still con tre acqueforti (Immagini e Testi 12), Milan: M’Arte Editioni, 1974, three original colour etchings by S.W. Hayter, each signed and numbered 102/133, facsimile and printed text (signed by Samuel Beckett), printed on untrimmed hand-made watermarked paper, loose in original green printed wrappers with matching chemise and slipcase (rubbed and some marks), folio (sheet size 38 x 28.5 cm)

Black & Moorhead, 259-261.

Limited edition of 170 copies in total, this being number 102 of 133 copies. (1) £500 - £800

406AR* Hayter (Stanley William, 1901-1988). Still I, Still II and Still III (from Samuel Beckett and Stanley William Hayter, Still, con tre acqueforti, Immagini e Testi 12), Milan: M’Arte Editioni, 1974, the additional suite of three etchings printed in black with plate tone, printed by Hector Saunier and Atelier 17, each signed and numbered 18/30, printed on untrimmed hand-made japon nacré, loose in original green printed boards, rubbed and some marks, large folio, each plate size 29.8 x 21.6 cm (11 3/4 x 8 1/2 ins), each sheet size 57 x 41 cm (22 1/2 x 16 1/4 ins)

Black & Moorhead, 359-361.

The extra suite only of three etchings printed in black, without the separate book with text containing the same three etchings in colour. Limited edition of 160 copies in total, this being number 18 of 30 copies. (1) £400 - £600

407* Tanner (Robin, 1904-1988). February, 1974, etching on thick wove paper, second (of two) states, from the sole edition of 25 signed proofs, printed by the artist and published by Garton & Cooke in 1984, signed ‘Robin Tanner fec. et imp’, titled ‘Etching: February’, with an additional inscription by the artist ‘This impression was printed for Marjorie Green at the Old Chapel Field Press, Kingston Langley, Wiltshire’, the full sheet, some light toning to sheet, plate size 26 x 16.1 cm (10 1/4 x 6 1/2 ins), sheet size 44 x 31.7 cm, together with Wren and Primrose, 1935, etching on thick cream wove paper, an impression from the original plate by Jeremy Blighton and Anthony Dyson for Merivale Editions, London, from the unnumbered edition of 122, the full sheet, plate size 9.3 x 11.3 cm (3 5/8 x 4 1/2 ins), sheet size 37.6 x 45.3 cm

Garton 32 & 19.

(2)

£300 - £500

408AR* Tanner (Robin, 1904-1988). Twelve Etchings by Robin Tanner, Penn Print Room, 1974, the complete portfolio of 12 etchings on cream wove or laid papers, all (except one, Flower of May) signed and numbered 42/50 in pencil, various sheet sizes, largest (Christmas) 51 x 43 cm (20 x 17 ins), with original printed calligraphic title-page by Robin Tanner, all loosely contained in original brown cloth portfolio, some with tape residue from previous mounting to sheet verso

Provenance: Fay and Ray Cori, Pembrokeshire, thence by descent.

Garton 3, 6, 9, 12-13, 21, 23, 25-27 & 30.

The titles of the etchings are: Wiltshire Roadmaker, Martin’s Hovel, Wiltshire Woodman, Christmas, Harvest Festival, Autumn, Wiltshire Rickyard, June, Easter, Flowers of May, The Clapper Bridge and The Plough.

The impression of Flowers of May, signed and titled but unnumbered, was given to the original owners by the artist as a substitute for the editioned impression and was printed by the artist himself. Accompanying the portfolio is a handwritten note by Robin Tanner, regarding several of the prints in the series (as well as a few other prints not part of the set), and states that the impression of Flower of May is the artist’s own impression given to the owners as a substitute for the Penn Print Room folio.

(1)

£3,000 - £5,000

409AR* Trevelyan (Julian, 1910-1988). LK927, 1978, etching with aquatint on deckle-edged wove paper, signed, titled and numbered 41/150 in pencil, the full sheet, publisher’s blindstamp to lower right, with Christie’s Contemporary Art Certiﬁcate of Authenticity, some light handling creases and a few minimal marks (not affecting image), plate size 35 x 47.5 cm (13 3/4 x 18 3/4 ins), sheet size 58 x 77 cm (22 3/4 x 30 1/4 ins), unframed (1) £300 - £400

410* Holland (Harry, 1941-). Seated Nude, lithograph on pale cream watermarked 'somerset England' wove paper, artist's proof, signed, marked A/P, in pencil to lower margin, two small marks to lower margin, image size 27 x 21 cm (10 5/8 x 8 1/4 ins), sheet size 57 x 38 cm (22 3/8 x 15 ins), together with Dancer, lithograph on pale cream watermarked wove paper, artist's proof, signed and marked 'A/P' in pencil to lower margin, image size 20.5 x 20.4 cm (8 x 8 ins), sheet size 37.5 x 28.5 cm (14 3/4 x 11 1/4 ins), plus Young Woman, lithograph on pale cream wove paper, artist's proof, signed and marked A/P in pencil to lower margin, image size 18.2 x 14 cm (7 1/8 x 5 1/2 ins), sheet size 37.5 x 28.5 cm (14 3/4 x 11 1/4 ins), and 14 other lithographs on white, cream or gray paper, from the same series, comprising: TV, Figure, Sofa, Corridor, Mirror, Interior, Embrace, Door, Street, Back, Study, Homage to Electricity, Omaggio all'Elettricità and Huldigung an die Elektrizität, all artist's proofs, signed and marked A/P in pencil to lower margin, various sizes, largest sheet size 57 x 38 cm, with original printed catalogue for the exhibition held at Robin Garton Gallery 23 November - 17 December 1982 (18)

£700 - £1,000

411* Martin (Frank, 1921-2005). Sèvres Babylone, circa 1981, colour etching on embossed paper, titled, signed and numbered ‘69/150’ in pencil to lower margin, plate size 38.4 x 54 cm (15 1/8 x 21 1/4 ins), sheet size 57.5 x 78 cm (22 5/8 x 30 3/4 ins) framed and glazed, together with Montparnasse Bienvenue by the same artist, colour etching on embossed paper, titled, signed and numbered ‘72/75’ in pencil to lower margin, plate size 38.4 x 54 cm (15 1/8 x 21 1/4 ins), sheet size 57.5 x 78 cm (22 5/8 x 30 3/4 ins), blind stamped ‘’Studio Prints’ to bottom right border, lightest time toning under mount, mounted, and Montgomery Clift (American actor) by the same ertist, etching, signed in pencil bottom right, titled and numbered 2/15 bottom left, plate size 17.5cm x 25cm (6.8” x 9.8”), mount aperture size 21.5cm x 28.8cm (8.5” x 11.4”), framed and glazed (3)

£500 - £700

412* Topolski (Feliks, 1907-1983). Eton v Harrow, Cricket at Lords, 1983, colour lithograph on thick wove paper, signed and inscribed A/P, a proof before the edition of 300, the full sheet, image size 38 x 78.8 cm (15 x 31 ins), sheet size 47.5 x 85.3 cm (18 3/4 x 33 2/3 ins), unframed (1)

£150 - £200

413AR* Nash (Paul, 1889-1946). A Portfolio of Twenty Four Wood-Engravings by Paul Nash, Garton & Cooke, 1985, twenty-four black and white woodcuts on Japanese Hosho paper, each with Paul Nash Trust blindstamp to lower margin, individually mounted and loosely contained in original patterned paper drop-over bookbox, with separately printed introductory booklet inserted, folio (30.5 x 20 cm)

Limited edition of 65 copies, this being number 3 of 45 copies for sale. (24)

£700 - £1,000

414* Phipps (Howard, 1954-). The Whittington Press, 1985, wood engraving on wove paper, signed, titled and numbered 15/20 in pencil, image size 30.5 x 30.5 cm (12 x 12 ins), sheet size 43 x 38 cm, together with Spring Flowers, 1991, wood engraving on paper, signed, titled and numbered ‘35/50’ in pencil, artist’s information sheet to verso, image size 7 x 7.5 cm (2 3/4 x 3 ins), window mounted (27.5 x 26.5 cm), and two further wood engravings by the same artist, Climbing Rose and Tulips, each titled, signed and numbered in pencil, with accompanying information sheets to verso, window mounted, the largest 25 x 24 cm (4)

£150 - £200

Lot 412

Lot 413 Lot 414

415* Various Artists. Gambler, London: Building One, 1990, catalogue for an exhibition featuring Damien Hirst, Dan Bonsall, Dominic Denis, Steve di Benedetto, Angus Fairhurst, Tim Head, and Michael Scott, colour plates and black and white illustrations throughout, from an edition of 500, 26pp, original stiff black card wrappers with printed title in pink to front cover, some light wear, slim 4to (29.9 x 21.4 cm)

Gambler was the second of two highly influential warehouse shows led by Damien Hirst and curated by Carl Freedman and Billee Sellman. The show was held at ‘Building One’, a former factory in Bermondsey, South London. The show included Hirst’s first major animal installation ‘A Thousand Years’, which consisted of a large glass box containing maggots and flies feeding off a rotting cow’s head.

(1)

£150 - £200

416* Lawrence (Peter, 1951-). Fire for England: Plan of the National Gallery London, Level 3, wood engraving on wove paper, signed, dated and numbered 14/35 in pencil, printed from four blocks, image size 34 x 53 cm (13 1/2 x 21 ins), mounted, framed and glazed (56 x 74.5 cm), together with Twelve: Night Poem, wood engraving with blind embossing on wove paper, signed, titled and numbered 5/7 in pencil, information sheet to frame verso, image size 34 x 33 cm (13 1/2 x 13 ins), mounted, framed and glazed (52.5 x 51.5 cm), plus Transform, wood engraving on wove paper, signed, titled and numbered 29/50 in pencil, image size 30 x 30 cm (12 x 12 ins), mounted, framed and glazed (49 x 51 cm)

Peter Lawrence is a member of the Society of Wood Engravers and former Chairman. He is an elected member of the Royal Society of PainterPrintmakers, the Oxford Art Society and the Oxford Printmakers Cooperative. His wood engravings are held in the collection of the Ashmolean Museum, the Manchester Metropolitan Museum and the V&A, London. Exhibitions include the Royal Academy Summer Exhibition. (3)

£200 - £300

417* Hamilton (Richard, 1922-2011). Orange Order, 1991, Cibachrome in colours with hand-colouring in Humbrol enamel, on photo paper mounted on card (as issued), signed and numbered 6/100 in pencil on the mount (aside from 10 artist’s proofs), the full sheet, printed information to mount verso, image size 17 x 17 cm (6 3/4 x 6 3/4 ins), loosely laid (as issued) into a hardbound copy of an exhibition catalogue for Richard Hamilton held at the Anthony d’Offay Gallery, London from 20 June to 10 August 1991, 87pp, illustrated throughout in colour, navy blue cloth, light surface marks, cloth spine snagged at centre with some loss, lacking slipcase, 4to Lullin 175.

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418* Hodgkin (Howard, 1932-2017). Red Print, 1994, intaglio print with carborundum on BFK Rives handmade wove paper, initialled, dated and numbered 175/200 in pencil, printed from one aluminium plate in orange and green, hand colouring in helios red egg tempera, proofed, printed and coloured by Jack Shirreff by 107 Workshop, Wiltshire, 22 x 26 cm (8 5/8 x 10 1/4 ins), loosely laid (as issued) into a copy of the monograph Howard Hodgkin by Andrew Graham-Dixon, London: Thames & Hudson, 1994, 192pp, illustrated throughout in colour, contained within a navy blue cloth slipcase, printed label with limitation number '175' in ink to front, 4to Heenk 91.

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£1,000 - £1,500

Lot 418

419* Cooke (Nigel, 1973-). Cryptoveldt, 2003, soft ground etching on Arches wove paper, signed, dated and numbered 30/90 in pencil, published by Counter Editions, London, the full sheet, in original tissue wrapping, and held within publisher’s printed protective card packaging, with accompanying publisher’s printed catalogue, plate size 39.5 x 60 cm (15 1/2 x 23 1/2 ins), sheet 64 x 84.5 cm (25 1/4 x 33 1/4 ins)

‘Cryptoveldt’, Cooke’s first fine art print, graphically evokes the same zoned-out wasteland characteristic of his paintings. Nigel Cooke is known for his ambitious paintings that re-imagine the monochrome as vast toxic landscapes rendered in noxious, polluted colours. Appearing in tiny, almost imperceptible detail, are the signs of urban excess; upturned and burnt out shells of cars, graffiti infested sidewalks and decapitated heads of beautiful wasters. Taken from the publisher Counter Edition’s website. (1)

£300 - £400

DAY

TWO

HISTORIC TEXTILES & ANTIQUES

26 JULY at 10am

TEXTILES FROM THE COLLECTION OF MARTHA SPRIGGS & HER DESCENDANTS

To commence at 10am

Martha Spriggs (1777-1866) was a prodigious collector of textiles, autographs, antiquities, and curiosities who passed on her enthusiasm to her children and grandchildren. Her father, William Knight, was a dyer, and a designer and printer of calicoes in Bromley until 1783 when he and his wife, also Martha, made the move with their young daughter to Worcester. Here he established a business at 26 Broad Street as a mercer and draper. In 1813 Martha married fellow-Quaker William Spriggs who had been apprenticed to her father, and the shop became Spriggs & Co., an establishment variously described as drapers, hosiers, retail clothiers and hatters. After the death of her husband in 1855, Martha continued to trade from the shop, selling Berlin wool, while her son, William, continued the business of Spriggs & Co. as clothiers, ﬁrst in a shop off Dolday, and then in handsome premises at the corner of Broad Street and The Cross. Martha was herself a skilful needlewoman, as can be seen by several of the embroidered pictures and samplers offered here.

425* Clothing. A beaded black cape, Liverpool: Cripps, Sons & Co., circa 1910, black satin cape, heavily beaded overall with a variety of seed beads and jet, forming patterns of flowers on scrolling foliate stems, incorporating black velvet and latticework, with triple layered pleated black organza collar, incorporating cream lace continuing to form a frill down the front, black ribbon ruffle to front and lower edges, and pleated black organza trim to hem, black satin bows at front corners, shot silk lining (perishing in places, especially at neck), woven label at nape ‘Cripps, Sons & Co. Liverpool’, length 61 cm (24 ins), together with: a shallow straw bonnet by Francis of Liverpool, trimmed with cream lace and fabric flowers, lined with silk, and with black velvet ribbon ties (later?), several minor breaks in raised straw pattern to edge of brim, lettered inside in gold ‘Francis, 110 Bold Street & 4 Basnett Street Liverpool’, 31 x 30 cm (12.25 x 11.75 ins); a black umbrella with a handle of bone ornately carved with flowers, length 93 cm (36.5 ins); a cream silk parasol, handpainted with flowers, toned in places, ivory ferrule, silk lining beginning to perish, labelled in early manuscript ‘Parasol bought by Edith E. Binyon (née Crosfield) on her honeymoon in Paris 1876, EMBinyon’, length 66 cm (26 ins); a child’s cream embroidered wool and lace cape, late Victorian or Edwardian, some marks and moth holes; and 2 gentlemen’s silk waistcoats

Edith Elizabeth Crosﬁeld (1849-1897) married Thomas Wakeﬁeld Binyon, grandson of Martha and William Spriggs, on 26th April 1876. (7) £150 - £200

426* Clothing. A collection of handkerchiefs, gloves, cuffs, & stockings, 19th & early 20th century, belonging to various members of the Spriggs family, many with ink ownership marks and contemporary or early manuscript labels attached, comprising: 11 handkerchiefs, including a lawn handkerchief faintly inscribed in ink to one corner ‘Aimee Dupont to Mary Capper’, and in another corner ‘Dupont’ with ‘4’ above, loosely contained in folded yellow paper, inscribed in ink in an early hand: ‘Aimee Dupont a great friend of Mary Capper’s, her sister married Brissot, she was in the cart on the way to the Guilotine[sic] when the news of Robespierre’s death came & they took them back to prison, she afterwards kept a fashionable school at the West end of London’, toned, some small holes and period darns; 11 pairs of silk, cotton, or leather gloves and mittens, some long, including 2 leather pairs of child’s gloves, one pair stamped ‘Dent Allcroft & Co.’, the other ‘A. Marr[ier?], Paris’; 7 pairs of lacy cuffs, labelled ‘Martha Anna Binyon’s cuffs’, and a pale turquoise silk cuff, labelled ‘cuff of my mother’s (Elizabeth Wilson’s) wedding dress; and 4 pairs of stockings, one pair labelled ‘William Spriggs’ stockings’, mostly in good condition, various sizes Mary Capper (1755-1845) was brought up in the Church of England, but found herself drawn instead to the Religious Society of Friends. She joined the Quakers in 1785, and was acknowledged as a Minister in 1794. Her story was published in 1847, edited by Katharine Backhouse, and entitled A Memoir of Mary Capper: late of Birmingham, a Minister of the Society of Friends. Mary became friends with Aimee and Félicité Dupont, French sisters who had been teachers at a school in Park Street, Bristol, run by the sisters of Hannah More. The young women were ardent revolutionaries, and Félicité married Jacques-Pierre Brissot who was guillotined in 1793. (34) £150 - £250

inclusive of VAT @ 20%)

427* Clothing. A jacket belonging to Edith E. Crosfield, née Binyon, Paris: Grands Magasins du Louvre, 1876, beige jacket with ‘log cabin’ textured pattern, with long flared sleeves, front lappets, pleated brown taffeta frills to sleeves and pockets to lappets, and ostrich feather trim to sleeves, edges, and centre of back, 2 metal hooks and eyes to front, matching brown silk tie, large bow on lower back, and bows to sleeves and back of neck, some foxing (mostly to taffeta and ribbon), woven label at nape ‘Grands Magasins du Louvre, Manteaux et Confections’, and additional ink label ‘6273’, old manuscript note tucked into pocket ‘Jacket bought in Paris by Edith E. Binyon (Mrs Crosfield) on her honeymoon May-June 1876’, bust 76 cm (30 ins), sleeves 61 cm (24 ins), length at front 84 cm (33 ins), length at back (not including bow) 58.5 cm (23 ins), together with: A hat belonging to Edith E. Binyon, Paris: Maison Lemmonier, 1876, brown straw hat, small brim with a wide twisted and knotted cream and brown silk trim, fringed to tail and incorporating 2 brown ostrich feathers, underside of brim ruched and with fabric flowers to one side, lettered inside in gold ‘Maison Lemmonier Rascol Sr 348, Rue St Honoré Près la Place Vendôme Paris’, accompanied by a label written in contemporary sepia ink ‘Hat bought by me in Paris on my wedding tour, May or June 1876’, dimensions (excluding tail of trim) 26 x 24 cm (10.5 x 9.5 ins)

Provenance: Edith Elizabeth Crosﬁeld née Binyon (1849-1897), and thence by descent.

Edith married Thomas Wakeﬁeld Binyon, grandson of Martha and William Spriggs, on 26th April 1876. The prestigious Parisian department store, Grands Magasins du Louvre, opened in 1855 and continued selling highquality goods until 1974.

The National Gallery of Victoria, in Melbourne, Australia, has two wedding bonnets by Maison Lemmonier in its collection (accession numbers D2711974 and D272-1974).

(2)

£200 - £300

428* Clothing. A muslin bonnet belonging to Martha Spriggs (17771866), hand-stitched plain cream muslin bonnet, with self gathered ties, lightly toned, with old manuscript label attached ‘Cap of Martha Spriggs née Knight’, 24 x 20 cm (9.5 x 8 ins), together with: A net cap belonging to Hester S. Spriggs (1818-1899), frilled cream net cap, lined with black net, cream silk bow to rear and matching ribbon ties, some small breaks in net, with old manuscript label attached ‘Cap, belonging to Hester S. Spriggs d. of Wm. Spriggs’, 21 x 19 cm (8.25 x 7.5 ins), plus 2 whitework lawn caps labelled ‘Day & Night Caps from Henwick’, and another net cap, worn, labelled ‘Cap belonging to Martha Anna Binyon née Spriggs’

Martha Anna Binyon née Spriggs (1816-1896) and Hester Savory Spriggs (1818-1889) were both daughters of Martha and William Spriggs. Martha Anna married Quaker tea and coffee merchant Thomas Binyon (1795-1865).

The couple purchased Henwick Grove in Worcester in 1862, and their daughter Gulielma continued to live there until 1942. (5) £150 - £200

429* Clothing. A Regency tippet, circa 1800, fur stole, padded and with a hand-stitched backing of cream silk (one end with some very faint markings), with 4 metal hook and eye closures, and a pair of oyster silk-wrapped buttons with matching twisted loop (latter becoming untwisted at one end), width at neck 18 cm (7 ins), tapering to a width of 15 cm (6 ins) at ends, length 249 cm (98 ins)

Extremely rare Regency stole which has survived in remarkable condition, showing little sign of having been worn (perhaps being left-over stock from the family draper’s shop, Spriggs and Co., 16 Broad Street, Worcester). Tippets such as these - especially those made of fur - were usually later repurposed, and therefore are now hardly ever seen outside institutions: see similar in the Metropolitan Museum of Art (1983.157.2a), the Museum of Fine Arts Boston (46.703), and the Kyoto Costume Institute (AC5646 8727-1). We sold a swansdown example in these rooms in January 2020, the only one which has passed though our hands. (1)

£500 - £800

Lot 427

Lot 429

430* Clothing. A Regency silk cape, circa 1800, hand-stitched pale gold silk cape, with large hood gathered to a point at the back, and long lappets to front, self lined, original drawstring silk ribbon at neck, several small holes and marks, a few small darns, length at front 92 cm (36.25 ins), length at back 71 x cm (28 ins), together with: A Regency wool cloak, circa 1800, hand-stitched beige woollen cloak, with hood gathered to a point at the back, and rounded collar, hood and shoulders lined with grey silk, original cream silk ties and matching bow on hood, side and lower hems edged on reverse with silk ribbon, scattered spotting and moth holes, length 118 cm (46.6 ins), plus a hand-stitched Regency white lawn shift, with elbow-length sleeves, drawstring ties, pocket slits, and tucks to hem, some scattered foxing and small marks, and a handstitched cream grosgrain skirt with pocket slits, old manuscript label attached: ‘Old silk dress probably belonging to Martha Knight née Tessiman’, scattered marks and stains, a few small holes

Martha Knight (1741-1816) was Martha Spriggs’ mother. (4) £200 - £400

431* Clothing. Three hollie point lace baby bonnets, late 18th century, all of fine white lawn and crown of Hollie point lace: the first with patterns pinched into the fabric, and lace depicting flowers in an urn, stiff muslin frill to edges, lightly foxed, 16 x 15 cm (6.25 x 6 ins), together with a pair of Georgian steel pincers, crudely engraved ‘WK’, with early manuscript label attached ‘Pincers for making patterns on the baby’s Caps’, 10 cm (4 ins) long; the second with lace depicting a crown, and stiff muslin frill to edges, some fox spots, 17 x 14 cm (6.75 x 5.5 ins), with early manuscript label attached ‘Two Baby caps one with a pattern pinched in it with tweezers, date about 1772’; the third with lace depicting floral stems and a Tudor rose, with whitework embroidery, drawn threadwork, and piping (piped ends uncut on one side), plus another handmade frilled white lawn baby bonnet, with finelystitched piping (piped ends uncut as before), several fox spots, accompanied by a pair of cream woollen booties tied with silk ribbons, with manuscript note addressed to Sarah Binyon, Manchester, attached: ‘Rachel Talham with dear love to Sarah Binyon requests her acceptance of the accompanying little cap as a small momento of friendship. Commercial Street 3rd Mo: 17th 1826’, and 5 further 18th and 19th century baby caps and bonnets

We have not seen a bonnet with pinched decoration such as this, or indeed, the tool for making such patterns; it was evidently an ingenious way of adding ornament to a garment in a way which was far less laborious than embroidery, lace-making or beading. The initials ‘WK’ suggest that the pinching tool belonged to the antecedents of Martha Spriggs, her parents being William and Martha Knight. (12)

£300 - £500

432* Clothing. Three Quaker coal-scuttle bonnets, circa 1840s, 3 hand-stitched bonnets, the ﬁrst covered in grey silk, neck frill gathered with twisted cord bow at the back, cream lining and silk ties with a few minor marks, lining with some small holes at edges, 24 x 19 cm (9.5 x 7.5 ins), the second covered in black grosgrain silk, with neck frill gather as before, cream lining faintly foxed, some light staining to cream silk ribbon ties, 24 x 20 cm (9.5 x 8 ins), and the third covered in brown silk, with neck frill gather as before, corners showing, cream lining damp-stained, cream silk ribbon ties with some discolouration, 24 x 21 cm (9.5 x 8.25 ins), together with: A calash or ‘ugly’, circa 1850, a folding blue silk calash, some spotting overall, and a few small holes, with later black elastic tie (perishing), manuscript label attached ‘An “Ugly” ... Worn over a Quaker bonnet brim as a protection to the complexion. Found at Henwick 1942. EM Binyon’, 25.5 x 28 cm (10 x 11 ins)

Notwithstanding the condition points mentioned, these three bonnets are in remarkable condition, and show little sign of being worn. They may have been left-over stock from the family draper’s shop, Spriggs and Co., 16 Broad Street, Worcester. For similar coal-scuttle bonnets see the V&A, accession numbers 461-1906 and T.39-1933.

Francis Powell Frith’s famous painting ‘Ramsgate Sands (Life at the Seaside)’, painted 1851-54, shows many of the women and children wearing uglies. A similar calash can be seen in the V&A (accession number T.3211996). Martha Spriggs’ daughter, Martha Anna, married tea and coffee merchant Thomas Binyon, and they lived at Henwick Grove in Oldbury Road, Worcester. (4)

£200 - £400

Lot 431

433* Clothing. Wedding dress worn by Martha Spriggs, née Knight, 1813, handstitched cream silk high-waisted gown with short train, bib-fronted bodice lined with linen, and long narrow sleeves with turn-back cuffs lined with oyster silk, original waist ties present, self sash secured at back of waist, hem with lining of cream silk, occasional fox spots and small marks, but overall in very good condition, old manuscript note attached with stitching to back ‘Wedding Dress of Martha Spriggs, née Knight. Married William Spriggs in 1813’, bust 76 cm (30 ins), waist 66 cm (26 ins), sleeves 73.5 cm (29 ins), length at front 138.5 cm (54.5 ins), length at back 160 cm (63 ins)

Beautiful in its simplicity, this Quaker Regency gown, surviving in remarkable condition, was worn by Martha Knight at her wedding to draper and clothier William Spriggs. The marriage took place at the Friends Meeting House in Evesham in May 1813. (1) £300 - £500

434* Clothing. Wedding dress, bonnet, lace shawl, and handkerchief, belonging to Martha Anna Binyon, née Spriggs, 1849, 4 items of wedding apparel, comprising: a pale turquoise silk gown, with round neck, boned bodice pleated at the front and terminating in a v-shape at waist, 12 original metal closure hooks to rear with buttonhole loops, long sleeves with scallop-edged turn-back cuffs, and closegathered skirt with slight train, lined with cream glazed cotton, underarms discoloured on exterior, some scattered marks and mottling, but silk crisp and robust, with old manuscript label attached ‘Martha Anna Binyon’s wedding dress - née Spriggs - 1849’, bust 66 cm (26 ins), waist 56 cm (22 ins), sleeves 54 cm (21.25 ins), length at front 134.5 cm (53 ins), length at back 141 cm (55.5 ins); a hand-stitched Quaker coal-scuttle bonnet, neck frill gathered with twisted cord bow at the back, some foxing, cream silk lining, lacking ribbon ties, with early manuscript label attached ‘Martha Anna Binyon’s wedding bonnet née Spriggs’, 23 x 15 x 26 cm (9 x 6 x 9.5 x 10.25 ins); a cream Maltese lace stole, a few small areas of discolouration, 5 cm split to one side, 26 x 268 cm (10.25 x 105.5 ins); and a whitework handkerchief with handstitched drawn threadwork and embroidery, with brown stains and a small hole, 35 x 35 cm (13.75 x 13.75 ins), accompanied by an early manuscript label ‘Martha Anna Binyon née Spriggs wedding shawl & handkerchief. 1849.’

Provenance: Martha Anna Binyon (1816-1896), née Spriggs, and thence by descent. Martha Anna Spriggs married tea and coffee merchant Thomas Binyon (1795-1865) at the Friends Meeting House in Worcester on 8th February 1849. (4) £400 - £600

Lot 434

435*

Embroidered Map. A Map of England, worked by Sarah Fryer, York School, 1812, ﬁnely hand-embroidered in silk threads on cream linen, depicting England and Wales divided into counties, with part of Scotland, Ireland, and France, the place names worked in black back stitch, and the map outlines worked in colours using chain stitch, titled in black thread within an orange and black oval frame worked in satin stitch, lightly toned and with a few fox spots, 56.5 x 47.5 cm (22.25 x 18.75 ins), framed and glazed, backboard with 20th century label: ‘Worked by Sarah Fryer ninth of the ten children of Joseph and Amelia Fryer. Born 17-61797, Married Thomas Binyon 1824, Died 26-3-1826’

Sarah Fryer (1797-1826) lived a tragically short life, dying just two years after her marriage to tea and coffee merchant Thomas Binyon (1795-1865). Thomas subsequently married Martha Anna Spriggs (1816-1896), daughter of Martha and William Spriggs.

A rare York School embroidered map in very good condition. York School, or York Friends’ Girls’ School, to give it its full name, opened in 1785. Its founders were prominent Quakers, Esther and William Tuke, who wished to provide an education for the daughters of fellow Quakers. Fees were 14 guineas a year for ‘instruction, board and washing’. The school continues today as an allgirls educational establishment, now known as The Mount School. (1) £200 - £300

436* Embroidered map. A Map of the World, work’d at E. Price’s School, Worcester, by Martha Knight, 1793, double-hemisphere world map, ﬁnely worked on linen, each hemisphere in blackwork, with title ‘The Western Hemisphere or New World’ and ‘The Eastern Hemisphere or Old World’, land masses outlined in coloured silk threads, and the route of Captain Cook’s voyages shown in black, central decorative circular title and compass rose worked in black and gold threads, and 4 allegorical cornerpiece vignettes stitched in black representing Europe, Asia, Africa, America, toned, 40.5 x 73.5 cm (16 x 29 ins), framed and glazed (48 x 80.5cm), backboard with 20th century manuscript label pertaining to Martha Spriggs’ life Martha Spriggs’ maiden name was Knight. Esther Price’s educational establishment in Worcester was a Quaker school, but we have been unable to ﬁnd any further information about it.

An 18th century embroidered map surviving in much better condition than usual, partly due to the use of linen rather than silk for the ground fabric. (1)

£300 - £500

437* Embroidered pictures. A set of 3 oval blackwork pictures by Martha Spriggs (1777-1866), ﬁnely hand-stitched with black silk thread on a cream silk ground, 2 near identical, depicting a large stone bridge with pointed pinnacles over a wide river, with trees, houses to the left, and hills in the distance, one toned and with silk ground beginning to perish, the other lightly foxed, the third picture depicting a farmhouse and barn beside a river, with a bonnetted ﬁgure milking a horned cow in the foreground, and a church with square tower in the background, some faint toning, each approximately 15 x 18 cm (6 x 7 ins), mounted, framed and glazed (each approximately 24 x 27 cm), 2 in matching modern frames, the other in original verre eglomise mount and gilt frame, 20th century label to each backboard ‘Set of three black thread pictures done by Martha Spriggs, née Knight of Worcester 1777-1866’ (3)

£150 - £200

438* Handkerchief. Anti Corn Laws propaganda handkerchief, circa 1830s/40s, cream cotton handkerchief, printed in brown with sprigs of wheat ears, and decorative cornerpieces lettered ‘free trade, no corn laws, no monopoly’, selvedges to sides, handstitched hem to top and bottom, a few short tears and small holes to edges, 77.5 x 88.5 cm (30.5 x 34.75 ins), together with: William Ewart Gladstone propaganda handkerchief, circa 1880, cream cotton handkerchief with red border, printed with a head and shoulders portrait of Gladstone, with quotation below: ‘“Mr. Gladstone may not succeed in carrying the House, or re-uniting his Party, or even winning the solid support of the British people for the present, but his work will stand and bear fruit if he has disabused England of her old Turkish prepossessions, and delivered her soul from one of its most evil, most unproﬁtable, and most dishonourable illusions.” - The Times’, lightly toned and foxed, 73.5 x 62 cm (29 x 24.5 ins)

Two rare printed handkerchiefs, both of which have subjects which still seem pertinant today; we have been unable to find either at auction or in institutions. The Corn Laws, which imposed tariffs and other trade restrictions on imported food and corn in the United Kingdom between 1815 and 1846, were designed to keep prices high in order to help domestic producers. However, whilst enhancing profits for landowners, the policy led to inflated food prices, thereby increasing poverty and deprivation amongst the majority of the population, as well as hampering the growth of British industry by reducing disposable income. As a result, the Anti-Corn Law League was founded in 1838. The League was based in Manchester and had support from numerous industrialists, especially in the textile industry, which perhaps explains the production of this handkerchief. Its campaigning helped lead to the Corn Laws being repealed in 1846 by Prime Minister Robert Peel.

The second handkerchief refers to Gladstone’s campaign to end British economic support for the Ottoman government in response to a series of atrocities carried out by the Turks during their suppression of the Bulgarian April Uprising in 1876; despite dismay from the British public, Benjamin Disraeli’s government continued its support for the Ottoman Empire, an ally in the Crimean War and a bulwark against possible Russian expansion in the area. Gladstone’s dogged focus on the issue, and the series of lengthy speeches he made around the country in 1880, are credited with swaying a large number of undecided voters to the Liberals in the General Election of 1880 thereby ousting Disraeli in favour of his predecessor, Gladstone. (2) £200 - £300

439* Household Linen. A large damask linen tablecloth, Dutch, circa 1700, large white damask cloth, woven with horizontal bands of prancing stags, archers, ladies and gentlemen amongst stylised trees, houses, and dogs chasing hares, selvedges to sides, hemmed by hand to top and bottom edges, marked and threadbare in places, with some small holes and period darns, initialled in one corner in blue cross-stitch ‘WM’ with ‘K’ above (presumably William and Martha Knight), with old manuscript label attached ‘Old Dutch tablecloth bough[t] by our Great Gandmother (Martha Knight) supposed to be nearly 200 year old’, another corner inked ‘2 yds’ and ‘S6’, 208 x 189 cm (82 x 74.5 ins), together with:

A large damask linen tablecloth, circa 1700, woven with a pattern of exotic songbirds amongst ﬂoral boughs, border (relating to Juno?) of horsemen with spears and hounds hunting prancing stags and a ﬁgure fending off a large peacock with a pitchfork, with a goat atop a crag in each corner, selvedges to sides, hemmed by hand to top and bottom, initialled in blue as before, marked, but cloth robust, 215 x 218.5 cm (84.75 x 86 ins), plus:

A small damask linen tablecloth, circa 1700, woven with a depiction of Jonah and the whale, ships and buildings, and lettering ‘Nineve’, with ownership initials as before, neatly hemmed all round by hand, marked, 132 x 127 cm (52 x 50 ins), together with another small damask linen tablecloth, woven with lattice and chevron patterns, 97 x 143.5 cm (38.25 x 56.5 ins), accompanied by 4 matching napkins, approximately 72 x 99 cm (28.25 x 39 ins), some light marks and small holes, tablecloth and 2 napkins initialled ‘MT’ in brown cross-stitch, the set with various old manuscript labels attached indicating that it was spun by Martha Tessyman and woven into cloth by her husband John Tessyman circa 1740, plus 7 other 18th and 19th century woven damask linen napkins, with various markings and old manuscript labels attached pertaining to family provenance, and 2 large early bed sheets belonging to William and Martha Knight, with their initials in blue cross-stitch, various sizes William Knight (1738-1801) and Martha Knight née Tessyman (1741-1816) were the parents of Martha Spriggs. John Tessyman (1692-1769) and Martha Tessyman née Box (1701-1781) were Martha Tessyman’s parents, and therefore the grandparents of Martha Spriggs.

In the early sixteenth century, damask table linen, with its elaborate reversible patterns, had been reserved for the church and the upper echelons of society, namely royalty, the nobility and the very rich. As the century progressed, however, the textile industry grew, with linen weaving centres ﬂourishing in Flanders in the Southern Netherlands and Haarlem in Holland. As a result, the use of table linen by merchants, tradesmen, and others of the middle and upper classes grew, so that by 1600 most of these households had at least one complete set of table linen, comprising one or more tablecloths, and a number of napkins. Household inventories of the time - often listing more napkins and tablecloths than sheets and pillowcases - show the importance of table linen in households; such items were accumulated by families over many years and passed down the generations.

(17)

£500 - £800

440* Infants’ Clothing. A collection of 18th and 19th century baby clothes, including a white cotton gathered baby frock with early manuscript label attached ‘our Grandfather William Spriggs 1770 Baby’s frock’, a quilted corset, 3 baby shirts, one marked in ink ‘Binyon 1877’ (the other 2 probably earlier), and 6 baby frocks and christening gowns, 4 with labels attached pertaining to provenance, including 3 relating to the Crosﬁeld family, some toning and foxing but generally in good condition, various sizes, together with a knitted cot coverlet dated 1877

442* Miniature Clothing. A Hollie point lace doll’s bonnet, 18th century, cream ﬁne lawn baby cap, minutely hand-stitched with tucks, and insertions of Hollie point lace to crown and back, 6.5 x 8.5 cm (2.5 x 3.5 ins), with stitched paper label attached written in early sepia ink copperplate on recto ‘Dolls cap beautifully stitched, point lace back and crown’, and on verso ‘Miss Spriggs Henwick Grove Worcester’, together with other hand-made miniature garments, comprising: a tiny sleeveless under-shirt with lacetrimmed cap; a larger sleeveless under-shirt; a high-waisted brown silk dress; a pair of tucked pantaloons; 2 long cotton undergarments; a tucked apron; and a pair of knitted woollen stockings, together with a later manuscript label ‘Dolls’ clothes, found in the trunk containing old wedding dresses etc.’, plus a tiny knitted glove attached to the verso of an engraved trade card and captioned ‘Knit by the blind at an Asylum in Bristol, AMS 11th/28th 1879’, various condition and sizes

The earlier label is in the hand of Hester Spriggs (1818-1889), daughter of Martha and William Spriggs. (12)

£200 - £300

The first item was presumably worn by Martha Spriggs’s husband, William (1776-1855). Martha and William Spriggs’ grandson, Thomas Wakefield (the third of six children bourne by their daughter Martha Ann), married Edith Elizabeth Crosfield in 1876. (14)

£200 - £300

441* Lace. A length of lace, probably Flemish, 18th century, ﬁne ivory linen bobbin lace, some light foxing, 2 neat joins and 1 repair, 4.5 x 148 cm (1.75 x 58.25 ins), together with 12 other items, including 4 short lengths of handmade lace, 3 matching, and 4 shawls, 1 labelled ‘Martha Spriggs’ Shawls née Knight’, including a ﬁnely spun and knitted cream lace shawl, dimensions excluding tassel trim approximately 170 x 195.5 cm (67 x 77 ins) (13) £150 - £200

443* Miniature Clothing. A pair of miniature pattens, 1st half 18th century, a pair of tiny overshoes, the carved wooden soles with pointed toes and rounded heels, red morocco latchets attached with a pair of rivets to each side (lacking laces), soles elevated with a white metal ring, that to one shoe detached and with loss of ﬁxing to one end, 16 x 43 mm (.5 x 1.5 ins), together with:

A pair of miniature leather shoes, 1st half 18th century, a pair of hand-sewn red morocco shoes, lightly rubbed in places, laced with narrow red silk ribbon, 20 x 50 mm (.75 x 2 ins), plus a single red morocco shoe with cream rosette, circa 1800, and other 19th century hand-sewn miniature items, comprising: pair of brown leather gloves, an olive green suede mitten, and a wallet purse, all contained in a cardboard box, labelled in mansucript on pull-off lid ‘miniature shoes, gloves, etc., removed from treasure cabinet’ Extremely rare early miniature pattens, and a pair of early leather shoes, also rare, probably intended for a small doll. The V&A has a pair of red leather shoes similar, with an accompanying pair of pattens (W.42:64/1&21922 & W.42:65/1&2-1922) which the museum categorises as dolls’ shoes. Theirs appear made to be worn together, whereas the leather shoes offered here are larger than the pattens. (9)

£200 - £300

444* Miniature Clothing. Two Quaker miniature coal-scuttle bonnets made by Sarah Smith, Bonnet-Maker, Philadelphia, circa 1840s, the ﬁrst an ivory silk coal-scuttle bonnet, with matching silk bow at back and silk ties, some fox spots (mainly to inside brim), 12 x 15 x 11 cm (4. 75 x 6 x 4.25 ins), the second of ivory silk similar, foxed, one ribbon tie detached and the other near-detached, 9 x 13 x 7 cm (3.5 x 5.25 x 2.75 ins), each with maker’s printed ticket inside ‘Sarah Smith, Bonnet-Maker, No. 81, Arch-street, Philadelphia’, together with accompanying manuscript note: ‘Dolls Quaker Bonnets, from America, belonging to the Binyon family’, together with:

Two miniature beaver hats, circa 1840s, 2 pale felted beaver fur top hats, with buckled grosgrain ribbon trim, crown extremities slightly threadbare, 7.5 x 12 x 10 cm (3 x 4.75 x 4 ins), with accompanying manuscript note: ‘Two Dolls’ Tall Beaver Hats. Shown in a Hatter’s advertisement card on Shrub Hill Station, Worcester, bought by T.W. Binyon’

Rare miniature bonnets and beaver hats, the former each with the original label of the American milliner, Sarah Smith of Philadelphia. These may have been intended for dolls to wear, made as apprentice pieces, or perhaps more likely, given the presence of the label, produced as samples to show prospective customers.

Thomas Wakeﬁeld Binyon (1852-1930) was the grandson of Martha Spriggs. (4) £200 - £400

445* Miniature Umbrella. A dolls’ silk umbrella, Hobday & Francis, circa 1820-30, green silk umbrella, the silk lightly mottled, ebony shaft with carved and lacquered curved handle in the shape of an eagle’s head, with a proﬁle portrait medallion on each side below, lettered ‘Decater’ on one side and ‘Jackson’ on the other, the brass runner engraved ‘By the Kings Patent Hobday & Francis’, one rib broken (with resultant small hole in silk), luggage label annotated in manuscript ‘Dolls Umbrella belonging to Hester Savory Spriggs & after her death, given to her great niece Elizabeth M. Binyon then aged 7 years’, length 29 cm (11.5 ins)

Provenance: Hester Savory Spriggs (1818-1889), daughter of Martha and William Spriggs; her great niece Elizabeth M. Binyon (1882-1924), and thence by descent.

Extremely rare early dolls’ umbrella; we have not been able to trace anything similar, nor have we been able to determine the signiﬁcance of the name on the handle. The Snowshill Wade Costume Collection at the National Trust property of Snowshill Manor in Gloucestershire, has a fullsize umbrella by Francis Hobday & Co., which the Trust dates between 1800 and 1830 (NT 1348985).

(1)

£150 - £200

446* Miniature. A collection of miniature, sewing, needlework, and miscellaneous items, mostly 18th & 19th century, including: a circular scissorcut by Georgiana Goodwin, of a bird perched on a branch surrounded by beribboned garlands, incorporating the words ‘Peace & Love, William Spriggs’ and the date ‘1783’, mounted on pink paper, diameter 9.5 cm (3.75 ins), framed (12.5 cm), with contemporary ink inscription pertaining to provenance on the verso; a miniature (pin?) cushion sampler, worked in brown crossstitch with the alphabet in upper and lower case, and Arabic numerals, within pink borders, on a cream linen ground, some tiny holes (just touching threadwork in places), crimson silk to verso, and brown thread tassel at each corner, 31 x 56 mm (1.25 x 2.25 ins); a pin cushion in the shape of a crown, with inscription on base in early manuscript ‘Part of a dress given to Queen Caroline by the Silk trade 1820 & worn by her at a concert for the benefit of the North Street School, London’, one small stain, 31 x 45 mm (1.25 x 1.75 ins); a yellow metal flyer for a spinning wheel with maiden upright fashioned as filigree bellows; various handmade bookmarks, including one made of camels’ teeth; a cylindrical filigree bone tape measure, the measure marked out in ink, and various other items, including pin cushions and needlecases, glass bracelets and rings, a collection of semi-precious stones, some in small cardboard pill boxes, one inscribed ‘Amethysts from Brazil’, and the other ‘The pills to be taken immediately Mr W. Spriggs’, some Chinese rice paper drawings (torn), and a tiny portrait miniature of a lady, 15 x 13 mm, various condition and sizes (a small carton)

£200 - £300

Lot 445

447* Riding Whip. A silver-mounted rhino horn hunting crop, 1873, shaft of carved rhino horn, with antler handle, and leather keeper, the mount hallmarked ‘WB’, overall length 69.5 cm (27.5 ins), together with:

A silver-mounted driving whip, T. Chetland & Co., Birmingham, 1931, leather-covered shaft with antler handle and woven leather lash, 51 cm (20 ins) long (excluding lash), the mount hallmarked ‘T.C & Co.’, and engraved ‘E.M. Wilson 1932’, together with another riding whip, length 80 cm (31.5 ins) (3) £300 - £500

448* Sampler. A blackwork sampler by Martha Spriggs, née Knight, 1786, worked in cross-stitch in black thread on a cream linen ground, with upper and lower case alphabets, and numerals, incorporating the words ‘Faith, Hope, Peace and Love’, and including monograms and ligatures, ‘Martha Knight 1786’ stitched to lower edge, the whole within a curved meander border, neatly hemmed all round, with double blue stripe of selvedge visible to left-hand side, 1 or 2 small faint marks, and a few tiny holes (not affecting stitching), 34 x 26 cm (13.5 x 10.25 ins), framed and glazed (39 x 30.5 cm), backboard with old ink ownership label ‘Miss Binyon Henwick Grove, Worcester’, together with 2 other framed and glazed cross-stitch samplers by Martha Knight worked in the same year

Martha Spriggs was educated at Esther Price’s School for Quakers in Worcester. The writer of the ownership note on the reverse of the frame was probably Martha’s granddaughter, Margaret Binyon (1859-1918), who lived at Henwick Grove with her sister Gulielma; Margaret was the keener collector as well as more forceful sister, and family papers state that many of the labels attached to family pieces are in her hand. (3) £200 - £300

Lot 448

449* Sampler. A needlework alphabet and darning sampler by Martha Knight, née Spriggs, 30th April, 1788, ﬁnely-worked sampler, stitched in polychrome threads on a cream linen ground, the top half with upper and lower case alphabets and numerals worked in cross-stitch and Algerian eye stitch, and the lower half with 8 even-armed darning crosses, stitched in black cross-stitch below ‘Martha Knight 4 Month 30th 1788’, neatly stitched drawn threadwork border, 26 x 20 cm (10.25 x 8 ins), framed and glazed (30 x 24.5 cm), with ink label on backboard in neat copperplate ‘Sampler with specimens of darning and marking worked by Martha Knight 1788 when only 11 years old’

An early sampler in excellent condition featuring - unusually in our experience - examples of darning as well as letters and numbers. Martha Spriggs was educated at Esther Price’s School for Quakers in Worcester. (1) £200 - £400

450* Sampler. A needlework picture by Esther Savory, 1760, worked in cross-stitch using polychrome threads on a beige linen ground, with bands of upper case letters and didactic quotations alternating between patterned borders, one with crowns, wide border to lower edge with a stag flanked by stylised flowering plants, incorporating the maker’s name and date ‘Esther Savory her work finished in the year 1760’, some small holes and fraying to edges (with consequent loss of stitching), occasional fading to threadwork, but colours generally bright, 27 x 25.5 cm (10.5 x 10 ins), framed and glazed (34 x 33 cm), backboard with old manuscript label ‘Sampler of Esther Savory (friend of Chas. Lamb) lent by Miss Binyon’ Hester Savory (1751-1783) married William Spriggs (1744-1805); they had seven children, of which the fourth was William Spriggs (1776-1855), draper, and husband of Martha Spriggs. William and Martha Spriggs’ daughter, Martha Anna, married Thomas Binyon, and they had three daughters. (1)

£200 - £300

451* Sampler. A needlework picture by Hannah Juson, 1766, worked in cross-stitch using shades of blue, brown, yellow, green, and pale pink, on a cream linen ground, with 5 didactic verses between decorative borders, maker’s name and date at foot ‘Hannah Juson Finish[sic] In 1766’, the whole within a chevron border, and neatly hemmed all round, 49 x 29.5 cm (19.25 x 11.5 ins), framed and glazed (56 x 37 cm), backboard with label in a 20th century hand ‘Sampler worked by Hannah Juson in 1766 (perhaps in Worcester?)’

Hannah Juson (1754-1831) is listed as being buried at the Worcester Quaker Burial Ground.

An early sampler in very good condition, beginning in typically sober style: ‘Remember Maid That Die Thou Must/And All Thy Glory Turn to Dust’, and ends in the same vein: ‘This Work in Hand My Friends May Have/When I Am Dead And in My Grave’. (1)

£200 - £400

Lot 450

452* Sampler. A reticella lace band sampler, mid 17th century, cream linen sampler, embroidered with linen, worked with 6 bands of needlelace, cutwork, and drawn threadwork, with arrow embroidered on left-hand side (to indicate the orientation?), toned, a little worn in places, 36 x 17 cm (14.25 x 6.75 ins), mounted, framed and glazed (47 x 27.5 cm), ink note in neat copperplate tipped onto backboard ‘Sampler in needle point lace date & worker unknown’, and on verso ‘Miss Binyon Henwick Grove Worcester’, note beneath in a later hand reading ‘Perhaps intended for use as a book cover’

The writer of the note on the reverse of the frame is probably Margaret Binyon (1859-1918) who lived at Henwick Grove with her sister Gulielma; Margaret was the keener collector as well as more forceful sister, and family papers state that many of the labels attached to family pieces are in her hand.

Rare early band sampler, of the kind used to record patterns and stitches for the instruction of others. For similar 17th century lace samplers see the V&A, accession number T.115-1956 and The Met, accession number 57.122.379.

(1) £500 - £800

453* Sampler. An oval blackwork sampler by Hester Judith Spriggs, York School, 1793, ﬁnely worked cross-stitch sampler in black thread on a cream linen ground, with ‘YORK SCHOOL’ at the head, and numerals and alphabets in upper and lower case beneath, above a 4-line stanza, lower edge with ‘Hester Judith Spriggs, 1793’, the whole within an oval stitched black border, 25.5 x 31.5 cm (10 x 12.25 ins), mounted, framed and glazed (34 x 39.5 ins)

Hester Judith Spriggs (1779-1839) was the sister of William Spriggs (17761855), draper, and husband of Martha Spriggs.

A rare early York School sampler in excellent condition. York School, or York Friends’ Girls’ School, to give it its full name, opened in 1785. Its founders were prominent Quakers, Esther and William Tuke, who wished to provide an education for the daughters of fellow Quakers. Fees were 14 guineas a year for ‘instruction, board and washing’. The school continues today as an all-girls educational establishment, now known as The Mount School. The verse reads: ‘Wouldst thou in safety plough th’inconstant tide,/The helm let prudence ever watchful guide/She shuns the deep, where mountain billows roar,/And shuns the shallows and the shore’. We have seen this verse on a very similar York School sampler, sold in these rooms in September 2020. It is the ﬁrst part of a 12-line poem published in Miscellanies, Moral and Instructive, in Prose and Verse; collected from various authors, for the use of schools, and improvement of young persons of both sexes, compiled by American Quaker poet Milcah Martha Moore (1740-1829). It was ﬁrst published in Philadelphia in 1787, and re-printed in London the same year.

(1)

£300 - £500

454* Sewing. A miniature walnut sewing etui, 19th century, hinged natural walnut shell containing miniature steel sewing accoutrements (1 missing) held in blue velvet-lined compartments of engraved white metal mount, comprising scissors, thimble, glass scent bottle with stopper and engraved hinged lid, mother of pearl penknife, pencil (with lead), needle threader, stiletto, button hook, bodkin case (slightly dented and lid stuck in compartment), and nail ﬁle, a couple of short cracks in shell, lid lined with pale blue silk (slightly mottled), 4 x 5 x 4 cm (1.5 x 2 x 1.5 ins)

A charming miniature etui made out of a real walnut shell. (1)

£200 - £300

455* Sewing. An 18th century girdle pin cushion ball, spherical pincushion composed of pink threads interwoven with silver metallised threads, engraved and scalloped white metal girdle with hanging loop, original chain with ‘S’ hooks at each end attached, diameter 4.5 cm (1.75 ins), together with:

A bellows pin and needle case, late 18th/early 19th century, circular sides woven with coloured thread and silver metallised threads, one side with a pattern of strawberries, gathered pocket and lining of blue silk, original ﬁne plaited red and green drawstring present, 12 x 6 cm (4.75 x 2.25 ins), plus a heart-shaped needlework scissor case edged with metallised braid, 9.5 x 8 cm (3.75 x 3 ins)

Rare early pinball in excellent condition; for a similar (though worn) pin cushion ball, see the V&A accession number 911-1907. (3)

£300 - £500

456* Silk Picture. A pen & ink landscape with ﬁgures, dwellings, and ships, 1788, pen, ink and wash on ivory silk, depicting a landscape with a lady wearing a large bonnet and carrying a basket on her arm in the foreground, preceded by a dog, 2 gentlemen in wigs and tricorn hats seated on the bank of a river overlooking 4 large sailing ships and some smaller sailing craft, another gentleman in a tricorn hat holding a cane and standing beside a large tree, and various buildings, including 2 thatched dwellings, and a large castellated ediﬁce with domed tower, annotated in ink lower left ‘fecit. 1788’, the whole within a single line border, image size 20 x 29.5 cm (8 x 11.5 ins), framed and glazed (28.5 x 37.5 cm) (1)

£300 - £400

457* Watch Sampler. A watch case roundel, circa 1800, inked with the words ‘May I merit thy esteem’, within an inked scalloped border of geometric patterns, the scallops edged with black thread and caught at intersections with spangles, border of narrow lace, diameter 4 cm (1.5 ins), contained in a piece of folded laid paper with inscription in contemporary sepia ink mentioning Hester Savory Provenance: Collection of Quaker antiquary Martha Spriggs (1777-1866), Worcester, by family descent. (1)

£200 - £300

458* Appliqué Pelmets. A set of cloth of gold and red damask pelmets, probably Spanish, late 17th century, 3 large matching pelmets, each with 3 scalloped panels featuring a large exotic ﬂowering plant in appliquéd red damask, edged with couched gold metallic thread, on a gold thread ground, backed with coarse linen, the sections separated and edged with gold metallised braid, worn, with ground uniformly threadbare, losses and some darkening to appliqués, stitched consolidation in places, 20th century tufted red edging (covering tack holes to top edge) and red cotton backing (latter partially faded, and slightly worn to lower edge in places), each approximately 74 x 197 cm (29 x 77.5 ins)

459* Balouch Kilim Runner. A long woven runner, late 19th/early 20th century, hand-woven in shades of brown, pink, black, purple, red, yellow, white, and green, with geometric patterns in horizontal bands, a few small holes, 19 cm (7.5 ins), long fringe to one short edge (worn with losses), dimensions without fringe 251.5 x 78 cm (99 x 30.75 ins)

Provenance: Collection of Peta Smyth. (1) £100 - £150

460* Pilaster Hanging. A large velvet and cloth of gold panel, Portuguese, early 18th century, comprising 3 joined hangings of appliquéd black velvet (replaced in the 19th century) on a gold metallised thread ground, the appliqués outlined with couched gold metallised threads, designed with a large pattern of stylised ﬂower heads, blossom, and leaves, lined, and with border of later gold metallised braid, ground with scattered uniform loss of gilt threads, some loose threads and stitched consolidation, 7.62 m x 58.5 cm (300 x 23 ins)

Provenance: Collection of Peta Smyth. (1) £400 - £600

Provenance: Sparsholt Manor, Oxfordshire; Collection of Peta Smyth. (3)

£700 - £1,000

461* Pilaster Hangings. A pair of velvet and cloth of gold panels, Portuguese, early 18th century, appliquéd black velvet (one with velvet replaced in the 19th century), on a gold metallised thread ground, the appliqués outlined with couched gold metallised threads, designed with an ogival lattice pattern enclosing a ﬂower head, hessian backing and edge-binding, edges fraying and rebound in places, overall wear, with loose threads, and some stitched consolidation, each approximately 267 x 56 cm (105 x 22 ins)

Provenance: Collection of Peta Smyth. (2)

£400 - £600

Lot 459

Lot 460

Lot 458

462* Bag. An Arts & Crafts needlepoint bag, late 19th century, worked in polychrome wools in tent stitch with an urn and scrolling flower stems on both sides (a few stitches missing from the base), belcher chain attached to filigree and engraved silver clasp (stamped ‘sterling’), front of clasp enamelled and set with semi-precious stones, lined with oyster grosgrain silk, with bevel-edged mirror in pocket, 22 x 18.5 cm (8.5 x 7.25 ins), together with a filigree yellow metal bag clasp set with faceted blue stones, 7 x 14 cm (2.75 x 5.5 ins), a petit-point card case, depicting figures in a country landscape, 8.5 x 10 cm (3.25 x 4 ins), and 3 hand-made Regency napkin rings, 2 worked in petit point, and the third of beadwork (a few beads loose and missing), with Christie’s label attached dated 1999 (6)

£200 - £300

463* Bed Hangings. A set of Arts & Crafts bed hangings, circa 1900, loose woven hessian bed hangings, consisting of 2 large curtains and 4 pelmets, each with a wide embroidered border of large ﬂowers and leaves on scrolling stems, that to curtains on leading and lower edge, hand-worked in cross-stitch in coloured wools in shades of pink, blue, orange, yellow, and green, some faint fading, holes, and tears, occasional minor loss of needlework, lined with glazed pink cotton (some insect damage, particularly to one wide pelmet, and discolouration), matching tasselled fringe to leading edge of curtains and lower edge of pelmets (a few tassels missing, one detached), top edge of curtains with metal hooks attached to fabric tape, curtains each drop 233.5 cm (92 ins), width 188 cm (74 ins), 2 wide pelmets each 77.5 x 231 cm (30.5 x 91 ins), 2 narrow pelmets each 33.5 x 231 cm (13.25 x 91 ins) (6)

£400 - £600

464* Bedcover. An Arts & Crafts embroidered patchwork bedcover designed by John Aldam Heaton (1830-1897) and worked by his sister Fanny Heaton (1828-1893), English, 2nd half 19th century, large patchwork coverlet, expertly embroidered in a variety of stitches, including stem, chain, satin, and bullion stitch, comprising: 9 red squares in centre, each embroidered in white thread with a different botanical spray, including dog roses, fuchsias, foxgloves, tiger lilies, blackberries, and acorns; smaller blue squares, embroidered in white with a circular motif, at intersections (connected by stitched wavy lines in red on a cream ground) and corners (connected by a dainty scrolling ﬂoral border in pink and red on a cream ground); a cream border of red-stitched ﬂoral or foliate sprigs, including primroses, morning glory, carnations, and vine leaves, left-hand side with 7 x 4 cm pale brown stain; and an outer scrolling border of red berries and leaves on a cream ground, with blue circular cornerpieces repeated, occasional light spotted marks but overall in very good condition, backed with white cotton (one side with some spotting and stains), edges bound in blue, 253 x 258.5 cm (99.5 x 102 ins)

Provenance: John Aldam Heaton and his sister Fanny Heaton; their great niece Evelyn Spence Addison (1891-1962); her daughter Jean Cecil Edwards née Addison (1923-2013); her son, the present owner.

The owner donated a similar embroidered bedcover to the V&A, also designed by John Aldam Heaton and worked by his sister Fanny (accession number T.213-1989).

John Aldam Heaton was an artist, designer and businessman, who started off as a wool and textile manufacturer in Bradford, before moving to the ancient farm of ‘Woodbank’ in Yorkshire in 1860. Inﬂuenced by the Pre-Raphaelite movement, he designed furniture, stained glass, wallpaper and textiles, and counted Dante Gabriel Rossetti, William Burne-Jones, and William Morris amongst his friends. Indeed, in 1861 Heaton invited Rossetti to paint a portrait of his wife, Ellen, and the artist stayed a month at ‘Woodbank’ in order to carry out the commission. The painting, Regina Cordium [Queen of Hearts] - Portrait of Mrs Ellen Heaton, subsequently formed the basis for a stained glass window for the house, a commission which was one of the ﬁrst undertaken by Morris & Co. Heaton was a member of the Neo-Classical Arts and Crafts Movement, and published several books about art and design, including Furniture and Decoration in England during the Eighteenth Century (1889-1892), Beauty and Art (1897), and a trade catalogue in 1895 showcasing ‘Chimney-pieces, Ornamental Lattice, Wall-papers, Frieze Painting, Blinds, Carpets, Furniture, Designs for Needlework, Embroidery, Curtains, Church Work, Stained Glass, Painting’. He set up workshops in Bloomsbury in order to undertake larger and more prestigious commissions, collaborating with many important artists as well as the architect Richard Norman Shaw. Working with Shaw, Heaton’s company produced lavish interior designs and furnishings for the White Star Line ships. After Heaton’s death the Aldam Heaton Company was incorporated into White Star and designed the interiors for the RMS Olympic, Titanic and Britannic. The V&A has several wallpaper designs by Heaton in its collection.

Fanny Heaton married the eminent physician Dr John Deakin Heaton (no relation). She was a strong advocate for the education of women, and an early campaigner for women’s suffrage. (1)

£400 - £600

465* Berlin Charts. A collection of designs for Berlin woolwork, early 19th century, 9 large hand-coloured lithographed woolwork patterns, one with hunting hounds and a stag, one of a lion and incorporating designs for embroidering a pair of doves within a wreath, 2 wide borders, and 3 initials, the remainder depicting floral designs, including 2 for matching chair seat and back, pattern makers where imprinted P. Trübe, Louis Glüer, L.W. Wittich, and Hertz & Wegener, some creasing, toning, and marks, 42 x 34 cm (16.5 x 13.5 ins), and smaller, each mounted, together with a booklet of 6 hand-coloured floral woolwork patterns, the first lettered ‘Made in Germany’, bound concertina-style into printed paper wrappers titled ‘Album’ on front cover, slim 8vo, and 39 small patterns for Berlin woolwork, beading, chenille work, etc., printed for The Englishwoman’s Domestic Magazine, mostly printed colour, including designs for slippers, a bed-pocket, a foot-stool, handscreens, a toilet cushion, a what-not, a mantel-piece, a breakfast tray mat, cushions, an anti-macassar, etc., some duplicates, various condition and sizes

Berlin woolwork, or embroidery on canvas by means of copying a coloured chart, became very popular in the 19th century. Prior to the introduction of Berlin patterns it was very rare to ﬁnd needlework designs with any indication of colour choices or threads. Berlin patterns were always coloured by hand at ﬁrst, until the emergence of industrial printing techniques.

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466* Bizarre Silk. A large panel of bizarre silk, circa 1710, brocaded in coloured silks and gilt metal threads, with a pattern of ﬂower cornucopias in gold, white, and peach, on a green ground, central vertical join, some unobtrusive old repairs and one or two small marks, backed with yellow silk (lightly stained), bordered all round with gold metallised braid, 167.5 x 106.5 cm (66 x 42 ins), together with the front panel of a 19th century brocade chasuble, backed with linen, length 115.5 cm (45.5 ins)

Provenance: Alexandra Mary Freesia Pelham née Vivian, Lady Worsley (18901963), and thence by descent.

(2)

£300 - £500

£200 - £400

467* Boot Pulls. A ﬁne pair of Edwardian boot pulls, each with a carved tortoiseshell grip and plated steel pull, 20.5 cm long (2) £70 - £100

468* Boucher (François, 1703-1779, after). Le Plaisir del la Pèche, early 20th century, printed in colours on dark cream grosgrain fabric, depicting a picturesque scene of a young peasant boy fishing in a river, flanked by two young girls with baskets, a large net hanging above beside a tree to the left, and a building and trees to the right, titled below image, blank margins a little dusty, image size 45.5 x 34.5 cm (18 13.5 ins), sheet size 63 x 51 cm (24.75 x 20 ins), together with 6 other decorative colour prints on fabric similar, 43.5 x 32 cm (17.25 x 12.5 ins) and smaller, and 6 colour prints on fabric lettered to top edges ‘Supplement to “The Gentlewoman”’ (The Cherub Choir after Joshua Reynolds; a double-page of King Edward VII and Queen Alexandra; Queen Victoria; The Princess of Wales; The Mother and the Child, after Bartolomé Murillo; and The Duke & Duchess of Cornwall & York and Family), plus an oval portion of Victorian glazed chintz printed with a bucolic marriage scene of peasants and a fiddler beneath trees, a church with spire in the distance, 25.5 x 38 cm (10 x 15 ins) (14) £100 - £200

469* Buttons & Hatpins. A collection of buttons, 19th-20th century, approximately 170 buttons, including sets, e.g. cut steel, enamel, embossed silvered metal, filigree inset with paste stones, tinies, Art Nouveau, mother of pearl (including jacket/waistcoat buttons), embossed, hand-painted gilt, coloured glass, porcelain buttons by Karen Gardiner, etc., diameter largest 32 mm (1.5 ins), smallest 7 mm (.25 ins), together with: Hatpins. A collection of hatpins, Victorian and later, 39 hatpins, with heads of various design, including filigree set with red paste stones, faux turquoise and pearls (2 pearls missing), diamanté, Art Nouveau, glass, tiger’s eye, millefiori-style, etc., various sizes, set into a large Victorian lace-covered oyster silk pincushion, silk on base perishing, 15 x 19 x 9 cm (6 x 7.5 x 3.5 ins) (approximately 200)

£200 - £300

470* Chalice Cover. An appliqué and metalwork chalice cover, probably Italian, 17th century, worked in padded velvet appliqués, gold metallised threads (tarnished), cream silk threads, and spangles, on a turquoise silk ground, depicting ‘IHS’ within a large sunburst in the centre, surrounded by a wide border of carnations, tulips, pomegranates, Tudor roses, and other ﬂoral emblems on sinuous stems, with a winged cupid head at top and bottom, ground perishing with some crude stitched consolidation to a backing, appliqués threadbare (and tulip at one corner missing), some loss of stitching and spangles, edged with gold metallised lace, 61.5 x 57 cm (24 x 22.5 ins), framed and glazed (70.5 x 66.5 cm)

See Art Institute Chicago for a similar chalice cover (Reference Number 1982.15).

(1)

£300 - £400

471* Chinese Embroideries. A collection of embroidered items, 18th-early 20th century, including: a metalwork purse front; a goldwork bookmark with tassels at each end (machine-stitched to later fabric); a pair of goldwork cuff bands depicting dragons worked on a turquoise silk ground; another pair depicting a heron, butterfly, and floral branches on a cream silk ground; a border in polychrome silks and gold metallised thread depicting Oriental ladies; a pair of cuffs worked in polychrome silk threads and metallised gold thread on a cream silk ground depicting paeonies; and a goldwork panel with large circular motif of a stylised peacock and flowers, worked on an olive green silk ground, mostly in good condition, various sizes, and a length of woven ribbon (15)

£200 - £300

472* Chinese Embroidery. A large ‘Shoulao and Deer’ silk embroidered panel, late Qing Dynasty, ﬁnely hand-worked in silk threads in shades of pink, green, blue, cream, and grey, using mainly long and short stitch and satin stitch, accentuated with couched metallised gold and silver threads, on a red silk ground, depicting Shoulao the Immortal with twinkling eyes and a smile, the face padded to emphasize the cranial bump, cheeks, and nose, his right hand cradling a large ripe peach, his left holding a carved staff with suspended scroll, dressed in a voluminous robe decorated with emblems of longevity including shou characters, a deer by his side, occasional loose and lost stitches, selvedges to sides, top and bottom edges machine-stitched, some faint scattered spotting to ground, 28 cm split in silk to lower edge just touching embroidered image repaired, 133 x 74 cm (52 x 29 ins) Shoulao, the God of Longevity, is depicted as gentle and smiling, with an exaggeratedly high forehead. He holds the fruit of the fabulous tree, Pan Tao, which blossoms every three thousand years and only bears its peaches three thousand years later. The stag by his side symbolises happiness. (1) £200 - £300

473* Chinese. A lady’s embroidered short jacket, late Qing Dynasty, navy silk jacket finely hand-stitched in polychrome silk threads, using satin stitch and Peking knots, with all-over flower and moth motifs, and border of flowers, foliate volutes, and bats, lined with pink silk damask (some marks), stitched on turn-back sleeve cuffs with wide border of moths and paeonies, incorporating gold metallised threads, cuffs a little dusty and marked (especially at edge folds), front opening with 5 brass bauble fasteners, binding to nape becoming detached, cuff to cuff 105 cm (41.25 ins), length 65 cm (25.5 ins)

(1)

£300 - £500

474* Chinese Skirt. An embroidered skirt, late Qing Dynasty, apron skirt of figured orange silk, front and rear panels and pleats handembroidered with butterfly and flower motifs in blue and white silk threads, embroidered borders with floral and other motifs in blue and white, and incorporating metallised gold threads, trims of woven ribbon, some discolouration of orange ground, wide linen waistband with loops (and a few small holes), edges lined inside with green silk, length 98 cm (38.5 ins)

(1)

£200 - £300

475* Chinese. An embroidered and appliqué curtain panel, 18th century, with all-over pattern of embroidered appliqué swallows and dragons, connected by clouds worked in metallised gold threads, on a cream silk ground, perishing, with some losses (mostly to ground rather than needlework), woven fabric border with ﬂower and scroll pattern (largely worn and frayed), linen backing printed with a repeated pair of cranes holding a leafy branch in their beaks, against a pattern of turquoise hexagons on a black ground, metal hanging hooks to top edge, small curtain rings vertically near left-hand edge verso, 206 x 188 cm (81 x 74 ins), together with:

An embroidered ceremonial ﬂag, early-mid 19th century, triangular ﬂag, hand-embroidered in metallised gold threads with a dragon chasing a pearl, amongst clouds, bats, and other auspicious symbols, on an orange silk ground (frayed, some old repairs), crenellated border of green silk (edges worn), backed with peach linen, twisted orange cord halyard, and remains of cream silk ribbon to upper right corner, 125.5 x 150.5 cm (49.5 x 59.25 ins)

For a similar Chinese ﬂag, see the Royal Museums Greenwich which have an Imperial Chinese junk ﬂag captured during the First China War of 1839 to 1842 (ID AAA0524).

(2)

£200 - £400

476* Cigarette Silks. A large collection of cigarette advertising silks, early 20th century, 450+ printed tobacco silks, mostly advertising Badminton Tobacco Factories, B.D.V., and Muratti Cigarettes, including heraldic, royalty and heads of state, countries, tartans, ceramic art, birds, ﬂowers, ﬁne art, regimental badges and medals, football, etc., some duplicates, most approximately 7 x 4.5 cm (2.75 x 1.75 ins), but a number 15 x 10 cm (6 x 4 ins), contained in plastic pouches in a modern album in slipcase (1)

£100 - £150

477* Clothing. A 19th century farm worker’s smock, circa 1880, hand-stitched thick twilled cotton smock, with smocked panel front and back, and wide square collar embroidered to each side with a heart ﬂanked by leaf stems worked in cream cotton in stem, feather, and herringbone stitch, a few stitches lacking, smocked to shoulders and cuffs of long sleeves, 4 bone buttons to cuffs (half of one lacking), pocket slits to sides, some faint toning and marks, 1 or 2 very small holes, chest 79 cm (31 ins), sleeves 57 cm (22.5 ins), length 95 cm (37.5 ins), together with a child’s smock, circa 1900, with smocking to front and back in red thread, some marks, and a frilled cream silk Victorian baby’s bonnet (3)

478* Clothing. A cage crinoline, circa 1850s, constructed of thread-wrapped steel hoops joined by strips of linen to form a framework designed to support a full skirt, hem padded and lined (sometime re-lined?), worn, with some soiling and holes in places, and several hoops broken, height approximately 81 cm (32 ins), diameter at base 61 cm (24 ins), together with:

£150 - £200

A gold silk dress, circa 1850, hand-stitched gown of gold silk, lined with glazed linen, with boned and ﬁtted bodice, boat neck, elbow length sleeves with bell-shaped double frill trimmed with matching fringe, and v-shaped gold braid ornamentation to front of bodice, continuing down front of skirt, with 12 gold thread-wrapped and braid-edged buttons between, skirt with pocket to right-hand side, a few small holes and marks, underarms slightly darkened and just beginning to perish a little (with 1 or 2 crude repairs), bust 88 cm (34.5 ins), waist 72 cm (28 ins), sleeves 37 cm (14.5 ins), length at front 133 cm (52.5 ins), and at back 140 cm (55 ins), and

A purple silk bodice, circa 1850s/60s, bodice of purple silk, lined with glazed linen, with round neck and three quarter length pagoda sleeves lined with cream silk and trimmed with purple sik ribbon and bow (ribbon to right sleeve becoming detached), left sleeve edged with tasseled fringe (lacking to right sleeve), front opening with 7 purple net-wrapped silk buttons, bust 79 cm (31 ins), waist 59 (23 ins), sleeves excluding fringe 51 (20 ins), length 39.5 cm (15.5 ins)

Although the cage crinoline, which appeared in 1857, appears to us today a cumbersome contraption to wear, it appealed to ladies of the time as being a lighter and more practical alternative to wearing several layers of heavy petticoats, the method which had been employed previously to achieve a wide skirt.

(3)

£200 - £300

Lot 477

Lot 478

479* Curtains. Two matching pairs of large yellow silk curtains with pelmets, 20th century, 4 custom-made long curtains, with triple pleats, lined, interlined, and weighted, with metal hooks, 1 pair made for a large window, each curtain drop 277 cm (109 ins), width 343 cm (135 ins), the other pair for a smaller window or doorway, each curtain drop 283 cm (111.5 ins), width 165 cm (65 ins), leading edge of each curtain with green and ivory braid (and some splitting and slight fraying to extreme edge), some minor discolouration of lining, each set with a matching pelmet, with goblet pleats caught up with knotted and scalloped green and ivory twisted cord, matching tasselled trim to lower edges, velcro fastening to top edge of verso, height at smallest point in centre 51 cm (20 ins), length of upper edge 300 cm (118 ins) and 160 cm (63 ins) respectively

Provenance: Made for a ﬂat in Kensington, London. (6)

480* Ecclesiastical Armorial. An appliquéd and embroidered coat-of-arms, Continental, 17th century, hand-stitched in high relief, with padded appliqués embroidered with coloured silk and metallised threads, using couching, stem, and satin stitch, on a crimson silk ground, the central voluted shield with a perched bird holding a branch of foliage in its beak above a star motif and 3 stylised mountain peaks, surmounted by a violet galero with tasselled cords (6 tassels on each side), some soiling and marks, mounted on card, bordered with a pink and gold metallised tufted edging (becoming detached in places), 28.5 x 26 cm (11.25 x 10.25 ins), together with a rococo-style leather chair back, embossed with ﬁgures, monkeys, swags of fruit and ﬂowers, a shell, and a lion’s face, lower right corner missing, 51.5 x 46.5 cm (20.25 x 18.25 ins)

The violet hat, or galero, with its six tassels and cords was a vestment particularly reserved for an office called Chaplain of His Holiness, a title of distinction given by the Pope in recognition of a priest’s service to the Church. He was addressed with the honorific title Monsignor. He had certain privileges with respect to ecclesiastical dress and vestments, like the violet hat. It is possible that the arms here might be those of the ecclesiastical office rather than an individual. They are very elaborate for a personal coat and perhaps might come from something like a cope. The bird pictured is likely to be a dove holding an olive branch as a symbol of peace.

(2)

£300 - £500

£200 - £300

481* Embroidered Appliqués. Virgin and Child embroidered appliqué, probably Continental, 17th century, hand-stitched in coloured silk threads and metallised thread on a silk velvet ground (somewhat faded), with a half-length portrait of the Virgin Mary and the Christ Child, both wearing crowns, and appearing above clouds with a pair of praying putti below flanked by 2 larger hooded praying figures, the embroidery neatly stitched to a modern cream silk backing, 17 x 14 cm (6.75 x 5.5 ins), together with several other needlework appliqués, including a set of four 18th century flower embroideries, finely hand-worked in polychrome silk threads using chain stitch on a pale beige linen ground, 2 depicting a carnation stem, and 2 depicting a tulip stem, the linen irregularly cut, each approximately 15 x 12 cm (6 x 4.75 ins), and a set of 7 small Chinese embroideries, mounted on thin laid paper (3 mounted together) (12)

£100 - £200

Lot 480

482* Embroidered Apron. An English embroidered silk apron panel, circa 1720-1740, ﬁnely hand-stitched in polychrome silk threads and metallised gold threads on a cream silk taffeta ground, using satin stitch, couching, french knots, and long and short stitch, with large stylised stems of ﬂowers, pomegranates, leaves, and tendrils, each stem emanating from a rocky mound, lower corners rounded, lacking drawstring to hand-stitched top edge, a few loose threads, silk beginning to perish at central vertical fold, and with some faint foxing and tiny holes, but needlework almost entirely intact, colours vibrant, and silk ground generally robust, 46 x 93 cm (18 x 36.5 ins)

A very beautiful early 18th century silk apron front, in unusually good condition; see the V&A for similar, including accession numbers T.16-1970, T.358-1971, and CIRC.34-1929. (1)

£300 - £400

484* Embroidered Cap Backs. Four metalwork cap backs, probably British, 17th century, 3 densely embroidered with metallised silver threads, using padded satin stitch and bullion stitch, and incorporating spangles, with velvet or silk inserts to lower edge (1 gathered), the fourth composed of metal coilwork and spangles on paper, re-mounted on later velvet, occasional small losses to needlework, 16 x 20.5 cm (6.25 x 8 ins) and smaller, together with other items, comprising: a portion of late 17th/early18th century embroidery, with ﬂoral pattern worked in coloured silk threads and metallised threads, with borders of metalwork (one detached), toned and worn, 74.5 x 61.5 cm (29.25 x 24.25 ins); a cream silk-lined green and gold silk Regency reticule, made of 4 sections terminating with a tassel, silk fraying in places, remains of green silk drawstring, dimensions excluding tassel 21 x 15 cm (8.25 x 6 ins); and a quantity of passementerie, including metallised lace, braid, and fringing, a number of thread-wrapped buttons, and a quantity of sequins (for fans etc.) in a small box, various condition and sizes

See The Met, for a cap embroidered using a similar technique and materials (accession number 39.13.8).

(a small carton)

£200 - £300

483* Embroidered Box. A wooden box with embroidered panel sides, probably Italian, 17th century, sides, front, and top of hinged lid worked in coloured silk and metallised threads on a gold silk ground, using long and short stitch, stem stitch, basketweave, and satin stitch, depicting stylised tulips, carnations, and other ﬂowers, scrolling stems, and volutes, heavily faded and worn, with losses to needlework and ground, and some woodworm holes, interior lined with cream silk, box set upon claw feet, dimensions including feet 18 cm (7 ins) high x 50 cm (19.75 ins) wide x 32 cm (12.5 ins) deep (1)

£200 - £300

485* Embroidered Map. England & Wales, circa 1800, oval map ﬁnely hand-embroidered in polychrome silk threads, with place names and title worked in black thread, on cream silk, depicting England and Wales divided into counties, with part of Scotland, Ireland, and France, map outlines worked in chain stitch, vignette of Britannia worked in long and short stitch upper right above title, with details including her face, limbs, and a sailing ship delineated in watercolour, the whole within a border of carnations, oak leaves, and acorns, worked in long and short stitch, split stitch, and french knots, lightly toned and occasional minor marks, small hole near compass lower left (not affecting stitching), 50.5 x 46 cm (20 x 18 ins), contemporary glazed oval gilt frame (58.5 x 54 cm) (1)

£200 - £300

486* Embroidered Panel. A large 17th century style metalwork silk panel, early 20th century, worked in metallised gold and silver thread, using padded satin stitch, basketweave, and chain stitch, with all-over repeating pattern of stylised ﬂowers (irises, tulips, lilies, etc.) on foliated scrolling stems, incorporating exotic birds, with outlines and details worked in yellow thread in chain stitch, 1 or 2 small areas of wear to threadwork, 30 x 10 cm light stain to lower left edge, on a peach silk ground (perishing and frayed in places, especially at edges), sometime backed with orange cotton (some staining and wear), 333 x 126 cm (131 x 49.5 ins)

A superb piece of needlework by an expert embroiderer evidently imitating, or inspired by, an earlier piece or design; probably made as a commission for a large house, perhaps to match an existing early piece. (1)

£300 - £500

487* Embroidered Panel. A silkwork and metalwork panel, British, 17th century, worked in polychrome silk threads and metallised gold and silver threads on a crimson silk ground, using long and short stitch, french knots, stem stitch, basketweave, couching, padded satin stitch, and bullion stitch, forming a wide vertical border of large ﬂower heads (tulips, roses, and lilies) on voluted foliate scrolls, to the left a narrow border similar, some minor fading and loss of threadwork, silk ground with scattered small pale ﬂecks where threadbare, edged all round with gold metallised lace, sometime mounted over a board and held in place with stitching on verso, 45.5 x 37.5 cm (18 x 14.75 ins) (1) £200 - £400

Lot 486 Lot 487

488* Embroidered Picture. Epsom Races, circa 1890, worked in polychrome silk threads, depicting a busy racecourse lined with spectators, and various stalls, one advertising ‘Fred Jollands Kingswood Hotel’, 31.5 x 59.5 cm (12.5 x 23.5 ins), glazed gilt moulded frame (45 x 74 cm)

(1)

£200 - £300

489* Embroidered Picture. Needlework picture of Aphrodite, probably Continental, 17th century, worked in polychrome silk threads, metalwork, and beadwork, on padded cream silk, oval half-length portrait of a female figure in a landscape holding a mirror, with a building to her left, set onto pale gold silk (later?) within oval frame of spangles and metalwork, with a flower embroidered at each outer corner, worked using various stitches, including long and short, bullion, french knots, stem, satin, and latticework, the whole tacked onto a wooden panel with plinth to top edge, 20 x 17.5 cm (8 x 7 ins), together with an early 20th century tapestry picture depicting medieval figures, worked in coloured wools on hessian, portion of design where unfinished to lower edge, stitched area 88.5 x 16.5 cm (34.75 x 6.5 ins), framed and glazed (105 x 32.5 ins), and 2 sample embroideries, one of a pomegranate, the other of two forms of latticework, mounted together, with manuscript caption on mount ‘Samplers by apprentices in Arthur H. Lee workshops - Birkenhead - about 1860’, 13.5 x 10.5 cm (5.25 x 4 ins) and 8.5 x 4.5 cm (3.5 x 1.75 ins) respectively, framed and glazed (24 x 28 cm)

Provenance: Purchased from Arthur H. Lee when the company closed in 1970 by the owner’s father, proprietor of ﬂooring and soft furnishings company F. Sanson Contracts. (3)

£200 - £300

490* Embroidered Picture. Portrait of Queen Anne (1665-1714), British, early 18th century, worked in silk threads in shades of green, pink, brown, gold, and black, on a gold silk ground, using mainly chain and split stitch, showing Queen Anne wearing flowing robes and seated in a garden pavilion, plucking a bunch of grapes from a comport of fruit, a chequered floor at her feet, and stone balustrades either side, with an archway on her right supported by rusticated pillars giving a vista of a fountain between an avenue of trees leading to a symmetrical house, and a window opening on her left with view of a garden and a rustic domed dwelling, with trees and a hare, pencil outlines to upper portion where unfinished (including the Queen’s face, top of archway, trees, animals, and sunburst), somewhat toned overall, 13 cm vertical split to upper edge, and a few small areas of fraying to ground, 35 x 40 cm (13.75 x 15.75 ins), framed and glazed (43 x 48 cm)

Queen Anne’s struggle with illness and her tragic inability to produce an heir is well-known. She married Prince George of Denmark (1653-1708) and reigned from 1707 to 1714. The couple lost 18 children (including twins) through miscarriage, stillbirth and early death. Two of their daughters, Mary and Anne Sophia, died in 1667 from smallpox within days of each other, both aged under two years, and their son and heir, Prince William, Duke of Gloucester, died in 1700 at the age of 11.

(1)

£400 - £600

Lot 490

Lot 488

Lot 489

491* Embroidered Picture. Saint John the Evangelist, Continental, 16th century, full-length ﬁgure of a male saint holding a chalice with a serpent arising from it, standing on a chequered ﬂoor, within a pillared archway, worked in silk threads in shades of blue, green, yellow, orange, brown, and red (latter possibly later?), using mainly long and short, satin, and stem stitch, the halo elaborately worked in gold metallised threads (tarnished), loss of threadwork to pillars and background revealing pencil outlines, several splits in ground, 29.5 x 20 cm (11.5 x 8 ins), stitched to a hessian backing, glazed green velvet frame (42 x 33 cm), velvet slightly faded

An early embroidery, possibly taken from an orphrey.

(1)

£200 - £300

492* Embroidered Slips. A collection of mounted slips, British, mid-late 17th century, 7 needlework slips, hand-stitched in polychrome silk threads, using long and short, and seed stitch, each depicting a different ﬂower spray, including tulips, carnations, paeonies, Tudor roses, and heart’s ease, some loss of stitching revealing hessian ground, each approximately 17 x 17 cm (6.75 x 6.75 ins), stitch-mounted in the early 20th century to 2 lengths of cream satin (3 to one, and 4 to the other), and linked with scrolling foliate stems worked in gold silk threads, the slips and later stems edged all round with a chain stitch border in gold metallised thread, top and side edges raw (sides irregularly cut and truncating embroidery), selvedge to bottom, stitched tuck to right-hand end of each (that to shortest length unpicked), 23 cm (9 ins) wide x 81cm (32 ins) and 107 cm (42 ins) long

Attractive, and sympathetically mounted, examples of these early needlework motifs which were used to embellish the soft furnishings of the wealthy. They were typically used to adorn curtains, bed hangings and valances, cushions, and picture and mirror frames, amongst other furnishing textiles.

(2)

£400 - £600

Lot 492

Lot 493

493* Embroidered. A collection of embroidered items and passementerie, 18th & 19th century, including: a cream linen Regency reticule, each side hand-worked in stem stitch in coloured silks, with a bowl of flowers within a scrolling floral and foliate border, remains of green silk ribbon border, lined with dark green silk, lacking drawstring in top edge, toned, 28 x 22 cm (11 x 8.5 ins); a beaded shield-shaped reticule of cream silk, beaded to both sides, the front with a bird perched on a branch and a floral and foliate border, the back with flowering branches, floral border along stiffened opening to top, double twisted cord handle, embellished with a metal ring and tassel to each side, lined with gauze fabric, a little marked and dusty, some wear and fraying to extremities in places (especially at opening), 20 x 19 cm (8 x 7.5 ins); a pair of chair covers, the seat embroidered with a beribboned posy of roses, and the back with a pair of doves holding a wreath in their beaks, on a stitched pale blue lattice ground, worked on gauze-backed turquoise silk, approximately 38 x 40 cm (15 x 15.75 ins) and 36 x 28.5 cm (14 x 11.25 ins); 7 lengths of metallised braid, longest (with frequent joins) nearly 9 m, shortest 60 cm; a pair of 2 metallised gold tassels; and a set of 3 similar

Provenance: Alexandra Mary Freesia Pelham née Vivian, Lady Worsley (18901963), and thence by descent. (20)

£150 - £200

494* Embroidered. A collection of whitework embroidered and lace items, 18th century and later, including: a hand-made shawl finely embroidered with tamborwork and insertions, circa 1780, several small holes, and a few neat darns; 2 mid 18th century sleeve ruffles, each close-gathered and embroidered with scrolling flower stems, 1 double-frilled and edged with hand-made lace; 14 handmade sleeves, including 6 pairs, 1 sleeve marked in ink ‘A.H. Price. 3.’, and 1 pair marked ‘E.W. Price’, both in a 19th century hand; a net lace apron panel embroidered with whelks, spiral seashells, and seaweed; and 2 Regency skirt panels, mostly in good condition, various sizes (21)

£200 - £300

495* Equestrian. A large horse blanket made for Horace St Paul, Austria, circa 1759, large shaped blanket designed for the back of a horse, with a pair of buckles and leather straps to fasten around neck (part of one strap missing), and leather straps to fasten to a crupper at the back, elaborately embroidered and appliquéd on a thick crimson wool ground, with circular coat-of-arms of Horace St Paul in centre, surmounted by a count’s coronet, against a military trophy, count’s coronet repeated on sides atop a decorative monogram, a number of small holes (largest 3.5 x 3.5 cm), one crudely partially repaired, some light marks, edged all round with a double row of velvet braid (worn and threadbare, 20 cm section missing), backed with hessian, approximately 169 x 167.5 cm (66.5 x 66 ins) A most unusual and impressive large textile, and an apparently rare survival; we have not been able to trace another similar. Unlike a shabraque, this blanket, with it’s large central armorial, appears not to have been intended for use with a saddle. It may have had a ceremonial use, at a parade or funeral for example, or may simply have been both a practical item and status symbol, its function to keep the horse warm whilst declaring the opulence of the owner’s stables. Horace St Paul (1729-1812) would almost certainly never have been granted this coat of arms had he not been forced to flee England after killing a man in a duel. In 1751, whilst a law student of 22, he fell out with an older gentleman named Mr Dalton over the favour of a lady. The two men fought a duel at Dalton’s home, whereupon a servant, hearing the sounds of fencing, found his master dead in the parlour. On being ordered to stand trial for wilful murder Horace fled the country, first to France, then to Brussels, where he became acquainted with Prince Charles of Lorraine, Governor-General of the Austrian Netherlands and brother-in-law of Maria Theresa, the Empress Queen. On the outbreak of the Seven Years War in 1756, Prince Charles returned to Austria as one of the principle military commanders, with Horace as his aide-de-camp. St Paul obviously displayed some of the fearlessness he had shown in his youth: on 20th July 1759, he was created a Count of the Holy Roman Empire for ‘having devoted himself to arms, and having followed the Royal-Imperial Standards in the last two Campaigns at his own expense, and having therein displayed pre-eminent fortitude and proved beyond doubt his soldierly valour and his exalted zeal in the arts of war…’. A Royal Pardon was granted to Horace in 1765, and he returned to England, purchasing the (now derelict) estate of Ewart Park from his brother in 1775, and completely redesigning the house and grounds. Horace was appointed Secretary of Embassy to the Court of France (17721776), and then Envoy to Sweden (1776-1777), before retiring from diplomatic life. (See Neil Cogswell, Lobositz to Leuthen, Horace St Paul and the Campaigns of the Austrian Army in the Seven Years War 1756-57, Helion, 2017) (1) £500 - £800

496* Fabric. A collection of early needlework, lace, and woven fabrics, 18th century, comprising: 3 matching pieces of silk brocade, possibly Spitalfields, woven with polychrome scrolling flower stems on a cream ground with figured scalloped ribbon design, some tiny holes and light marks, 66 x 52 cm (26 x 20.5 ins) and slightly smaller, plus another similar, 52 x 49 cm (20.5 x 19.25 ins); the front or back panel of a silk chasuble, brocaded with a pattern of blue cornflowers in coloured and silver metallised threads, and embroidered with scarlet pimpernel flowers within a border of gold metallised threads, on a pale pink ground, faded and dusty, 128 x 88 cm (50.5 x 34.5 ins); a pelmet shaped portion of floral silkwork and metalwork embroidery on cream silk, worn with loss, attached to a wide length of silver metallised lace, latter 12 x 166 cm (4.75 x 65.5 ins), overall dimensions of fabric at largest points 35.5 x 134 cm (14 x 52.75 ins); 2 matching triangular portions of pieced raspberry and cream silk lampas, one with 1 x 1 cm hole, each approximately 94 x 64 cm (37 x 25.25 ins) at largest points; and a needlepoint pelmet worked in coloured silk threads in tent stitch, some small threadbare areas, made from 3 joined pieces and with a later (crudely-stitched) backing of dark red satin, 15.5 x 137 cm (6 x 54 ins) (9)

£200 - £400

497* Fabric. A long length of glazed chintz for seat covers, British, early 19th century, with repeated pattern of the Prince of Wales’s feathers against a circle of blue ribbon, within a ﬂoral wreath, including roses, carnations, cornﬂowers, irises, heart’s ease, forget-me-nots, and nasturtiums, on an ivory ground, truncated brown ink stamp of the royal crest to lower cut edge, some marks, creased at edges (and a couple of very small holes), dimensions of pattern 32.5 x 34 cm (12.75 x 13.5 ins), selvedge to selvedge 65 cm (25.5 ins), length approximately 15 m (24 repetitions of pattern), together with another matching piece, 59.5 x 66 cm (23.5 x 26 ins)

A rare long length of upholstery chintz, intriguingly featuring the Prince of Wales’s feathers, and stamped with the royal crest. (1)

£400 - £600

498* Fabric. A long length of woven silk brocade, France: Lyon, late 18th/early 19th century, with a large repeated pattern (7 repeats) of roses and chrysanthemums in a vase, ﬂanked by meandering stems of tulips and other ﬂowers, woven in pinks, purples, blues, and green, incorporating metallised gold threads, on a cream ground, faint water-stain towards upper edge, some minor toning and occasional fraying to edges, loom width 56 cm (22 ins), length 320 cm (126 ins) (1)

£300 - £500

Lot 497

500* Household Linen. A collection of whitework napkins, tablecloths, pillowcases, and bedcovers, 19th/20th century, including: a finely-worked tablecloth of Brussels lace, depicting flower baskets and scrolling floral and foliate stems, with whitework embroidery of cupids, flower garlands, butterflies, and classical urns, 6.5 x 2 cm hole, and some scattered small holes, minor discolouration in one or two places, 123 x 121 cm (48.5 x 47.75 ins); a set of 8 large fine linen napkins, with filetwork monogram ‘NL’ to one corner within an embroidered and cutwork frame, each approximately 65 x 63 cm (25.5 x 24.75 ins); two pairs of finely handstitched pillowcases, one large linen pair with drawn threadwork, lace insertions, and whitework embroidery, the other pair edged with hand-made lace and with large monogram ‘YR’; a large embroidered and lace Victorian bedcover; another with Art Nouveau style floral embroidery; and a large damask banqueting cloth, generally good condition, various sizes (17)

£150 - £250

499* George (King of Great Britain and Ireland, 1762-1830). Silk stockings, 1821, two ﬁne stockings of cream ribbed silk, each woven with an openwork ‘GR’ just below top edge, above the date ‘1821’ worked in red cross-stitch below the numbers ‘1’ and ‘10’ respectively, some minor foxing and marks, length 93 cm (36.5 ins), wrapped in a piece of old paper bearing a later 19th century sepia ink description of the contents (2)

£200 - £300

£100 - £200

501* Household Linen. A pair of sheets, 1806 and 1811, two handstitched sheets, each with central join, each dated to one edge with cross-stitch in gold-coloured thread, and with one edge later hemmed by machine, occasional light toning and marks, but overall in very good condition, 227 x 230.5 cm (89.5 x 90.75 ins) and 221.5 x 186.5 cm (87.25 x 73.5 ins), together with a white bedcover, woven with an embossed pattern of ﬂowers and other motifs, circa 1880s, 213 x 131 cm (84 x 51.5 ins), plus a small quantity of lace, including a substantial length of 13.5 cm (5.25 ins) wide net lace with scrolling foliate pattern, and a long length of 19th or early 20th century moiré effect ﬂoral ribbon (a carton)

502* Indian Phulkari. An embroidered phulkari shawl, late 19th/early 20th century, large panel hand-embroidered in silk threads of pink, yellow, and occasionally purple and green, and cream cotton thread, with an all-over pattern of daisy ﬂowers and chickens amongst dotted lines, on a ground of hand-spun loomed brown cotton, occasional loss of threadwork, and some mottling to ground, 237.5 x 146 cm (93.5 x 57.5 ins), together with 5 other items, including a Sumbanese Hingii ikat with multiple bands of stylized lions, horses, and other tribal motifs, various condition and sizes

Provenance: All the items in this lot were purchased from the Stapylton Barnes family of ‘Foxholm’ in Weybridge in 1983. The family had a number of famous antecedents, including explorer William Edward Parry (1790-1855) and William Penn (1644-1718), one of the Quaker founders of Pennsylvania. Phulkari are beautifully embroidered wraps made by and for a family member as a head covering or shawl for a special occasion such as a birth or marriage.

(6)

£100 - £200

503* Infants’ Clothing. A collection of baby gowns, shirts, and bonnets, circa 1800-1830, comprising: 9 high-waisted christening and baby gowns with short sleeves, all hand-stitched, and variously embellished with whitework embroidery, tucks, and lace, e.g. Vandyke work, broderie anglais, etc., 1 with tiny decorative Dorset knob buttons; 3 hand-stitched baby shirts, one marked in early ink ‘Canning 2’, and another ‘Dursley’; and 4 white cotton baby bonnets, with various tucks, frills, and embroidery, occasional small holes and marks, but generally in good condition, various sizes (16)

£150 - £200

504* Japanese. A goldwork silk kimono, circa 1920s, handstitched cream silk kimono, lined with cream silk (lightly foxed), embroidered all-over in gold metallised thread, with dragon, cloud, and ﬁre motifs, occasional small marks and pulled threads, 2 x 3 cm area of slight fraying to lower hem, length 145 cm (57 ins) (1)

£150 - £200

505* Lace Samples. Two crochet sample books, early 20th century, approximately 45 blue thick paper leaves with crochet samples stitched to recto (one volume with a number of additional blank leaves), stationer’s printed label on front pastedowns ‘A L’École St. Cyr ... Maison Blondel, 152, Rue de Rennes ... Paris’, original biege linen, lightly marked, one volume with initials ‘M.B.’ impressed onto front cover, the other with waterstain to fore-edge of upper cover, small 4to, together with a collection of stitched leaves with various samples of mounted needlework, 19th century, including buttonholes, patches, seams, etc., brown paper leaves torn and some loose, and a number of other small pieces or fragments of needlework, including 2 pairs of sleeves, and 5 borders with punched cut-outs for broderie anglais (2 partially stitched), 2 matching measuring 45.5 x 104 cm (18 x 41 ins), 2 matching measuring 18 x 05.5 cm (7.25 x 41.5 ins), the other 9 x 105.5 cm (3.5 x 41.5 ins) (16) £100 - £200

506* Lace. A ﬂounce of Milanese lace, probably 18th century, a wide length of cream tape lace, with ﬂoral and foliate motifs on scrolling tendrils, occasional small holes and marks, 24 x 209.5 cm (9.5 x 82.5 ins), together with:

507* Lace. A wide ﬂounce of 19th century cream needle lace, hand-embroidered on machine net, with ﬂoral sprays and volutes, some scattered foxing, joined with one seam in a circle, width 55 cm (21.5 ins), overall length 397.5 cm (156.5 ins), together with another large matching piece, probably taken from a bassinet, joined and with black fabric attached to part of it, length approximately 226 cm (89 ins), plus other items of lace and whitework, including a lace stole, ladies’ drawers, crib covers, and a christening gown, various condition and sizes (a carton)

£100 - £200

508* Lace. Two lace sample books, D. & Co. Ltd., 1926, approximately 40 leaves each, with numerous machine-made lace samples in white and cream mounted on rectos and versos, copious printed labels, some samples missing, ﬁrst leaf of one volume with lower right blank corner excised, original limp cloth, some soiling and wear, upper covers titled respectively ‘Collar & Panel Laces. Valenciennes, Guipure and all the Newest Cotton Laces’ and ‘Box Lots. Laces, Collarings, All New Styles’ and with manufacturer and date, folio (37.5 x 24.5 cm/14.75 x 9.75 ins)

(2)

£300 - £400

A Honiton collar and cuffs, 19th century, large white collar, and pair of cuffs similar, the collar composed of ﬂoral and foliate motifs, a little faint toning in places, collar 77 x 50 cm (30.25 x 19.5 ins), cuffs 14.5 x 22 cm (5.75 x 8.75 ins), plus a Honiton lace wedding veil, several small brown marks near one corner, 208 x 208 cm (82 x 82 ins), a Honiton lace bonnet veil, 24.5 x 47.5 cm (9.75 x 18.75 ins), and various other pieces of lace, mostly white, cream, and ivory, but including some black lace and a piece of blue lace, comprising machine and hand-made, lengths and ﬂounces, shawls, baby dresses and bonnets, aprons, modesty panels, collars, cuffs, etc., some labelled, including Valenciennes, Flemish guipure, Chantilly, Irish, Bucks., Milanese, Yak wool lace, tatting, whitework, various condition and sizes (a carton)

£100 - £200

509* Lee (Arthur H. & Sons). A large crewelwork panel, Birkenhead, 1950s, hand-embroidered in polychrome wools on a rich blue twilled ground, with all over 17th century-style ﬂoral design of trailing foliage and large ﬂowers, using long & short, stem, chain, satin, and cross-stitch, latticework, and french knots, selvedges to sides, upper and lower edges hemmed with machine-stitching, small nick and evidence of tacking threads in right-hand edge, some faint vertical fading, and 1 or 2 very small marks, adhesive fabric manuscript label to verso lettered ‘Blue Ground Jacobean’, 331.5 x 133 cm (130.5 x 52.5 ins)

Provenance: Purchased from Arthur H. Lee when the company closed in 1970 by the owner’s father, proprietor of ﬂooring and soft furnishings company F. Sanson Contracts.

A rare and beautiful piece of hand-embroidery by important textile designer and manufacturer Arthur H. Lee (1853-1932); in very good condition, probably an unused sample piece. Pieces such as these seldom appear on the market; the rich blue ground of this example is particularly unusual. The prestigious family firm of Arthur Lee & Sons was founded in 1888 in Bolton, subsequently moving to a purpose-built factory in Birkenhead in 1908. The company continued throughout the 20th century under the direction of Arthur’s three sons and five grandsons before closing in 1970. The American branch of the firm, Lee Jofa, is still in existence in New York. As well as developing innovative methods of weaving tapestry cloths, and producing high-quality hand-blocked fabrics, Arthur Lee revived the practise of hand-crafted needlepoint and crewelwork. (1)

£500 - £800

510* Lee (Arthur H. & Sons). A large crewelwork panel, Birkenhead, 1950s, hand-embroidered in polychrome wools on a beige twilled ground, with all over 17th century-style design of exotic birds amongst trailing foliage and large ﬂowers, using long & short, stem, chain, satin, and cross-stitch, latticework, and french knots, lined with linen, looped tufted edging in blue, grey, and brown to sides and lower edges (15 cm length becoming loose), threads pulled in places (mostly to edging), verso with adhesive fabric manuscript label lettered ‘Jacobean’, and manufacturer’s card label stitched through two eyelets bearing company monogram and giving typed and manuscript information: ‘Crewel-Craft Embroidery, Special Treyes/3 Curtain, No.194’, 307 x 134.5 cm (121 x 53 ins)

Provenance: Purchased from Arthur H. Lee when the company closed in 1970 by the owner’s father, proprietor of ﬂooring and soft furnishings company F. Sanson Contracts.

A rare piece of hand-embroidery by important textile designer and manufacturer Arthur H. Lee (1853-1932); in very good condition, probably an unused sample piece. Pieces such as these seldom appear on the market; this example, featuring exotic birds is particularly unusual. (1)

£500 - £800

Lot 510

Lot 511

511* Lee (Arthur H. & Sons). A large crewelwork panel, Birkenhead, 1950s, hand-embroidered in polychrome wools on a beige twilled ground, with all over early 18th century-style ﬂoral design of trailing foliage and large ﬂowers, including carnations, paeonies, tulips, roses, dahlias, trumpet vine, etc., using long & short, stem, chain, and satin stitch, selvedges to sides, top and bottom edges hemmed with machine-stitching, 1 or 2 small marks, and a tiny hole (not affecting threadwork), verso with adhesive fabric manuscript label lettered ‘Queensbury Crewel Beige Background’, and manufacturer’s card label stitched through two eyelets bearing company monogram and giving typed and manuscript information: ‘Crewel-Craft Embroidery, 2718 Queensbury curtain No.185: 1 of pair’, 322.5 x 138.5 cm (127 x 54.5 ins)

Provenance: Purchased from Arthur H. Lee when the company closed in 1970 by the owner’s father, proprietor of ﬂooring and soft furnishings company F. Sanson Contracts.

A rare piece of hand-embroidery by important textile designer and manufacturer Arthur H. Lee (1853-1932); in very good condition, probably unused. Pieces such as these seldom appear on the market. (1)

£500 - £800

512* Lee (Arthur H. & Sons). A large crewelwork panel, Birkenhead, 1950s, hand-embroidered in wool in shades of pink, blue, green, and brown, on a brown twilled ground, with all over 17th century-style floral design of trailing foliage and large flowers, using long & short, stem, seed, chain, satin, and cross-stitch, and latticework, 2 holes towards top of panel (4 x 7 cm and 1.5 x 3.5 cm), first hole with some associated loss of threadwork, a few other threads loose, top edge hemmed with machine-stitching, matching looped tufted edging to sides and lower edge, verso with adhesive fabric manuscript label lettered ‘Beige Ground Jacobean’, and manufacturer’s card label stitched through two eyelets bearing company monogram and giving typed and manuscript information: ‘Crewel-Craft Embroidery, Tenbury Castle. 17.3’, 322.5 x 142 cm (127 x 56 ins), together with:

A crewelwork pelmet, Birkenhead, circa 1950s, hand-embroidered in polychrome wools on a gold damask ground, with stylised ﬂowers and vegetation, using long and short, stem, and satin stitches, and latticework, stiffened, and lined with cream cotton on verso, looped tufting to lower edge, 28 x 236 cm (11 x 93 ins)

Provenance: Purchased from Arthur H. Lee when the company closed in 1970 by the owner’s father, proprietor of ﬂooring and soft furnishings company F. Sanson Contracts. (2) £400 - £600

513* Lee (Arthur H. & Sons). A large crewelwork panel, Birkenhead, 1950s, hand-embroidered in polychrome wools on a green-beige twilled ground, with all over early 18th century-style ﬂoral design of trailing foliage and large ﬂowers, including carnations, paeonies, tulips, roses, dahlias, trumpet vine, etc., using long & short, stem, chain, and satin stitch, selvedges to sides, top and bottom edges hemmed with machine-stitching, top edge with some holes and fraying (not affecting threadwork), verso with adhesive fabric manuscript label let tered ‘Queensbury Crewel Beige Background’, and manufacturer’s card label (broken) stitched through two eyelets bearing company monogram and giving typed and manuscript information: ‘Crewel-Craft Embroidery, 2718 Queensbury curtain, 1 of pair’, 330 x 138.5 cm (130 x 54.5 ins)

Provenance: Purchased from Arthur H. Lee when the company closed in 1970 by the owner’s father, proprietor of ﬂooring and soft furnishings company F. Sanson Contracts.

A rare piece of hand-embroidery by important textile designer and manufacturer Arthur H. Lee (1853-1932); in very good condition, probably unused. Pieces such as these seldom appear on the market.

(1)

£500 - £800

Lot 513

Lot 512

514* Map Scarf. Fairburn’s Map of the Country Twelve Miles Round London, Liberty of London, 20th century, colour-printed on a cream silk ground, depicting a circular map of London, titled above and with 2 vignettes in the lower spandrels of Chelsea Hospital and Greenwich Hospital, published by John Fairburn, September 1st 1800, taken from the British Museum’s copy stamped 3rd November 1868, lettered to lower right ‘Made in England, Liberty of London’, machine-stitched hem, 3 very small holes to lower left corner (reverse of corner with stitched woven name tape ‘Corkran’), 69 x 69 cm (27 x 27 ins)

A calico handkerchief depicting the same image, printed in 1830, passed through these rooms in 2020 [see James Howgego, Printed Maps of London, 216 (3)], but we have never seen Liberty’s version of Fairburn’s map, nor indeed have we traced one elsewhere.

(1)

£100 - £150

515* Mezzaro. A large panel, Italian, circa 1800, cotton panel, lavishly block-printed in shades of red, blue, green, and brown, on a brown ground (with uniform mottled toning?, and a few small stains), depicting a ‘Tree of Life’ design with ﬂowers and foliage incorporating two palm trees, two giraffes, a lion, and two stags, ﬂoral palmette border, 27 x 20 cm area in centre with small holes and a portion missing and repaired, sometime crudely hemmed and edged with a narrow border of red cotton (now missing in places), 246 x 272 cm (97 x 107 ins)

Provenance: From the estate of Francis Wright Fabyan, Commonwealth Avenue, Boston, Massachusetts, USA, a fabric merchant and the life-long partner of an uncle of the vendor, by descent.

A striking and unusual mezzaro, featuring giraffes and a lion. See the V&A for a mezzaro of a very similar design (accession number IS.145-1950).

(1)

£200 - £400

516* Mezzaro. A large panel, Italian, circa 1850s, cotton panel, lavishly block-printed in shades of red, blue, and brown, on a cream ground, depicting a ‘Tree of Life’ design with ﬂowers and foliage incorporating birds, butterﬂies, and a squirrel, with hunting scene border, custom export stamp ‘registered’ to upper right corner, and stamped ‘No. 1008’ to lower edge, some light toning and a few fox spots, but overall in good condition, 264 x 174 cm (104 x 68.5 ins)

Provenance: From the estate of Francis Wright Fabyan, Commonwealth Avenue, Boston, Massachusetts, USA, a fabric merchant and the life-long partner of an uncle of the vendor, by descent.

(1)

£400 - £600

517* Mezzaro. A large panel, Italian, early-mid 19th century, cotton panel, lavishly block-printed in shades of pink, blue, green, and brown, on a cream ground, depicting a ‘Tree of Life’ design with flowers, foliage, and birds, the rocky mound at base of tree with a figure in a howdah perched atop an elephant amongst a procession of musicians, flanked by a building with minarets on the left, and a hunting dog and wild fowl on the right, with wide border of fountains, birds and large roses, and outer border of small roses, central portion toned, occasional soiling and small holes, inner edge of wide border splitting to right-hand side, edges with machine-stitched tape and tack holes (frayed in places), 268 x 301 cm (100.5 x 118.5 ins), together with another mezzaro similar, and 3 others, all with various degrees of wear, plus a strip taken from a mezzaro

518* Needlepoint Pelmets. A pair of matching pelmets, late 19th century, one large and one small pelmet, hand-worked in tent stitch in wool, in shades of red, green, blue, and gold, on a black ground, with a large pattern of stylised flowers and leaves, lower edge scalloped, both 38.5 cm (15.25 ins) high, width 192 cm (75.5 ins) and 90.5 cm (35.5 ins), modern backing of beige linen, together with two mid 19th century matching seat covers worked in polychrome wools in tent stitch on canvas, with differing varied large flowers, including honeysuckle, auriculas, a striped tulip, carnations, paeonies, and cornflowers, each approximately 45.5 x 58 cm (18 x 22.75 ins)

Provenance: Alexandra Mary Freesia Pelham née Vivian, Lady Worsley (18901963), and thence by descent.

(4)

£150 - £250

Provenance: From the estate of Francis Wright Fabyan, Commonwealth Avenue, Boston, Massachusetts, USA, a fabric merchant and the life-long partner of an uncle of the vendor, by descent. (6)

£200 - £400

519* Needlepoint Picture. A marriage picture, British, circa 1720, worked in polychrome wools in tent and cross-stitch on a hessian ground, depicting a couple in a garden, with a third ﬁgure standing between them, and a pair of turtle doves at their feet, the lady wearing a plumed headdress with train, and holding a fan in her right hand, the bewigged gentleman wearing a full-skirted coat, somewhat threadbare in places, with some old crude repairs, 38 x 38.5 cm (15 x 15.25 ins), framed and glazed (47.5 x 48 cm)

An early needlework picture evidently executed to celebrate the marriage of the couple pictured, with the overt symbolism of two turtle doves in the foreground, the turtle dove, with its tendency to mate for life, being associated with romance, ﬁdelity and perfect union.

(1)

£200 - £300

520* Needlepoint Picture. A marriage portrait, British, 1620s/30s, finely-worked in tent stitch on canvas, in a variety of coloured silk threads, depicting an affluent couple with joined hands in the centre, before a dwelling on a hill, the lady wearing a gown with virago sleeves and stand-up collar, the gentleman dressed in a crimson doublet and hose, with feathered hat, and rosettes at knees and on shoes, in a landscape with numerous floral motifs (carnation, tulip, Tudor rose, heart’s ease, iris, sunflower), birds, including a parrot, insects (2 caterpillars and a moth), and animals (a hare, dog, rabbit, and lion), with the sun shining out from clouds above, edges toned and with some small holes, 23 x 24 cm (9 x 9.5 ins), edged with a narrow canvas border with holes where previously tacked

Provenance: Alexandra Mary Freesia Pelham née Vivian, Lady Worsley (1890-1963); thence by descent.

A rare early Carolean embroidery in fine condition, undoubtedly made to celebrate the marriage of the couple pictured. Their rich and fashionable dress demonstrates their wealth, and the verdant landscape, with its overtones of fertility, is full of symbolism: an iris for faith and hope, a tulip for deep love, a parrot for wisdom, a lion for courage, and so on. The sun beams down on their union, and the gentleman turns in profile to gaze at his chosen one, a reflection too of the relative calm before the raging of civil war to come in the 1640s. See The Metropolitan Museum of Art, New York for similar iconography on an embroidered mirror frame (accession number 64.101.1332).

(1)

£700 - £1,000

521* Needlepoint Picture. Portrait of Queen Anne (1665-1714), British, early 18th century, finely worked in petit point, using wool threads in shades of green, blue, red, pink, brown, and cream, showing Queen Anne wearing flowing robes standing in a verdant garden, with the sun in splendour above, and surrounded by large flowering stems, including carnations and Tudor roses, incorporating several caterpillars and moths, and a large exotic bird perching on each side, some scattered loss of threadwork, sometime hand-stitched to a linen strip all round, and mounted over a wooden panel with tacks through the strip, 19th century manuscript label on verso ‘Mrs W. Colledge’, 34.5 x 26 cm (13.5 x 10.25 ins)

See the V&A for a similar depiction of Queen Anne - who reigned from 1702 to 1714 - embroidered on a sampler (accession number T.77-1916). (1)

£500 - £700

522* Needlepoint Picture. Two children with a swan, British, circa 1850, oval needlepoint picture worked in coloured wools in tent stitch, depicting 2 young girls before a stone balustrade with ﬂower urn on a pedestal, beside a swan on a lake, 23.5 x 29 cm (9.25 x 11.5 ins), elaborately carved and gilded ebonised glazed frame (40.5 x 47 cm) (1)

£150 - £200

523* Needlework. A tapestry fragment, probably French, circa 1700, worked in tent stitch on canvas in gros and petit point, using wools in shades of blue, green, red, brown, and yellow, depicting a lady in a landscape wearing a fitted gown, billowing scarf, and a fontange headdress, and holding a tamborine aloft, the figure flanked by fruit trees, and with flowers at her feet, the piece irregularly shaped, one portion of skirt sometime neatly repaired and strengthened on verso, largest points 36.5 x 29.5 cm (14.25 x 11.5 ins)

Provenance: Alexandra Mary Freesia Pelham née Vivian, Lady Worsley (1890-1963), and thence by descent. (1)

£200 - £300

Lot 522

Lot 523

524* Parliamentary Robe. A fur-trimmed robe worn by Michael Edward Oliver Lambart, 12th Earl of Cavan (1911-1988), Wilkinson & Son, 1950s, red wool robe with a wide miniver collar, applied with three bands of miniver and wide gold oak-leaf braid, latter rubbed and tarnished in places (reused from an earlier robe?), cream silk shoulder bows (one detached), black silk ties to neck and left shoulder, lined with ivory silk taffeta (some minor staining and a few short splits), purple ink stamp at nape ‘Wilkinson & Son, late John Hunter, Tailors & Robe Makers To Her Majesty, 34, Maddox Street, Regent Street, London’, length at front 135 cm (53.25 ins), and at back 180 cm (71 ins), contained in a red wool bag, marked and with a few tiny holes, with twisted tasselled drawstring to top, and matching tassels to lower corners, the ivory silk lining with ink stamp as before, and maker’s printed label sewn to front of bag, with manuscript label stitched below ‘Earl of Cavan KP GCMG’, 66.5 x 59 cm (26.25 x 23.25 ins), together with: Invitation Letter to Queen Elizabeth II’s Coronation, 1953, a printed letter of invitation to Michael Edward Oliver to attend the coronation, signed by Queen Elizabeth II to upper right corner, and by the Duke of Norfolk to lower right, the recipient’s name written in calligraphic ink lower left, 1 gilt edged leaf (33 x 20 cm/13 x 8 ins), contained in original envelope stamped ‘Earl Marshall’s Ofﬁce’, and 2 other items of ephemera related: an 8pp. booklet ‘The Earl Marshal’s Orders Concerning Robes and Dress to be worn by Peers & Peeresses attending the solemnity of The Coronation of Her Most Sacred Majesty Queen Elizabeth II in Westminster Abbey’; and a printed letter with armorial letterhead of Queen Elizabeth the Queen Mother, thanking Lady Ellen Lambert (sister of the 12th Earl of Cavan) for her service to the country in 1939

Michael Edward Oliver Lambart, 12th Earl of Cavan (1911-1988), succeeded his father to the earldom in 1950. He was educated at Radley College, in Oxfordshire, and was commanding ofﬁcer of the Shropshire Yeomanry between 1955 and 1958. He married Essex Lucy Cholmondeley, daughter of Henry Arthur Cholmondeley and Helen Mary Wrigley, on 10th April 1947. He had no sons, so on his death the title passed to a distant cousin, Roger Cavan Lambart, a descendant of the 7th Earl of Cavan. One of Michael Lambert’s ﬁrst cousins - the daughter of his uncle the 10th earl - was Lady Elizabeth Mary Longman née Lambert, who was a childhood friend of Queen Elizabeth II and one of her eight bridesmaids. Wilkinson & Son made the opulent coat of gold silk, or supertunica, worn by King Charles III at his Coronation; it was made for the Coronation of King George V in 1911, and was subsequently worn by King George VI and Queen Elizabeth II. Wilkinson & Son also made the Sword Belt worn by King Charles, which was made for his grandfather, King George VI, in 1937. (4)

£300 - £500

525* Style of John Pearson (John, 1859-1930). An Arts & Crafts tri-fold screen, circa 1900, hinged wooden room divider, each of the 3 sections with a repoussé copper panel depicting a peacock above a woven fabric panel (later), the latter with stylised Art Nouveau ﬂower pattern in orange and green, the peacock in centre panel standing with feathers spread on a hammered ground, 44.5 x 44.5 cm (17.5 x 17.5 ins), those either side in mirror image and crouching in proﬁle with feathers displayed, each 44.5 x 34.5 cm (17.5 x 13.5 ins), verso of all 6 panels lined with later pale gold chenille (a few small marks) and edged with twisted cord, overall dimensions of central section 184 x 51 cm (72.5 x 20 ins), and of side sections 174 x 40.5 cm (68.5 x 16 ins)

£700 - £1,000

The copper repoussé design is reminiscent of the work of John Pearson (1859-1930) of Newlyn. He was a great copper specialist with a penchant for peacock designs. This may have been a commissioned piece. (1)

526* Quilt. A large broderie perse quilt, early 19th century, handstitched appliquéd and quilted coverlet, with large central printed circular motif of a basket of fruit, including strawberries, grapes, cherries, peaches, plums, ears of wheat, and a pineapple, with a perched parrot, within a border of foliate scrolls incorporating vine leaves and fruit, surrounded by appliquéd birds, including pheasants, and an oval floral basket at each corner, filled with roses, tulips, poppies, and other flowers, on a white cotton ground, enclosed by a multi-banded patchwork border, consisting of tree and bird prints, a few holes and tears, backed with white cotton (lightly stained), butted hem, quilted overall with white thread forming various patterns (helix, chevron, flower, etc), 324 x 358 cm (127.5 x 141 ins)

A striking example of quilting and broderie perse, surviving in very good condition. (1) £700 - £1,000

527* Reticule. A Regency bag or document pouch, probably English, 1st quarter 19th century, red morocco wallet-form bag, with 3 gusseted compartments, onlaid tortoiseshell panel to each side, bordered by a wide gilt tooled border consisting of Greek key roll, ﬂower and leaf scrolling roll, rope roll, and hound’s tooth roll, ﬂap on each side gilt and blind tooled with various rolls (Greek key, hound’s tooth, rope, and pelmet), white metal clasp fastening to each side (lyre shaped to one side), both slightly tarnished, double white metal belcher carrying chain, pale pink cloth lining, 2 small areas of insect damage to leather overlap in middle compartment, 14 x 17 x 2.5 cm (5.5 x 6.75 x 1 ins)

A rare and exceptionally well-preserved Regency reticule. This may have been used to carry the usual accoutrements required by a ladyhandkerchief, gloves, etc. - but its unusual form suggests that it may also have been intended to hold letters or ephemeral keepsakes such as tickets or programmes. For reticules of similar form see the V&A T.285-1968 and The Met 1986.300.2, the latter being particularly similar to that offered here. (1) £300 - £500

Lot 526

528* Royalty. Four samples of fabric used at the coronation of Queen Elizabeth II, 1953, comprising: a piece of turquoise and gold silk lampas, woven with metallised gold threads, depicting a large rose, thistle, leek, and shamrock device, beneath a crown, flanked by branches of oak leaves and acorns, 62 x 64.5 cm (24.5 x 25.5 ins); a piece of gold silk lampas, woven with metallised gold threads, depicting a crown flanked by branches of oak leaves and acorns, with tassels above, upper edge with adhesive remains, 46 x 63.5 cm (18 x 25 ins); a piece of crimson silk damask, with foliate Tudor rose pattern, 53.5 x 44 cm (21 x 17.25 ins); and a piece of blue and gold silk damask, with Tudor rose design, 57 x 65.5 cm (22.5 x 25.75 ins), all with selvedge to left-hand side and remaining edges raw, all but final piece with stapled card label stating type of fabric and ‘Coronation’ in manuscript

Provenance: Windsor Castle; Phillips, 24th May 1994, lot 105.

Evidently specially commissioned for the coronation of Queen Elizabeth II, these fabrics came from Windsor Castle and were sold at auction following the ﬁre which broke out at the Castle on 20th November 1992. (4)

£200 - £300

529* Rug. A Middle Eastern silk prayer rug, probably Isfahan, early 20th century, with a multi-coloured arabesque design on a blue ground within a geometric border, 158 x 92 cm (62 x 36 ins) (1)

£100 - £150

530* Rugs. A Mexican Native Chimayo Texcoco rug, with a blue, red and brown geometric design on a cream ground with brown border, 185 x 135 cm (73 x 53 ins), together with a Peruvian cloth runner in red, blue and white, 410 x 82 cm (161.5 x 32 ins), plus two Peruvian rugs, 225 x 110 cm (88.5 x 43 ins) and 220 x 109 cm (86.5 x 43 ins) (4)

£200 - £300

531* Rugs. An Afghan Mushvani woollen runner, geometric repeating decoration on a deep red ground with kilim weave ends, 440 x 61 cm (173 x 24 ins), together with ﬁve Middle Eastern woollen rugs (in poor condition), various sizes, largest 205 x 125 cm (81 x 49 ins), smallest 89 x 61 cm (35 x 24 ins) (6)

£200 - £300

532* Rugs. An Afghan kilim rug, brown and cream geometric decoration on a light brown ground, 214 x 130 cm (84 x 51 ins), together with a kilim weave multi-coloured rug with 15 lines in red, green, burgundy and blue, each with geometric decoration, 208 x 142 cm (82 x 56 ins), plus a kilim weave runner, geometric design on a red ground, 263 x 52 cm (103.4 x 20.5 ins) (3)

£100 - £150

533* Sewing Box. A Regency miniature sewing box, tan moroccograined paper-covered wooden box with embossed gold trim, the interior sectioned into compartments with cardboard dividers, containing 8 tiny spools of ﬁne coloured thread, 4 miniature morocco-grained bindings, 2 with ‘Poems’ in contemporary manuscript to spines and constituting pincushions, the others a needlecase (slightly rubbed) and a slipcase for ribbon and ‘Court plaister’, lacking thimbles to 2 compartments, yellow silk pull-down panel in lid with 3 morocco compartments, 1 containing a pair of small scissors, a petit point embroidery of pink roses loosely inserted, accompanied by a manuscript note ‘More than 100 years old in 1830. Made by Elizabeth Countess of Cavan wife of 6th Earl’, yellow ribbon stay for hinged lid near-detached at one end, lacking key, height 5 cm (2 ins), width 11 cm (4.5 ins), depth 6 cm (2.5 ins) Elizabeth Davies (circa 1738-1811) married Lieutenant-General Richard Lambart, 6th Earl of of Cavan, in 1762. (1)

534* Sewing. An 18th century sailor’s hussif, hand-stitched sewing kit of dark green silk, unrolling to reveal a cream silk arched flap with flower design in red and green silk appliqués (silk ground just beginning to perish at left-hand edge), and 4 pockets in alternating cream and blue silk, ornamented respectively with a heart shaped mirror, gold foil anchor, oval mirror, and flower design, with beading and/or metal coilwork to each, a few small faint marks to silk of first pocket, terminating in a shaped blue silk pincushion, edged wih silver metallised braid and lace, flap with metallised tie, 44.5 x 13.5 cm (17.5 x 5.25 ins), together with a brown silk sailor’s hussif similar, with interior of cream and green silk, ornamented as before, coilwork becoming loose in places, remains of metallised tie on flap, 31 x 12 cm (12.25 x 4.75 ins), plus an early Victorian embroidered hussif, worked in feather stitch in coloured wools, edges a little worn, opening to reveal 7 glazed linen pockets, lettered in contemporary ink ‘Needles’, ‘Pins’, ‘Hooks’, ‘Tape’, ‘Silk’, ‘Cotton’, ‘Sundries’, containing several printed packets of needles (and some pins and needles inserted inside flap), and a manuscript pattern for Baby Socks, dated April 1874, 31 x 13.5 cm (12.25 x 5.25 ins)

£70 - £100

The word ‘housewife’ was ﬁrst used in the mid 18th century to refer to portable sewing kits, which subsequently became known as ‘huswifes’, ‘hussives’, and, most commonly, ‘hussifs’. Most soldiers and sailors owned a hussif, often a gift from their mother, sister, sweetheart or wife. The two sailor’s hussifs offered here survive in usually good condition. (3)

£300 - £500

535* Shawl. A Cantonese shawl, early 20th century, lavishly handembroidered in coloured silks using satin stitch, in shades of pink, blue, yellow, white, and green, on a black silk ground, with all-over pattern of large paeonies and other ﬂowers on meandering leafy stems, 2 white marks (largest 4 x 5 cm), edges with a number of small holes and repaired tears, wide knotted black silk fringe (a few minor breaks and losses), dimensions excluding fringe 148 x 153 cm (58 x 60 ins) (1)

£100 - £200

536* Shawl. A Chinese embroidered shawl, late 19th/early 20th century, ivory fine silk shawl, hand-embroidered to one corner in ivory silk thread with flowers, scrolling stems, and tendrils, fine knotted tasselled edging, dimensions excluding edging 147 x 147 cm (58 x 58 ins), together with other items, including: a pair of unused Chinese cuffs, hand-embroidered in polychrome silk threads, with Oriental female figures in a garden, on a pale blue silk ground, each 53.5 x 8 cm (21 x 3.25 ins); and several ostrich feather fans, one of ivory feathers on mother-of-pearl sticks monogrammed ‘MC’ (Cavan family) and dated 1905, 1 stick broken horizontally and missing upper part of feather, 50 cm (19.75 ins) (a carton)

£100 - £150

537* Shawl. A large embroidered shawl, Kashmir, India, circa 1860, cream wool stole, ﬁnely hand-embroidered with polychrome border and large boteh cornerpieces, maker’s mark(?) embroidered in red near one corner, fringed at short ends, some scattered small holes, 6 x 3 cm light brown stain, some splits in border at short ends (crudely re-stitched in places), and one end with slight colour run, 132 x 264 cm (52 x 104 ins)

(1)

£200 - £300

538* Shawl. A large woven crinoline shawl, circa 1860s, woven shawl with wide border of interlocking botehs and ogee niches, palmettes, and other motifs, in shades of red, olive green, turquoise, yellow, and white on a central turquoise ground (latter with some scattered tiny holes and small marks), fringed border to short sides, occasional loss to fringing, and 2 small holes to one end (largest 2 x 2.5 cm), 152 x 339 cm (60 x 133.5 ins)

The turquoise ground of this large crinoline shawl is unusual and provides a striking contrast to the border.

(1)

£150 - £200

539* Shawl. A large woven silk shawl, circa 1860s, ﬁnely woven shawl of paisley pattern in predominantly red tones, with large motif in centre consisting of 4 botehs each of a different hue (blue, green, red, and white), polychrome knotted fringing to short ends, 166 x 355.5 cm (65.5 x 140 ins)

A striking large silk shawl, in excellent condition.

(1)

£300 - £400

540* Spitalfields. A pair of silk brocade skirt panels, circa 1750s, 2 matching lengths of figured cream silk, woven with a large pattern of a flower-filled oyster shell, over-flowing with blooms including tulips, from which emanates floral sprays, in shades of pink, green, blue, yellow, and brown, selvedges to sides, lower edges with handstitched hem, upper edges with remains of stitching, some faint dust-soiling and marks, but fabric robust and colours bright, each approximately 92 x 53 cm (36.25 x 21 ins)

A pair of panels of Spitalﬁelds silk in very good condition, taken from an early court dress. The large botanical pattern is typical of the work of renowned designer Anna Maria Garthwaite, and it is not unlikely that these pieces were designed by her.

(2)

£200 - £300

541* Tapestry Cushions. A pair of cushions of early tapestry, Continental, probably 17th century, the front of each utilising a fragment of 17th century woven wool tapestry depicting a wideeyed face, edged with metallised gold braid and fringing, each backed with orange velvet (small mark to one), some wear, each 36 x 46 cm (14 x 18 ins), together with 3 other items, including a woven wool tapestry panel, probably French, late 17th century, lined and edges bound, worn in places, some marks and stains to lining, 114 x 75 cm (45 x 29.5 ins)

(5)

£100 - £200

Lot 540

542* Tapestry. Angel tapestry fragment, probably Continental, 16th century, woven in shades of brown, green, and cream, with the ﬁgure of an angel with arms raised in the centre, ﬂanked by volute and leaf motifs, scattered small holes and some repairs, approximately 30 x 50 cm (11.75 x 19.75 ins), together with a Coptic cloth fragment depicting ducks, approximately 14 x 15 cm (5.5 x 6 ins) (2) £150 - £200

543* Textile Designs. Five large designs for silk fabric, France: Lyon, circa 1760s/70s, gouache on laid point paper, each depicting a different ﬂoral pattern, 3 including a lace ribbon design, and 1 additionally incorporating a stone urn, 2 printed ‘[Pierre] Huilliot a Lion’ and 1 printed ‘Veret place de la comedie a Lion’ to lower blank margin, versos with contemporary manuscript instructions in French to the weavers pertaining to colours, size of pattern repeat, etc., and all but one with purple ink stamp ‘Robert Ruepp 7 Rue Bergére Paris’, a little dusty, some chipping and fraying to edges (and associated paper strengthening on verso), one with two 6 x 6 cm sections excised from top edge (with slight loss of pattern), another with 1.5 x 3 cm hole patched on verso (not touching design), sheet size 44 x 55 cm (17.25 x 21.5 ins) and slightly smaller, each mounted, together with another mounted fabric design unrelated

A small collection of rare 18th century preparatory technical drawings, each for a different patterned silk; these acted as instructions to the weaver about how to tie up the threads on the loom before weaving in the pattern. Lyon was the most prestigious centre of the silk industry in Europe from the 1660s onwards; patterns of around a century later such as these typically feature large ﬂoral motifs and sinous ribbons or stems which unify the design, and they often incorporated metal threads. The V&A holds a number of similar Lyonnaise textile designs.

Robert Ruepp (1854-after 1935) was an early 20th century designer who would have used earlier patterns as inspiration for his own designs. Ruepp ﬁrst established his business in Paris in the early 1880s, and eventually had one of the largest Belle Époque industrial design studios, producing patterns for textiles and wallpapers which he supplied to manufacturers in France and abroad. Although he supplied all manner of designs, Ruepp was particularly known for his adoption of the Art Nouveau style. At the Exposition Universelle of 1900 a whole salon was devoted to the presentation of Ruepp’s designs, an installation which drew much attention from the press and earned him a gold medal.

(6) £400 - £600

544* Shakespeare. The Seven Ages of Man, Enter’d at Stationers Hall, by the Proprieter, March, 20, 1796, folding paper fan, the leaf stipple-engraved in sepia with 7 oval medallions illustrating the seven ages of man, alternate medallions bordered with gold spangles, above a quotation from Shakespeare’s As You Like It, lightly toned, some short splits to folds at top edge (3 with old paper repairs on verso), two tears to lower edge (with slight loss), strengthened on verso (one with additional paper repair on recto, not affecting text), mounted on wooden sticks, 25 cm (9.75 ins)

See Schreiber p.90 for similar: 156 & 157. (1)

£150 - £200

545* After Giovanni Battista Cipriani (1727-1885). Apollo and his lyre, with Mercury and a muse, circa 1770s/80s, folding cream paper fan, with oval stipple engraving of Apollo seated on a stone plinth in a landscape, ﬂanked by Mercury on his left and an attendant on his right, with a mountain vista seen to the right, bordered by spangles (a few lacking), mounted on wooden sticks, 25.5 cm (10 ins)

Rare. The V&A holds the original watercolour drawing by Giovanni Cipriani from which this engraving is taken (accession number 97B-1892), a design produced for a benefit ticket which would have been issued for a charity theatre or musical performance. Such tickets were produced from the early 18th century, and were often embellished with beautifully engraved images. It is possible this fan was also produced to raise money for the same cause, as an early form of merchandising. Although benefit tickets were often kept as souvenirs, we have been unable to trace one with this image on, or indeed another fan. Interestingly, Cipriani’s original design shows the three figures somewhat scantily clad, whereas the engraved image shows them demurely clothed, presumably so as not to offend the paying public.

(1)

546* Georgian Fan. A folding fan of metalwork embroidery and spangles, late 18th century, gold silk leaf decorated vertically with a Greek key border of gold spangles alternating with a border of scrolling foliate stems worked in chain and satin stitch in gold metallised thread incorporating green spangle shamrocks, some brown spotting, mounted on dark wood sticks, 27.5 cm (10.75 ins)

A pretty and unusual Georgian fan surviving in very good condition.

(1)

£150 - £200

547* Opera Fan. The Plan of the Opera House for 1798, Published with the Permission of the Manager of the Opera House, by Harding & Co.. 89 Pall Mall, circa 1797, folding paper fan, engraved with a plan showing box numbers and renters’ names for the 1798 season at The King’s Theatre in Haymarket, with the Royal Coat of Arms to centre of upper edge, folds toned, mounted on wooden sticks, 27 cm (10.5 ins), together with 6 other printed fans similar, in poor condition (Fanology, or the Ladies Conversation Fan x 2, both Badini, 1797; botanical Calendar Fan for 1794; Conundrum Fan, Dyde & Scribe; History of England, Sudlow’s Fan Warehouse; George III fan ‘Vive Le Roy’, Balster, 1789), various sizes

A rare fan depicting the details of the boxes and their occupants for the 1798 season at the King’s Theatre in Haymarket; not in Schreiber (see p.13, 62 for similar, printed by W. Cock, 1797).

(7)

£200 - £300

£300 - £500

548* Painted Fan. A fan painted with female figures and flowers, circa 1870s, double-sided folding parchment leaf, the recto handpainted with an oval three-quarter length portrait of a lady in a flowing white robe, bordered by gold spangles, flanked by a beribboned medallion portrait of a lady on each side, each bordered by silver spangles, surrounded by flowers, the verso painted with an oval floral motif in the centre, flanked by flower roundels, some folds a little rubbed, a few faint fox spots, 2 cm tear in top edge expertly repaired on verso with archival tape, mounted on pierced and gilt decorated mother of pearl sticks, 24 cm (9.5 ins), together with: Appliqué Fan. A late 19th century sequinned fontange fan, cream net folding leaf, with red silk appliqués forming swags and bows, and embellished all over with variously shaped gold and silver spangles, 1 cm tear to lower edge, mounted on tortoiseshell sticks inlaid with steel dots, 16 cm (6.25 ins), plus:

549* Pierrot Fan. Hand-painted folding fan with a scene of pierrots playing boules, French, circa 1910, hand-painted black gauze leaf, depicting 5 pierrots playing boules in a landscape, a sixth pierrot looking over a rocky outcrop in the background, some slight splitting to lower edge neatly strengthened on verso with black net, mounted on blue-stained mother of pearl sticks, 24 cm (9.5 ins), contained in a pink brocade-covered Duvelleroy box, faded and a little edgefrayed, with manufacturer’s name in gilt inside lid

Rare: we have been unable to locate another identical fan, although it is very similar to a series of fans depicting pierrots made by Duvelleroy and painted by Van Garden (usually signed by the artist); in 1913 the series was advertised in Le Gaulois - ‘Examine also these scenes of Pierrots de Van Garden so beautifully painted, on black gauze, with night effect.’ (1)

£300 - £400

550* Photograph Fan. A folding fan with albumen prints of European statesmen and military ofﬁcers, circa 1870s/80s, folding fan of turquoise silk (some faint spotting), the ﬁligree carved bone sticks inset with oval sepia gem photographs of various gentlemen, 4 sticks with slight loss at tips, lace-trimmed to upper edge, 21 cm (8.5 ins)

A rare fan; we have not been unable to trace another. (1)

£150 - £200

An early 20th century fan decorated with swallows, black gauze folding leaf decorated with black fabric appliqués of swallows, bulrushes, and a dragonﬂy, incorporating mother of pearl onlays (some chipped and lacking) and embellished with spangles, mounted on faux tortoiseshell sticks, 24.5 cm (9.75 ins) (3)

£150 - £200

551* Royalty Fans. The Royal Family of Great Britain, Paris & London: Duvelleroy, circa 1851, double-sided folding paper leaf, with black and white engraving of Queen Victoria and family based on portraits by Franz Xaver Winterhalter (1805-73), maker’s imprint in medallion to right-hand side, verso printed in black and white with the Royal Coat of Arms incorporating details of the Royal Family, maker’s address below, a little rubbed and toned, some splitting to folds, mounted on wooden sticks, 26.5 cm (10.5 ins), together with 9 other souvenir or advertising fans depicting royalty or dignatories, including a hand-painted fan ‘In aid of H.R.H. Princess Christian’s Homes for Disabled Soldiers and Sailors’, June 1900, and a brisé fan inset with photographic medallions of Queen Victoria and family members, various condition and sizes Souvenir fan made for the 1851 Great Exhibition. The Fan Museum, Greenwich, has an identical fan (object number LDFAN2010.122). (10)

£200 - £300

552* After Giambologna (Flemish, 1529-1608). A pair of French bronze and marble columns, 19th century, one with a figure of Mercury, the other Fortuna, each displayed on a fluted column with classical bronze and marble base, 55 cm high Mercury and Fortuna are based on bronze works by the Italian Mannerist sculptor, Giambologna (1529-1608). Giambologna’s sculpture of Mercury was originally created in 1580 for Ferdinando de’ Medici. The piece was intended as a sculptural finial for a fountain in the Villa Medici in Rome, but was moved in 1780 to the Uffizi Museum in Florence. (2)

£300 - £500

553* Button Studs. Various cased button studs, including a set of 6 Edwardian gilt metal studs, each with blue, red and white enamel, in original shaped leather box, another set of 6 studs, with mother of pearl centre and enamel borders, in original red leather box, a part set of 5 silver and enamel studs by S & Co, Birmingham 1908, in original green leather box and other sets, together with a collection of approximately 490 fashion buttons, mostly early 20th century, including mostly black glass (some possibly jet?, the majority small), various designs including geometric, ﬂoral, deer heads, one with a basket, sickle & rake emblem, a larger button with croquet mallet and hoop design, also including a quantity of mother-of-pearl or pearlised buttons, mostly larger sized, some with metal ground, few abalone, various shapes, some in small sets, mounted on 7 card display boards (29.5 x 21.5 cm and smaller), also including a complete original sample sheet of mother-of-pearl/pearlised buttons titled Superior Guaranteed Quality Make, with printed sizes (carton)

Doll. A George III

£200 - £300

carved wooden doll, circa 1800, the head and body carved in one from what appears to be a newel post, gesso covered, the head with black enamelled eyes, rouged cheeks, general loss of gesso and age wear, 41 cm long, with a selection of lined clothes, the condition of these poor (1)

£200 - £300

554*

painted

555* Fishing. A collection of vintage fishing collectables, comprising, Hardy Brothers, Alnwick “Perfect” fishing reel with rod and hand trade mark, 11 cm diameter, with original brown leather case, Westley Richards and Co, Birmingham The “Rolo” (Patent No 20133) fishing reel, 10.5 cm diameter, with original brown leather case, H. Monk, Gunmaker, Chester fishing reel, 9 cm diameter, C. Farlow & Co Ltd, London fishing reel, 7.5 cm diameter, Modarcom, London (390A) fishing reel, 8 cm diameter, The “Altex” fishing reel, 10 cm long, Hardy Brothers, Steel Centre split cane rod, numbered 42584, with Hardy’s W Fitting Regd 16.8.73 brass mounts, approximately 420 cm long, C. Farlow & Co, “The Flight” split cane fishing rod, approximately 298.5 cm long, Milward split cane fishing rod, approximately 209 cm long, three further split cane rods contained in a large Hardy Brothers wooden transport case with leather straps and trade label to the inner lid, two C. Farlow & Co telescopic fishing nets, a wicker fishing creel with a military canvas strap dated 1938, containing tackle including Hardy Brothers flies contained in a mottled brown bakelite box, artificial prawns and spinners in a card box dated 1933, nickel plated fishing priest and other items

(1)

£300 - £500

557* Glass. A George III cut-glass urn and cover, circa 1800, the cover with a facet cut ﬁnial, the base similarly cut and raised on a square base pedestal, 20 cm high, together with an oversized George III cut-glass rummer, circa 1820, ﬁnely cut on a square base pedestal, 19 cm high x 13.5 cm diameter, plus a huge wine glass or ice container, 19th century, plain form with round foot and rough pontil, 22 cm high x 14.5 cm diameter (3)

£200 - £300

558* Jugs. A near pair of Edwardian Waterford crystal glass jugs, circa 1910, each of baluster form with slice cut decoration, one with damage to the handle, 33 and 32 cm high (2)

£70 - £100

556* Flute. A German boxwood ﬂute by Benedikt Pentenrieder (1809-1849), with brass keys and ivory spacers, the boxwood stamped ‘Pentenrieder München’, 67 cm long, a nice example of this rare maker and in good condition Benedikt Pentenrieder (1809-1849) was born in Hesselfurt, Graﬁng, Germany. He was a maker of woodwind instruments in Munich. His workshop operated from 1834 to 1854. (1)

£300 - £500

559* Minerals. An impressive collection of rocks and mineral samples, including agate, granite, an ammonite fossil etc, contained in an octagonal rosewood box, the inner lid with parquetry inlay, 38.5 x 38 cm (1)

£100 - £150

560* Model Boat. A Maltese model boat or Dghajsa, the well constructed wooden scale model with inlaid and carved decoration, 47 cm long, presented on a wooden stand, together with a pair of metal sculptures, modelled as a lion and unicorn, the lion stamped ‘Hughes’, each mounted on a circular onyx base, approximately 24cm high (3)

£70 - £100

562* Norbury (Ian, 1948). An Ian Norbury wooden half bust of David, carved in the traditional style, presented on a wooden plinth, overall height 37 cm

Provenance: Private collection, Cotswolds. Purchased directly from the sculptor.

£150 - £200

561* Moorcroft Vases. A pair of William Moorcroft pottery two handle vases for James Macintyre, circa 1900, of tapered form, tube lined with ﬂowers and gilding on a cream ground, the base with green painted Moorcroft signature and brown Macintyre & Co stamp, numbered ‘M2837/160’, general crazing to both but one with a chip to the base and repair, 25 cm high (2)

Provenance: Private collection, Cotswolds. Purchased directly from the sculptor.

Ian Norbury was born in 1948, he has taught sculpture across the globe. His sculptures are displayed at the White Knight Gallery in Cheltenham. His works include commissions for Buckingham Palace and the Tower of London. (1)

£200 - £300

563* Norbury (Ian, 1948). Three Ian Norbury wooden carvings, comprising a hardwood carving of a heraldic bull holding a shield, 27 cm high, together with a wooden wall plaque, carved as a green man, 23 cm high, plus another wall plaque carved as the head of Medusa, 22 cm high

Ian Norbury was born in 1948, he has taught sculpture across the globe. His sculptures are displayed at the White Knight Galler y in Cheltenham. His works include commissions for Buckingham Palace and the Tower of London. (3)

£150 - £200

564* Palmyrene Empire. A limestone bust of a female, mid-2nd century A.D., carved as a young woman depicted with large almond eyes with elongated and slightly down-turned corners, the irises incised and the pupils drilled, with incised ﬂowing serpentine eyebrows, the thick wavy hair pulled back from a centre parting under a broad-like diadem decorated with square cells of foliate and geometric patterning divided by vertical rows of hemispherical beads, a hood pulled over and she is wearing a beaded necklace and heavy drop earrings, the piece is broken vertically below the shoulders, the nose chipped and some restoration work, 46 cm high, presented on a modern stand, overall height 51 cm, with the copied paperwork plus Art Loss Register declaration dated 2001

Provenance: Private collection, Bristol, U.K. Purchased circa 2001 from Rupert Wace Ancient Art Limited, 14 Old Bond Street, London W15 4PP at which time it was described as coming from a private collection in the U.K.

Palmyra was a rich city situated in an oasis in Syria. It owed its wealth to the caravan trade between the east and the Roman empire, and a strong eastern ﬂavour runs through much of its art. The elaborate tomb monuments set up by the rich reﬂect this orientalism, which can be seen in the exotic features of this bust (Rupert Wace Ancient Art Limited printed sale description accompanying this lot). (1)

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

£5,000 - £8,000

567* Slavery. A Victorian slavery related tobacco tin, the embossed lid showing an African slave sitting on a barrel titled ME MASSA SELLS DE BEST TOBACCO with push button and general wear commensurate with age, 7 x 5 cm (1)

£150 - £200

565* Meissen. A Meissen polychrome porcelain plate, circa 1800, with petal-shaped rim, a butterfly on a blossoming branch decorated at the centre while florets on the flat rim, base marked blue crossed swords, 21.5 cm diameter (1)

£100 - £200

568* Soldani-Benzi (Massimiliano, 1656 – 1740). Francesco Redi Patritius Aretinus, 1684, a later cast bronze medal after M. SoldaniBenzi, the obverse with a draped bust facing right, the reverse a bacchanale with several ﬁgures in revelry, 85 mm diameter, 157.4g and drilled for suspension. together with a Danish silver commemorative wall plaque, cast with a low relief proﬁle of Christian II K.V.D., with hallmarks and elaborate pierced border and suspension ring, 12 x 9.5 cm, 96.3g, plus a bronze uniface commemorative medal of Principal Alexander Whyte DD LLD 1915, 10 cm diameter

£200 - £300

566* Polychrome Figure. A Continental limewood ﬁgure of Saint Francis of Assisi, probably early to mid 18th century, polychrome painted, carved kneeling barefooted with both arms raised and palms showing, remnants of red paint representing stigmata to both hands, wearing a dark habit with a rope tied around his waist, featuring three knots symbolizing the three Franciscan vows of poverty, chastity, and obedience, felt lining to base, thumb lost from right hand, approximately 31 cm high (1)

Alexander Whyte (1836-1921) was the Principal of New College, Edinburgh. (3)

£100 - £150

569* Specimen Cabinet. A Victorian mahogany 7 drawer specimen cabinet, containing insects, British and foreign butterﬂies and moths, stick insects, dragonﬂies, fossils and minerals including ammonites, some captioned, the cabinet 57 cm high x 51.5 cm wide x 30.5 cm deep and in poor condition (1)

£200 - £300

570* Taxidermy. A late Victorian North Ronaldsay, Orkney Sheep taxidermic head, well preserved with glass eyes and curled horns, the head 36 cm long, horns 67 cm wide (1)

£100 - £200

571* Torc. A white metal torc, intricately worked with woven hoops and the tips a yellow metal, approximately 19 cm across, together with a white metal necklace with woven cord and clasp, plus two strings of stone beads (4)

£70 - £100

573* Weights. George IV graduated brass bell weights, 4lb,

Avour, each engraved ‘Town of Falmouth 1827’, additional stamps including GR IV, 13.5 cm, 10.5 cm and 8.5 cm high (3)

£150 - £200

572* Trilobite. A well-presented Trilobite, Crotalocephalus, Atlas Mountains, Morocco, 420 Million Years, Devonian, 6.5cm long (1)

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

2lb, 1lb

£200 - £300

Lot 569

574* Banjuan (Zhou, Canadian/Chinese, 20th century). Study of ﬂowers with insects, watercolour on paper, signed, laid on traditional cloth backing, sheet size 38.5 x 63 cm, framed and glazed, frame size 53 x 104 cm, together with two larger still life works by the same artist, both signed and presented in the same style, frame sizes, 155 x 75 cm and 136 x 62 cm (3)

£200 - £300

575* Buddha. A Thai bronze buddha, mid-Ayutthaya period, 17th century, with a dark brown patina, seated with his right hand lowered in bhumisparsimudra (the gesture of summoning the earth to witness), traces of gilding to the eyes, 36 cm high, presented on a black slate base, overall height 45 cm

Provenance: Private collection, Cotswolds.

Jonathan Tucker & Antonia Tozer Asian Art, 2003, with receipt of sale. (1)

£1,500 - £2,000

576* Elephants. A substantial pair of Indian grey stele stone elephants, ﬁnely carved in the standing position with head slightly facing down, with ceremonial decoration on an integral rectangular base, 22 cm high x 23 cm long (2)

£200 - £300

Lot 574

577* Jade. A Chinese hardstone elephant, the mottled stone elephant carved standing with head slightly facing down, 19 cm, presented on a hardwood stand, together with a jade pebble carved as a face, 7 cm long, plus a malachite carving of a frog, 10 cm long (3)

£200 - £300

578* Chinese jade bead necklace, probably 1920/30s, with 19 large beads suspended by silver, 32 cm, in original silk embroidered box, together with a Chinese hardstone bandle, plain form with a coral shade, 8.5 cm diameter (2)

£100 - £150

579* Jade. Chinese spinach jade belt hook, two oval parts, one side carved with a feline head forming the hook, the other similarly carved with geometric decoration, each 8.5 cm long, together with a cinnabar lacquer style box inset with a jade panel, 5 cm high x 14 cm wide x 9.5 cm deep, plus a Chinese porcelain rice bowl and cover, polychrome enamel decoration, 11 cm diameter (3)

£150 - £200

580* Oriental Metalwares. A Japanese bronze ﬁgure, Meiji period 1868-1912, modelled a warrior on a naturalistic rectangular base with a cast stamp 22 cm high, together with a pair of Japanese bronze censer vases, Meiji period 1868-1912, each relief cast with exotic birds, pine trees and dragon handles, raised on three supports with circular base with aperture for a burner, 32 cm high, a similar pair of vases, 30 cm high, plus two Nepalese brass ewers, 24 cm high (8)

£200 - £300

581* Jirong (Wan, 20th century). Figures on a boat, watercolour on paper, signed, 66 x 45.5 cm mount aperture, framed and glazed (79 x 59 cm), together with Buhong (Ye, 20th century). Landscape with waterfall and boat, watercolour on paper, signed, sheet size 29 x 89 cm, framed and glazed (40 x 108.5 cm) (2)

£100 - £150

582* Matchbox Holders. A Chinese shagreen covered matchbox holder, circa 1920s, green/grey colour on wood, 8 x 6 cm, together with a collection of match holders including 3 cinnabar lacquer style boxes each with ﬁgures within a landscape of mountains and pine trees, 6 x 4 cm, a soapstone example, 4 Chinese hardwood vase stands, largest 20.5 x 19.5 cm, smallest 7.5 cm diameter, a knife and fork, 18th century, the white enamel grip decorated with ﬂowers, with steel mounts, approximately 21 cm long (damaged), and other items (22)

£100 - £200

583* Shipwreck Cargo. A Chinese Hoi An Cargo vase, circa 15th century, the small vase with three handles and decorated in blue with foliate scrolls, 9 cm high, blue label to base, together with a Chinese provincial pottery wine ewer, Ming dynasty, decorated with blue scrolls with four handled and a spout, 17 cm high, plus two similar provincial celadon glaze pottery vases, 19.5 cm high

The Hoi An Wreck lies 22 miles off the coast of central Vietnam in the South China Sea. It was carrying a large cargo of Vietnamese ceramics. The ship was discovered by ﬁshermen in the early 1990s. (4)

£200 - £300

584* Tibetan Vessel. A rock crystal skull cap bowl (kapala), carved with monsters’ skulls inﬁlled in red pigment, 8cm high x 17cm long (1)

£200 - £300

585* Vase. Chinese porcelain miniature vase, 20th century, decorated in blue and red with flowers, six character ‘Qianlong’ mark to base, 7 cm high, restored, together with a 20th century Chinese porcelain cup decorated with flowers and Chinese script, 6.5 cm diameter x 5 cm high, damaged, together with various Chinese ceramics including a Tang style clay figure, 17 cm high, a red clay teapot modelled as an elder, incised marks on the base, 18 cm long and other items (6)

£200 - £300

586* Vase. A Chinese green glazed vase, Hu Han archaic style of baluster form with taotie mask handles, 40 cm high, chips to rim (1)

£200 - £300

587* Vase. A Chinese grey pottery twin handle vase, with incised decoration probably from the Li-fan district, 27cm high (1)

£200 - £300

Lot 587

Lot 586

588* Bangle. An Indian yellow metal bangle, the hollow rose coloured bangle with yellow metal ram head terminals each with a beaded collar and safety chain, dented and lacking one horn, 7 cm wide (1)

£200 - £300

589* Brooch. A Georgian white and yellow metal ﬂoral spray brooch, set with 23 irregular cut diamonds, 6 cm long, gross weight 23g (1)

£500 - £800

590* Brooch. An Arts and Crafts white metal brooch, of oval form with central amethyst stone surrounded by four moonstones on openwork leaf decoration, with safety chain and pin, 6 cm long (1)

£200 - £300

591* Cufﬂinks. A pair of Victorian yellow metal cufﬂinks, the oval link set with turquoise stones with a central pearl, with a darker metal chain and mount stamped ‘15ct’, gross weight 8.9g, presented in a blue velvet box with silk lining stamped ‘A. Woolard, 26 Westbourne Grove, London. W.’, together with an Edwardian silver travelling inkwell by Grey & Co, London 1904, of square form with hinged catch, enclosing sprung cover and glass ink bottle, some dents to the case, 55 mm high x 50 mm wide x 50 mm deep (2)

£150 - £200

592* Fobs. A George III gold plated fob of the Saunders family, inset with a carnelian armorial intaglio, the shield surmounted with an elephant and the motto ‘Eu Vertu La Force’, 32 x 25 mm, together with two further fobs one carved with a proﬁle bust facing right probably William Shakespeare, the other a Grecian male nude (3)

£200 - £300

593* South Africa. A rare Zuid Afrikaansche Republiek “double shaft” gold Pond, 1892, O.S. artists initials to the obverse, very ﬁne, 7.9g

Otto Schultz (1848-1911) was a German medalist, the obverse of this coin bears his initials. (1)

£300 - £500

594* Mourning Ring. A Victorian yellow metal mourning ring, with small shield engraved with initials and the band with aperture for hair or black enamel, the inner band engraved 'Catherine Augusta Penny died 23rd July 1859, size I (1)

£80 - £120

595* Necklace. An Indian yellow metal necklace, set with diamonds, pale rubies and emeralds, the navette-shaped catch with a large central ruby ﬂanked by two diamonds and a single emerald, with six further navette mounts accompanied by six rows of three rubies, leading to a diamond and emerald foliate drop, overall length 43 cm, 19.6 cm drop, gross weight 31g (1)

£700 - £1,000

596* Pendant. An Indian yellow metal cruciﬁx pendant, set with pale rubies with an ornate foliate suspension set with diamonds and emeralds, 4 cm long, gross weight 7.2g (1)

£200 - £300

597* Ring. An 18ct gold heart shape diamond ring, set with a cluster of small diamonds bordered by baguette-cut diamonds in a white metal setting, stamped K18 and ‘750’, size M, gross weight 7.6g (1)

£150 - £200

598* Ring. An art deco style white metal ring, set with a large step cut aquamarine with canted corners, approximately 12 mm x 10 mm x 8 mm, ﬂanked by two small diamonds, the ring unhallmarked, size I/J (1)

£400 - £600

Lot 595

599* Rings. A 9ct gold diamond cluster ring, illusion set with small diamond chippings, stamped ‘375’, size L/M, gross weight 3.9g, together with six further 9ct gold dress rings, various stones including diamonds, garnets and amethyst, gross weight 22g (7)

£400 - £600

600* Watches. An art deco gents 9ct gold wristwatch, the silvered dial with Arabic numerals and subsidiary seconds dial, 40 x 25 mm case, together with an Edwardian silver open face pocket watch with key wind movement, 55 mm diameter, plus a gold open face pocket watch, with engraved back and the movement stamped ‘T. Easton Co Ltd’, 50 mm diameter (3)

£100 - £150

601* Wristwatch. A 14K gold Waltham & Co gents wristwatch, the back plate engraved ‘Presented to L.A. Hittel by the Packard Motor Car Co. In appreciation of ten years loyal service’, lacking winding crown and on a black leather strap (1)

£100 - £150

604* Bowls. A pair of South American style two handle silver bowls by S J Phillips, London, 1940, of circular plain form with pedestal foot, 4.5 cm high, 382g (2)

£150 - £200

605* Knives & Forks. A set of silver tea knives and forks by Edward & Sons, Shefﬁeld 1929, comprising 12 knives and 12 forks each with mother of pearl handles, in unused condition and presented in a mahogany case (1)

£150 - £200

602 Wristwatch. A gents Longines Hydro Conquest automatic stainless steel wristwatch, black dial with Arabic numerals and date aperture, the strap is a replacement but the original is included with spare links, together with the original packaging and instructions, in good working order, plus an electric self winder case (1)

£250 - £300

603* Wristwatches. A gents Citizen Eco-Drive wristwatch, gold plated with synthetic stones, the dial with calendar aperture and three subsidiary dials, in good working condition with original packaging, together with another gents Citizen Eco-Drive wristwatch, bi-metal with black dial, good working condition with original packaging (2)

£100 - £150

606* Claret Jugs. A fine pair of silver mounted glass claret jugs by Nat Leslie Ltd, Sheffield 2002, the clear glass body with star cut base and plain silver mounted collar, domed cover and turned final with long slender scroll handle, some internal staining otherwise in good condition, 31 cm high (1)

£200 - £300

607* Cream Jug. A modern silver helmet shape cream jug by A. Chick & Sons Ltd, London 1974, of plain slender form with loop handle and square foot, 15.5 cm high, 159g, together with three silver sauce boats including a larger example by Roberts & Belk Ltd, Shefﬁeld 1970, with shaped edge and ﬂying scroll handle, on three cabriole hoof feet, 17.5 cm long, 230g, gross weight approximately 566g (4)

£200 - £300

608* Jug. An Edwardian silver urn shape hot water jug by Edward John Haseler & Noble Haseler, London 1911, of plain neoclassical pedestal form with fruitwood handle, hinged lid and writhen ﬁnial, 23.5 cm high, gross weight 460g (1)

£150 - £200

609* Mixed Silver. A collection of silver, including a plain silver beaker 1975, 8 cm high, three modern silver bottle coasters, Birmingham hallmarks, each with turned wooden base, 14 cm diameter, together with a pair of plain silver candlesticks, 19 cm high, weighted, plus various silver condiments, total weighable silver approximately 400g (22)

£200 - £300

610* Mixed Silver. A George III squat teapot by Michael Starkey, London, 1814, of plain form with very worn and rubbed armorial to one side, unidentiﬁable, hallmarks worn, 10cm high, 375g, a George III salt cellar by Peter Podio[?], London, 1804, of double handled urn form with beading at the rim on a circular base above a square plinth, 120g, a silver toast rack by Horace Woodward & Co Ltd, Birmingham, 1919, 89g, plus other silver items including two salt cellars with blue glass liners, a pair of handled oval mustard pots with blue glass liners, a strainer, two pairs of pepperettes and other items (24)

£400 - £600

611* Mugs. A silver heavy gauge mug by Emile Viner, Shefﬁeld 1961, plain form with loop handle and foot, 13 cm high, together with three further silver mugs, various forms and sizes, combined weight approximately 960g (4)

£400 - £500

Lot 607

Lot 610

Lot 611

612* Irish Bowl. A George III silver rose bowl by Joseph Jackson, Dublin, 1784, the bowl stands on a circular ring foot, the body decorated with dotwork and foliage bands with ﬂoral swags, with a cartouche of an arm in armour embowed holding in the gauntleted hand an arrow, 18 cm diameter, 344g

(1)

£200 - £300

613* Royal Berkshire Regiment. A regimental silver presentation mug, Shefﬁeld 1925, of plain tapered form, engraved with the badge of the Royal Berkshire Regiment showing a dragon surmounted by a crown with the battle honour ‘China’ below, additionally engraved ‘2nd Battn Presented by Major G.H. Sawer, D.S.O. 1925’, base misshapen, makers mark rubbed, 9.5 cm high, gross weight 233g

Major G.H. Sawyer was born in 1882, he was commissioned 2nd Lieutenant in the Royal Berkshire Regiment in 1901, advancing to the ﬁnal rank of Major in 1916. He was awarded the Distinguished Service Order (London Gazette: 3 June 1916) and Second Award Bar (London Gazette: 24 September 1918). He served in the Second Boer War and WWI where he was mentioned in despatches.

(1)

£100 - £150

616* Silver Tray. George III oval silver tray by Timothy Renou, London, 1797, of oval form with two handles, classical style with bead borders, the centre engraved with an armorial showing arms of the Bridger family [Argent] with chevron engrailed [Sable] between three crabs [Gules], the base engraved later with the inscription ‘most sincere & dear friend.’ 53.3 cm spread across handles, 1570g

The armorial is the arms of the Bridger family of Warminghurst in Sussex. One, Sir John Bridger of Combe Place (1733 - 1816) married a very rich heiress Rebecca Eliot the daughter of John Eliot, a wealthy Quaker; she was heiress to extensive English and American estates. Their daughter and heiress, Mary Bridger, married in 1787 Sir George Shiffner, Baronet,(17621842) who inherited Combe Place near Lewes. Therefore, the tray may well have belonged to Sir John Bridger.

(1)

£600 - £800

614* Salts. A pair of George IV silver salts by Joseph Angell I, London, 1824, of circular form, body shaped with gadroons, on a pedestal base, 4 cm high, 200g

(2)

£80 - £120

615* Salts. A pair of George III silver salts by Henry Chawner, London, 1787, navette shape with beaded rim on a raised oval beaded pedestal foot, 6.8 cm high, 194g (2)

Lot 612

Lot 613

617* Silver. A George V silver framed desk calendar, London 1917, with printed card calendar, 16 x 13.5 cm, together with two cased Victorian Brighton Grammar School silver prize medals, 50 mm diameter, combined weight 123g, a pair of Edwardian miniature silver photographs frames, circular with beaded rims, 60 mm diameter, another miniature silver frame, a silver dressing table set, comprising mirror, two brushes and comb, boxed, plus an assortment of miscellanea including a box of Battle of Waterloo relics, inscribed ‘Relics from the Field of Waterloo Collected about 1830’, including French brass eagle pouch badge and button (1)

£100 - £200

618* Spoons. A collection of silver teaspoons, George III period and later, including a bright cut, ﬁddle pattern, Old English, gross weight approximately 610g (45)

£200 - £300

619* Tea Service. An art deco silver four-piece tea and coffee service by Edward Viner, Shefﬁeld 1928, comprising, coffee and teapot, sugar bowl and milk jug, each with ebony handle, the coffee pot, 22.5 cm high, gross weight 1778g, presented on a silver plated gallery tray (4)

£700 - £1,000

Lot 616

Lot 619

620* Tea Wares. A silver coffee pot by Edward Viner, Shefﬁeld 1956, of art deco form with ebonised handle and ﬁnial, 20 cm high, together with a silver two handle sugar bowl, two milk jugs plus a cream jug, all with different hallmarks and shapes, combined gross weight approximately 1095g (5) £400 - £600

622* Tiffany & Co. A Victorian aesthetic ‘Edward Moore’ period sterling silver vase, circa 1880, the small cylindrical vase with long slender neck, cast in the Japanese asymmetric style with a bird perched on a brass with blossom and an insect, the base stamped ‘Tiffany& Co, 3566M 8801 Sterling Silver 357’, some dents to the lower section and foot rim misshapen, 12.5 cm high, approximately 100g

Edward Moore (1827-1891) was an American silversmith, art collector and benefactor of the Metropolitan Museum of Art.

From 1848-51 Moore was a partner in his father’s silversmith business and when his father retired he inherited the business. In 1868 he joined Tiffany & Co as the ﬁrm’s chief silver designer until his death.

£300 - £400

621* Teapot. A George V heavy gauge silver teapot by S Blanckensee & Son Ltd, Chester 1928, of neo-classical oblong form with gadrooned rim, ebonised handle and ﬁnial, 27.5 cm long, gross weight 800g (1)

Moore amassed a substantial collection of art with a particular focus on Japan. His collection was somewhere between 1600 and 1700 pieces and many of his designs for Tiffany were inﬂuenced by his personal collection. His collection was bequeathed to the Metropolitan Museum of Art. The museum hosted an exhibition of Moore’s work in 2020, describing Moore as “the creative force who led Tiffany & Co to unparalleled originality and success during the second half of the 19th century.” (1)

£200 - £300

623* Wine Tasters. A group of 4 french silver wine tasters, plain circular form with double snake ring handle, inscribed ‘J BAUNE DE PECHE’?, 189g, plain circular form with snake ring handle, inscribed ‘I BARBAROVSE’? 95g, plain circular form with double snake ring handle, inscribed ‘L*DIXNEVF*LDE L APAROIS D*’ 85g, plain circular form with snake ring handle, inscribed ‘R MARCHAIS’ 41g (4)

£300 - £500

FURNITURE

624* Bed. A ﬁne Victorian-style burr walnut double sleigh bed, blue upholstered head and footboard, the footboard exquisitely carved with ivy leaves and tendrils, 127 cm high x 140 cm wide x 245 cm long

Provenance: A Clifton Townhouse, Bristol.

The bed was purchased from ‘And So To Bed’ and features in Homes & Gardens, December 1987, page 71/72. A copy of the magazine is included in the lot. (1)

£300 - £500

625* Bookcase. A George III period mahogany breakfront bookcase, the cornice over triple astragal glazed cupboards, each enclosing shelves, the base with a central secretaire and cupboards, ﬂanked by 5 drawers, general wear commensurate with age, 263 cm high x 247 cm wide x 59 cm deep (1)

£700 - £1,000

626* Bookcase. An oak revolving bookcase, circa 1920s, with three slatted open tiers, 86 cm high x 51 cm square (1)

£100 - £150

627* Bookcases. A matched pair of Edwardian style mahogany inlaid revolving bookcases, with two slatted open tiers, one 84 cm high x 47 cm square, the other 85 cm high x 45.5 cm square (2)

£100 - £150

Lot 624

Lot 626

Lot 627

628* Gothic Revival. A Victorian Gothic revival carved oak elbow chair, together with a pair of matching side chairs, each ﬁnely carved in the Gothic style and all having once had a plaque afﬁxed to the back, the elbow chair 104 cm high and the side chairs 97 cm high Provenance: Christchurch Methodist Church, Marlborough, Wiltshire. (3)

£300 - £500

Hall Chairs. A ﬁne pair of George III mahogany hall chairs, each with a carved scallop back with family crest showing a sunburst face within a belt with the motto ‘Propositi Tenax’ (Tenacious of Purpose), solid seat over reeded curved supports, 85 cm high (2)

£500 - £800

629*

£300 - £500

630* Mirror. A gilt gesso pier mirror, 19th century, with a beaded arch top supported by columns, 136 cm high x 53 cm wide (1)

631* Mirror. A large anglo-indian wall mirror, early 20th century, hardwood profusely inlaid with mother of pearl and bone ﬂoral decoration, some old damage and loss, 165 cm high x 79 cm (1)

£600 - £800

632* Mirror. A Regency triple overmantel mirror, breakfront form with classical frieze depicting cupid and females, replacement glass and later gilt and black painted, 84 x 169 cm

£300 - £500

633* Mirror. An Edwardian gilt moulded mirror, the elaborately carved frame with foliate and scroll decoration, the lower section with a shelf for display, 117 x 70 cm

£150 - £200

(1)

Early Printed Books & Historical Documents

11 SEPTEMBER 2024

BOUND FOR QUEEN MARY I BY THE MEDALLION BINDER

Polydore Vergil. Polydori Vergilii Urbinatis Anglicae historiae libri vigintiseptem, Basel: Michael Isingrin, 1555, title with printer's woodcut device with contemporary hand colouring, two leaves within woodcut borders, including dedication leaf to Henry VIII, red-ruled borders throughout, 4 fine, contemporary manuscript pen and ink and watercolour double-page maps [?by George Lily, d. 1559] of England, Ireland, Scotland and France bound in at front, armorial bookplate of F[rancis] Fortescue Turvile [1752-1839], all edges gilt, later calf (c. 1800) with original gilt-decorated calf panels relaid to both boards, the central royal escutcheon on both panels built up from small tools with monogram ‘M R’ within a decorative central lozenge compartment, outer ornamental scroll border frame with arabesque decoration to inner and outer corners (one damaged and one missing), spine scuffed and heavily rubbed with loss at head, upper joints weak, some edge wear and damage to spine and joints, folio (337 x 220 mm)

Provenance: By direct family descent from Francis Fortescue Turvile, from his great aunt Maria Alethea Fortescue, who died unmarried in 1763. Maria Alethea Fortescue was a descendant of the Catholic martyr, Blessed Adrian Fortescue (c.1480-1539), a Lay Dominican and courtier under Henry VIII. Upon the accession of Queen Mary I in 1553 Adrian’s second wife Anne Rede (or Reade) of Boarstall, Buckinghamshire (1510-1585) was appointed a member of the royal household and is mentioned amongst the ladies who attended the queen in her chariot as she rode from the Tower to Westminster Abbey on 30 September 1553, the day before her coronation.

The immediate male Fortescue line was carried on through the eldest son of Adrian and Anne Fortescue, Sir John Fortescue of Salden (c.1533-1607), in Buckinghamshire, and in turn by his son Sir Francis Fortescue (1563-1649), whose wife Grace Manners (c.1563-c.1634) purchased what is now the older part of Bosworth Hall, Husbands Bosworth Hall, Leicestershire. The book is listed (as the sixth item) in a late-Victorian handwritten catalogue of the Bosworth Hall library. The most likely provenance path for the book is that it passed from Queen Mary to Anne Rede, who then passed it on to Sir John Fortescue of Salden, in whose family possession it remained until the mid-eighteenth-century when, via the Turvile (or Turville) and Constable-Maxwell lines, the book remained at Bosworth until the present day.

Adams V448.

This work is seen as the beginning of modern English historiography, an important piece of propaganda for the Tudor monarchy, and as an inﬂuence on Shakespeare's history plays. Polydore Vergil (c.1470-1555), originally from Urbino, began his research into English history soon after his arrival in London, in 1502, but research for a full-scale history of England most likely began in 1506-7, encouraged by Henry VII. First published in 1534, it went through further editions, published in 1546 and 1555, this third edition the ﬁrst to contain an account of the recent life and reign of Henry VIII, and therefore referring to both Mary and her sister Elizabeth.

The bespoke manuscript maps are unsigned but are possibly by the circle of George Lily (died 1559), an English Roman Catholic priest, humanist scholar, biographer, topographer and cartographer. The maps, featuring cartouches and coats of arms, ships and sea monsters, can be dated to c. 1558.

The binding is very similar to that of an example in the library of St John’s College, Oxford, attributed to the so-called Medallion binder who worked from the end of King Henry VIII’s reign through to the early years of Queen Elizabeth I, and who evidently produced bindings for the four monarchs who reigned during this period.

£20,000-£30,000

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Credit Cards: We accept Visa and Mastercard. It is advisable to let your card provider know in advance if you are intending to purchase. This reduces the time needed to obtain authorisation when the payment is made.

Bank Transfer: All transfers must state the relevant invoice number. If transferring from a foreign currency, the amount we receive must be the total due after the currency conversion and the deduction of any bank charges.

Note to Overseas Clients: All payments must be made by bank transfer only. No card payments will be accepted unless by special prior arrangements with the auctioneers.

Collection/Postage/Delivery: If you attend the auction in person and are successful in your bid, you are free to collect your item once payment has been made.

Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice. Where it is not possible for our in-house packing department to send your item you will be required to make your own arrangements or to contact Mailboxes etc (tel: 01793 525009) or Pack and Send (tel: 01635 887237) who may be able to help.

We provide a monthly delivery service to Central London, usually on Wednesday of the week following an auction. Payment must be received before this option can be requested. A charge will be added to your invoice for this service.

ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE")

Lots marked with AR next to the lot number may be subject to Droit de Suite.

Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is £1,000 or more and the amount cannot be more than £12,500 per lot.

The amount is calculated as follows: Royalty For the Portion of the Hammer Price (in GBP)

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

Please refer to the DACS website www.dacs.org.uk and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details.

1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims.

2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice.

(b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account.

3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 20% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 20% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 20% and assents to the Auctioneer receiving the said commission.

4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due.

(b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately.

(c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day.

(d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared.

5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights:

(i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller.

(ii) Proceed for damages for breach of contract.

(b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day.

6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed.

(b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot.

(c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.

7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded.

8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer.

9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof.

10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to theAuctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions.

11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage. The value of the goods so covered will be the hammer price, or in the case of unsold lots the lower estimate, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods.

(b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions.

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

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

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

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

British & European Paintings

Old Master & Modern Prints & Works on Paper

16 OCTOBER 2024

Duncan Grant (1885-1978). Two Male Nudes, 1966, gouache and black chalk on paper, signed with initials and dated to lower right corner, 55 x 26 cm (21 3/4 x 10 1/4 ins) mount aperture, framed and glazed, with handwritten label regarding provenance to verso

Provenance: John Constable, The Southgate Gallery, Shifnal, by 1983, from whom purchased by Professor Richard Edmonds.

Estimate £1,500-£2,000

Dominic Winter Auctioneers

Printed Books, Maps & Caricatures

Angling Books: A Private Collection

Admiral

Horatio Lord Nelson

24 JULY 2024

IMPORTANT SALE INFORMATION

AUCTION DETAILS

CONDITION REPORTS

ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE")

BIDDING

POST-SALE

CONTENTS

FORTHCOMING SALES IN 2024

DAY

HISTORIC TEXTILES & ANTIQUES

TEXTILES FROM THE COLLECTION OF MARTHA SPRIGGS & HER DESCENDANTS

FURNITURE

Early Printed Books & Historical Documents

11 SEPTEMBER 2024

BOUND FOR QUEEN MARY I BY THE MEDALLION BINDER

INFORMATION FOR BUYERS

AFTER THE AUCTION

METHODS OF PAYMENT

ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE")

British & European Paintings

Old Master & Modern Prints & Works on Paper

16 OCTOBER 2024