Dominic Winter Auctioneers by Jamm Design Ltd

ANTIQUES & FINE ART 8/9 OCTOBER 2020

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ANTIQUES & VINTAGE TEXTILES The Jack Webb Antiques Collection The David Wilson Taxidermy Collection Motoring Memorabilia: A Private Collection 8 October 2020 commencing at 10am

PAINTINGS & WATERCOLOURS Old Master & Modern Prints 9 October 2020 commencing at 10am VIEWING BY APPOINTMENT FROM 30 SEPTEMBER ONWARDS (WEEKDAYS) AUCTIONEERS

Nathan Winter Henry Meadows

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

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IMPORTANT SALE INFORMATION: COVID-19 Please note that in accordance with current UK Government instructions regarding Covid-19, we are pleased to offer restricted public viewing of this sale by appointment only. Viewing by appointment from 30 September onwards (weekdays). To request an appointment, please email saleroom@dominicwinter.co.uk or call us on 01285 860006. At the time of writing, we do not expect to make public attendance available on either of the two sale days. This restriction will remain under review over the three weeks prior to sale. All lots are fully illustrated on our website (www.dominicwinter.co.uk) and all our specialist staff are ready to provide detailed condition reports and additional images on request. We recommend that customers visit the online catalogue regularly as extra lot information and images will be added in the lead-up to the sale. CONDITION REPORTS Condition reports now including video conferencing can be requested in the following ways: T: +44 (0)1285 860006 | E: info@dominicwinter.co.uk Via the relevant lot page on our website www.dominicwinter.co.uk ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty 4.00% 3.00% 1.00% 0.50%

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

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

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

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

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CONTENTS Day One

Day Two

ANTIQUES

FINE ART

Objets D’Art

1-42

Antiquities

43-47

Oriental Works of Art

48-72

Tribal Art

73-83

Textiles & Fashion

84-110

Silver & Jewellery

111-142

Watches

143-147

Ceramics & Glass

148-199

Fossils & Minerals

200-217

Taxidermy

218-233

Clocks & Mechanical Music

234-243

Furniture

244-263

Motoring Collection

264-349

SPECIALIST STAFF

Old Master Paintings, Drawings & Prints 350-405 Portraits & Miniatures

406-415

Chinese Watercolours

416-420

19th Century Paintings & Watercolours 421-497 Pre-Raphaelite & 19th Century Prints 498-521 Etchings, Lithographs & Woodcuts 1850-1950

522-566

20th Century Art

567-688

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

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

Henry Meadows

Colin Meays

Susanna Winters

Tel: 01285 860006 info@dominicwinter.co.uk

Cover illustrations: Front cover: lot 416 Back cover: lot 442 Catalogue Produced by Jamm Design – 020 7424 7830 info@jammdesign.co.uk

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

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William Henry Jackson (1843-1942). Ute Indians at the Denver Exposition, [1882], 103 x 265mm From an album of 135 mounted albumen print views of Yosemite, San Francisco, Monterey, Salt Lake City, Chicago, New York and Niagara Falls by Carleton E. Watkins, Isaiah Taber, William H. Jackson, Charles Roscoe Savage, George Barker & Theodore Gubelman, c. 1880s, images 32.5 x 20.5cm and smaller, contemporary half morocco, oblong folio (31 x 41cm) Provenance: T.D. McKay, Paciﬁc Coast Passenger Agent £7,000-10,000: 18 November photography sale

FORTHCOMING SALES Wednesday 7 October

Printed Books, Maps & Documents Travel, Science & Engineering

Wednesday 11 November

Printed Books, Maps & Documents Scottish Topography from the David Wilson Library

Thursday 12 November

Military, Naval & Aviation History, Medals & Militaria Barnes Wallis Autographs, Artefacts & Ephemera The Winston Churchill Library of Major Alan Taylor-Smith (1928-2019)

Wednesday 18 November

Classic & Contemporary, Photography & Cameras China, Formosa & Japan in the 1860s The Jack Webb Collection of Military Cased Images & Photographs

Wednesday 16 December

Printed Books, Maps & Documents Literary & Musical Autographs from a Private Collection

Thursday 17 December

Modern Literature, Children’s & Illustrated Books

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

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OBJETS D’ART To commence at 10am

Lot 1

Lot 2

1* American Toleware. A rare American toleware tray, probably early 19th century, painted with a scene depicting “Belisarius”, launched October 1794, flying the American flag in Salem Bay, Massachusetts, the shaped tray with a green border painted with anchors, the base with remains of an old label inscribed Salem, 31 x 23cm The scene derives from the original by Michel Felice Corne c.1800, showing the Belisarius as she was leaving Crowninshield’s Wharf at Salem. The Belisarius was a large merchantman built by Enos Briggs at his shipyard at Stage Point, launched in 1794. Salem was one of the most signiﬁcant seaports in early American history, being a continuous settlement by Europeans from 1626 onwards. (1) £500 - £800

2* Art Nouveau. A WMF easel frame, c.1890, the large frame with a female in classical drapery with outstretched arm beckoning to a dove, against an arched frame with torch and foliate decoration, easel stand to the rear, numbered 11508 and stamped on the edge, 39.5cm high x 26.5cm wide (1)

£400 - £600

Lot 3 3* Battle of Trafalgar. An ostrich egg, ﬁnely carved in shallow relief, circa 1805, the 4 sides depicting half-length busts of the Commanders of four famous British naval victories: 1) Admiral Lord Howe, Glorious First of June, 1 June 1794; 2) Admiral John Jervis, 1st Earl of St Vincent, Battle of Cape St Vincent, 14 February 1797; 3) Admiral Duncan, Battle of Camperdown, 11 October 1797; Admiral Lord Nelson, Battle of Trafalgar, 21 October 1805, each presented with backdrop drapery decorations and battle date in an oval rope medallion frame, the Commanders’ names carved within the resulting lozenge frame around the central drill hole at the top of the egg and presented on ﬂags draped from the trumpets blown by winged angels, the base showing Britannia within a hatched oval frame, and surrounded by additional naval and decorative motifs carved into the remaining blank areas, 15cm tall Provenance: Collection of Jack Webb (1923-2019), London. A museum-standard piece showcasing virtuoso ostrich egg carving. The artist has left the work unsigned. Jack Webb’s notes suggest that it may have been made by a French Prisoner of War not long after the Battle of Trafalgar. (1) £300 - £500

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4* Blue John. A collection of Derbyshire Blue John, comprising a Victorian white metal hat pin with a circular polished Blue John terminal, 22cm long, a heart shape pendant (damaged) plus another pendant (lacking mount), the remains of an egg (drilled), together with a collection of intaglio seals including Grecian and Roman heads, a Locomotive, initials etc, various materials including carnelian and agate, plus various semi-precious stone pieces including agate beads, malachite

Lot 6

Provenance: Collection of Jack Webb (1923-2019), London. (small box) £200 - £300

5* Boat Tiller. A hardwood boat tiller probably 18th century, the long wooden tiller carved with a grifﬁn on one end and a grotesque on the other, 82cm long, origin unknown but probably European (1)

£200 - £300

6* Boulle Work. A 19th century French Boulle Work perfume box, inlaid the red tortoiseshell with brass inlay, the hinged lid enclosing three cut glass bottles with painted gilt decoration (one bottle missing), with four stoppers, 9cm high x 11.5cm wide x 9cm deep, with key (1)

£100 - £150

7* After Jean-Antoine Houdon (1741-1828). George Washington, a late 19th or early 20th century cast bronze portrait bust of George Washington, after the original portrait by Houdon, inscribed ‘G. Washington’ to base, 27cm (10.5 in) (1)

£300 - £400

Lot 7

Lot 5

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

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Lot 8

Lot 9

8* Theodore Roosevelt (1858-1919). Bust of Theodore Roosevelt, 1921 [or later], a commemorative cast metal bust with dark brown patina of Theodore Roosevelt, facsimile signature of Roosevelt and his date of birth and death (1858-1919) to front, also marked to base (with copyright) ‘L V A 1921’, a few minor chips and surface marks, 20cm (8ins) (1)

10* Cameo. A 19th century conch shell, carved with a cameo depicting Diana riding a chariot and muses and putto, 21cm high (1)

£150 - £200

£300 - £400

9* Bronze Sculpture. A modern bronze setter, modelled standing with a pheasant in its mouth, mounted on a black marble base, with label underneath ‘Jansen International Statues’, 44cm high x 62cm long (1)

£100 - £200

11* Candle Vases. A pair of Regency bronze urns, each of classical form with domed cover, the bodies with gilt metal rams head masks each with ring through mouth, on a white marble and slate pedestal base applied with grifﬁns and classical female head masks, some loss of marble and chips to slate, 22cm high Provenance: Collection of Jack Webb (1923-2019), London. (2) £150 - £200

Lot 10

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12* Dice. A large sailors scrimshaw ivory dice, c.1800, engraved with a fouled anchor, star, club, heart, spade, and diamond, 22mm cube The art of the scrimshander was popular throughout the 18 and 19th centuries, usually as a way of whiling away the monotony of life at sea. (1) £200 - £300

14* Fire Tools. A set of George III cut steel ﬁre tools, comprising shovel, poker and tongs, the shovel 75cm long, together with a curved and pierced steel ﬁre curb, 115cm long

13* Dice. A pair of George III period ivory dice, c.1800, each carved with roundels denoting the number and inﬁlled in black, 18mm cube, slight variation in colour (2)

Provenance: Collection of Jack Webb (1923-2019), London. (4) £200 - £300

£150 - £200

Lot 14

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

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18* Grand Tour. An early 19th century bronze sculpture, modelled as a lion attacking a snake within a naturalistic setting, unsigned, mounted on a rectangular marble base, 12.5cm high x 15cm wide Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

15* French School (19th century). A pair of bronze sculptures, each modelled as a recumbent goat, unsigned, mounted on a redveined marble base 9cm high x 16cm wide Provenance: Collection of Jack Webb (1923-2019), London. (2) £200 - £300

16* Glass Domes. A collection of Victorian glass domes, including a small glass dome on polished hardwood base raised on three ball supports, 22cm high, another housing a paper model of a house, on an ebonised base, 14cm high Provenance: Collection of Jack Webb (1923-2019), London. (6)

£70 - £100

19* Ice Hockey. An art deco spelter ﬁgure modelled as a boy Ice Hockey player, with outstretched arm holding stick, on a shaped base, repainted recently in gold and silver and crudely dated 1937 1938, unmarked, 30cm high x 45cm long (1)

£80 - £120

17* Grand Tour. A pair of early 19th century alabaster obelisks, each of tapered form surmounted on a stepped wooden base, some loss notably along the edges, 27.5 and 28.5cm

20* Incense Burner. A gilded copper incense burner probably 17th century, with pierced and engraved decoration, lacking cover and damaged, 13cm high, together with a mixed collection of items including an 18th century silver snuff-box, of oval form with a tortoiseshell base and cover and overlaid with silver mythical scene, the tortoiseshell and silver loose and in poor condition, 8.5cm long, a Victorian desk weight with an ivory clenched hand on a circular green marble base, 11cm diameter and other items

Provenance: Collection of Jack Webb (1923-2019), London. (2)

Provenance: Collection of Jack Webb (1923-2019), London. (5) £100 - £200

£100 - £150

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22* Lancashire Witch. A large terracotta figure believed to be the Lancashire witch, the polychrome painted figure modelled fully standing wearing a cap and holding 4 piglets on a square base, some cracking, 85cm high Provenance: Collection of Jack Webb (1923-2019), London. Sold with a letter printed in Country Life, 16 November 1967: ‘Sir, - I am enclosing a photograph of a terracotta figure, and I wonder if any of your readers can identify it. It is 2 ft . 9 in. high, and from its weight appears to be almost solid. It has probably been sculpted by hand and not moulded, and is painted (but not fired) in dull red, brown, grey and black. A Visitor who saw it claimed to recognise it as Mother Demdyke, head of the Lancashire witches and said that the five animals she is holding are her five familars’ J.V. Webb. (1) £200 - £300

23* Marbles. An extensive collection of 20th century glass marbles, comprising hundreds, various sizes and colours, contained in an old brass coal bucket (coal bucket)

24* Mixed Collectables. A Victorian silhouette on glass depicting a military ofﬁcer, probably Continental, fruitwood frame, 13 x 12cm, together with a mixed assortment of items including a brass column candlestick dated 1797 engraved with a family crest, 22.5cm high and other items

21* Jewellery Box. A ﬁne Regency parquetry box, of sarcophagus form, the box richly inlaid with rosewood, amboyna and other exotic specimens, the cover with gold foil cartouche and brass fruit and cornucopia handles, the hinged lid enclosing interior lined with marble paper, on four brass feet, 10cm high x 23cm wide x 18cm, with key (1)

£100 - £150

Provenance: Collection of Jack Webb (1923-2019), London. (a carton) £100 - £200

£80 - £120

25* Mourning brooch. James William Cusack, Royal College of Surgeons, Ireland, the circular silver brooch with black enamel, a central star encompassing the initial C, within a pierced circular border interspersed with Celtic knots on a foliate and geometric engraved ground, the back engraved ‘James W. Cusack Obit 25th Sept 1861’, 50mm diameter Provenance: Collection of Jack Webb (1923-2019), London. James William Cusack (1788-1861) was the president of the Royal College of Surgeons in Ireland in 1827, 1847 and 1858. He was educated at Trinity College Dublin. After graduating he joined Dr Steevens Hospital in Dublin as resident surgeon and became a bold and dexterous operator. Cusack could use his scalpel without hesitation, and overnight became famous for his speedy ﬁrst aid-treatment of a patient who was bleeding to death from a severed artery due to a gunshot wound. Cusack was also Surgeon-inOrdinary to the Queen in Ireland. (1) £70 - £100

Lot 22 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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28* Patch Box. A George III period ivory patch box, of circular form, the cover ﬁnely inset with doves and arrows painted on glass on a mother of pearl ground within a “jewelled” and geometric border, tortoiseshell lining, some cracks to the ivory and chips to the tortoiseshell, 5cm diameter 26* Newnham College. A Cambridge University armorial shield c.1900, the electroplated shield bearing the crest of Newnham College, afﬁxed to a stained oak board, with original A.W. Crisp & Co, Heraldic Artists label to verso, 39.5 x 32cm

(1)

£200 - £300

Newnham College for women is one of the 31 colleges of the University of Cambridge, established in 1871. (1) £200 - £300

29* Pitt (William, the Younger, 1759-1806). A 19th century white marble statue after John Flaxman, carved standing with a scroll in right hand against a veiled pedestal on a circular base, unsigned, the right arm has been broken and repaired, some old chips to the edge of the base, 52cm high

27* Obelisks. A pair of modern marble obelisks, each made of pink marble and Verde Antigua, each piece has some loss and minor chips, 51cm high

Provenance: Collection of Jack Webb (1923-2019), London. John Flaxman (1755-1826) executed a statue of William Pitt the Younger for Glasgow Town Hall between 1808-1812. (1) £200 - £300

Provenance: Collection of Jack Webb (1923-2019), London. (2) £100 - £200

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30* Polychrome Figure. A Continental limewood ﬁgure of christ, probably 16th or 17th century, carved holding the lamb, polychrome painted, approximately 124cm high (1)

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

£1,500 - £2,000

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31* Powder Horn. A fine North American scrimshaw powder horn c.1750, the cow horn finely engraved with maps and rivers and showing a figure of a couple titled ‘Hugh Thompson & M:ss[sic] Hamilton’, the woman writing with a quill and the man holding his hat, the whole piece profusely engraved with settlements, native American Indians, a cobbler and shoes, windmills, a king and queen, the king passing the queen a shoe, snakes, lions, zoomorphic creatures, the horn with a wooden cover, 36cm long (14ins), presented on a modern stand for display Provenance: Collection of Jack Webb (1923-2019), London. (1)

£3,000 - £5,000

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33* Rowing. A silver Doggett badge and medal belonging to William Giles East, King’s Bargemaster and Winner of Doggett’s Coat Badge, comprising a large Victorian silver arm badge by Mappin & Webb, Shefﬁeld 1887, the oval badge with the White Horse of Hanover beneath a banner inscribed ‘Liberty’, inscribed beneath the horse ‘Won by William Giles East July 30th 1887’, with four rings to the back, 20 x 17cm, together with a large Rowing medal with central oval plaque surrounded by laurel leaves on one side and oak leaves on the other, crossed sculls behind, two enamelled shields at the top surmounted by ‘Champion’, with a blue enamelled scroll at the bottom inscribed ‘Tyne 1891’, the centre engraved ‘Presented to W.G. East Champion Sculler of England by the Proprietors of the Sportsman London, Nov 30th 1891’ 9 x 6cm, in a ﬁtted leather box, plus an extensive collection of research including an original monochrome photograph of the recipient Provenance: Collection of Jack Webb (1923-2019), London. The medal included in this lot was purchased by Jack Webb at DNW on 15 September 2004 (Pat Grierson’s Medal Collection, lot 395)

William Giles “Bill” East (1866-1932) was born in Lambeth, the son of William East who was a boat builder and in later years had a boathouse on the Thames in Putney. William “Bill” junior spent his whole life on or by the Thames, and became a waterman’s apprentice in 1882, the year he won the Putney Badge. In 1887, Bill won the Doggett’s Coat and Badge Race, and in 1891, the English Sculling Championship. However, he never defended this title. Seven years later, in 1898, he was appointed a waterman to the Queen. He retired from professional sculling around 1903/04 and in June 1906, he became the King’s Bargemaster. He also stroked in the winning Champion Fours in the National Regattas of 1890 and 1891, and also the Champion Pairs. Bill was a very popular person on the Thames and was early on connected to Cambridge University Boat Club, to train and coach the crews. He published the ‘how-to’ book Rowing and Sculling in 1904. In later life, Bill became a publican and ran the Prince’s Head hotel and the Pigeon Hotel at Richmond.

32* Rock crystal. An Austrian rock crystal tazza probably c.1700, the three lobed bowl ﬁnely engraved with grape and vine decoration on a bulbous stem with brass collar on a trefoil base similarly engraved with a dragonﬂy, the bowl with extensive damage, cracked and repaired, 11.5cm high x 12.5cm across Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

The Doggett Coat and Badge The race is the oldest rowing race in the world. Up to six apprentice watermen of the Thames compete for this prestigious honour, which has been held annually since 1715. The 4 miles 5 furlongs (7.44km) race is rowed upstream from London Bridge to Cadogan Pier, Chelsea, passing under a total of 11 bridges. (2) £700 - £1,000

Lot 33 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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34* Spurs. A pair of 18th century Hispanic spurs probably South American or Spanish, steel and silver overlay, engraved with ﬂowers and large spiked wheel, 16cm long (2)

£200 - £300

Lot 37

Lot 35

Lot 36

Lot 38

35* Table Lamp. A Continental art nouveau table lamp c.1890, the domed copper shade with a hammered ﬁnish and inset with opalescent glass bosses moulded in a manner to represent boulders with 12 glass drops, the brass base formed as 3 trees each with stylised ﬂowers heads, 45cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

36* Table Lamp. An art nouveau bronze table lamp c.1890, the base cast with stylised ﬁsh, with shell lamp shade, 46cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

37* Tea Caddy. A 19th century brass inlaid tea caddy, of rectangular form with brass inlay, the hinged lid enclosing two compartments each with cover, on bun feet, 14.5cm high x 23cm wide x 12cm deep (1)

£80 - £120

38* Tea Caddy. A George III period mahogany tea caddy, of rectangular form with barbers pole inlay, brass carrying handle and keyplate, the hinged lid enclosing marbled paper lined cover and three compartments each with cover, in refurbished condition, 16.5cm high x 27cm wide x 17cm deep

39* Tea Caddy. A Victorian rosewood tea caddy, applied with ivory and brass, the hinged lid enclosing marbled paper interior, in refurbished condition,13cm high x 15cm wide x 12.5cm deep

(1)

£100 - £150

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41* Walking Stick. A 19th century whale bone walking stick, with marine ivory handle carved as whale cub with rosewood and ebony roundels, 84cm long (1)

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

42* Walking Stick. A George III period whale bone walking stick, the handle with tortoiseshell and silver roundels, 92.5cm long

Provenance: Private Collection, Herefordshire, England. (1) £1,000 - £1,500

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

£400 - £600

(1)

£300 - £500

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ANTIQUITIES

43* Ancient Egypt. 26th Dynasty, a turquoise Faience Shabti of the Overseer of the Royal Fleet Psamtek-Mery-Ptah, c.500 B.C., the large ﬁgure modelled wearing a tripartite wig, with well deﬁned facial features and plaited beard, holding a mattock and hand hoe with square bag over the shoulder, 10 rows of horizontally incised text around the body separated by lines, back pillar and trapezoidal base, old chips, 19cm high, presented on a later wooden base

44* Ancient Egypt. A large bronze shabti, modelled standing wearing tripartite wig and arms straight by sides on an integral base, old repair to base, 26cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500

Provenance: Collection of Jack Webb (1923-2019), London. There is a letter included with the lot to Jack Webb from Dr Iorweth Stephen Edwards, Assistant Keeper, British Museum, dated 5 February 1947. Dr Edwards identiﬁes the shabti as having an inscription declaring that it was made for a certain “Superintendent of the royal barges Psemthekmery-Ptah” the remainder of the inscription is the standard Ushabti passage from the sixth chapter of the Book of the Dead. (1) £300 - £500

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45* Ancient Egypt. An Egyptian glass two handled flask c. 500 BC, predominantly yellow with a green and white marbled finish, there is an old hairline crack running in a circular fashion on the body of the flask, however, considering the age of the piece this is in remarkable condition 18cm long Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500

46* Mycenaean. A Mycenaean pottery vase, probably c.1100BC, decorated with a net pattern and three handles, the base inscribed in pencil ‘late Mycenaean c.1100 B.C.’, old chips around the rim and foot 12cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

Lot 45

47* Tiahuanaco. A Tiahuanaco (Peru) pottery ﬁgure, probably c.1000AD, the male ﬁgure wearing a traditional dress with an elongated hat and outstretched arms, 14cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

Lot 46

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

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ORIENTAL WORKS OF ART

51* Chargers. A pair of Japanese chargers, Meiji period (18681912), each with a blue painted stylised ﬂour to the centre overpainted in gold, within an iron red geometric border and four panels decorated with exotic birds and blossom trees, 30cm diameter (2)

£100 - £150

48* Brush Pot. A Chinese porcelain brush pot probably early to mid 19th century, modelled as a kneeling elder holding a vase with a further six vases in front of him, polychrome painted in the famille-rose palette, some damage notably to two of the vases, unmarked, 18cm high x 18.5cm wide (1)

£150 - £200

49* Charger. An unusually large Japanese porcelain charger, Meiji period (1868-1912), with two large panels decorated with ﬁgures on a boat and a pagoda by a bridge, on geometric ground with exotic birds and insects, polychrome painted with iron red and gold decoration, hairline crack and old plate hanger, 61.5cm diameter (1)

£150 - £200

52* Chinese Box. A Chinese cinnabar lacquer box c.1900, the cover decorated with scholars and pagodas in a mountainous landscape, interior with black lacquer, and the base with a sixcharacter mark, 5.5cm high x 14cm wide x 10cm deep

50* Charger. A Japanese porcelain charger, Meiji period (18681912), decorated in the imari pallete with exotic birds, pine trees and foliate decoration on an iron red and white ground heighted with blue and green, 41cm diameter, together with another Japanese blue and white porcelain charger similarly decorated, 37.5cm diameter (2)

(1)

£100 - £200

£200 - £300

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53* Chinese Carving. A Chinese 20th century bowenite carving, elaborately carved as a ﬂowering peach, 27cm high x 30cm wide (1)

£150 - £200

55* Chinese Carving. A 20th century Chinese bowenite junk, carved in the form of a dragon with pagoda decking and two sales each with three characters, 45cm long (1)

54* Chinese Carving. A Chinese 20th century bowenite carving, showing ﬂowering peach, 16cm high x 18cm wide (1)

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

£100 - £150

£150 - £200

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Lot 56 56* Chinese Export. An impressive 18th century Chinese armorial part tea service c.1782, comprising, teapot, 12 coffee cups, milk jug and cover, 3 tea bowls, 5 saucers, slop bowl, tea canister, shaped dish and a footed bowl, all decorated with an armorial and famillerose palette, several pieces with recent damage, the teapot 23cm high, with an original manuscript letter of provenance dated 2 October 1852 The accompanying manuscript letter dated 2 Octr 1852 reads: 'History of the China got from Bowley. The East India ship Gustavus was wrecked on the Goodwin Sands and Captn Bowbyes of the Revenue cutter got this sett of china presented to him for his valuable services in saving the ofﬁcers & crew in 1782 and remained in the family until the death of the widow in 1851. Discription of the arms [:] A Dove Volant resting on a Bees Cape, That is industry promoted by peace, on the Dexter - is a Lady Supporter. In her right hand, the cape of Liberty on a rod. Sinester, Supporter, Scale of Justice in her left hand, and in her right hand - The Sword of Justice. The Shield contains a group of ﬂowers. The arms of Industry, Peace, Liberty, Justice & Commerce - Suitable for any merchant.' (27) £1,000 - £1,500

57* Chinese Panels. A collection of Chinese hardwood carved panels, each carved in relief with ﬁgures, pagodas, landscapes and other traditional forms, painted red with gilt detail, various sizes for example 37 x 12.5cm and 24.5 x 13.5cm, plus a larger hardwood panel carved with pagodas, boats and landscapes, 93 x 44cm, three Japanese bronze sword guards (tsuba), one signed and other items (a carton)

£50 - £80

58* Chinese Pots. A collection of archaic Chinese miniature pots, including a two handle celadon glaze pot, 8.5cm high, a provincial pot with blue painted foliate decoration on a mat glaze ground, 7.5cm high, two lidded pots and other examples (9)

£700 - £1,000

Lot 56 21

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Lot 58

59* Chinese. A 19th century spinach green jade box and cover, of oval form carved with chilongs (damaged), 8cm long together with a late 18th century porcelain oversized mug with famille rose floral decoration and entwined handle, 16cm high, plus a large export mug decorated with butterflies, peaches and flowers, (chips and hairlines) 15cm high and one other (lacking handle)

60* Mug. An 18th century Chinese porcelain mug, the oversized mug decorated with scholars and children seated at a table with a ﬁgure by a window within a foliate landscape, polychrome painted with gilt painted panels, some wear and a chip to the rim, 12.5cm high x 10.5cm diameter, together with an 18th century Chinese porcelain dish in the famille rose pallete, decorated with ﬂoral panels with green border, 27cm diameter

Provenance: Collection of Jack Webb (1923-2019), London. (4) £100 - £200

(2)

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

£150 - £200

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61* Okimono. A Japanese bronze monkey okimono, Meiji (18681912), formed as a large cluster of monkeys playing, with a silvered ﬁnish, 21cm long, on a modern hardwood stand (1)

£400 - £600

62* Okimono. A fine Japanese okimono modelled as a Japanese Chin, Meiji period (1868-1912), the silver figure with a characterful face and a fine coat of fur, wearing a bronze ribbon and with paw resting on a bronze drum inlaid with silver and gold, the base with a circular mark in gold, 9cm high x 12cm wide Provenance: Collection of Jack Webb (1923-2019), London. (1) £700 - £1,000

63* Oriental Ceramics. A 19th century Chinese blue and white porcelain bowl, the interior decorated with a four claw dragon, the exterior similarly decorated with a four character mark to the base and an old label inscribed ‘53’, chips to the rim and hairline cracks to the foot, 18cm diameter, together with a Chinese famille rose porcelain charger, decorated with four panels of ﬁgures, exotic birds and foliage, 31cm diameter, a Japanese lidded pot, two Japanese imari lobed bowls, ﬁve Japanese blue and white dishes and other items (a carton)

64* Screen. A 19th century hardwood table screen probably zitan, replaced with mirrored glass within a lift-out frame inset with a silver foliate decorated border, some loss, 80.5 x 50cm Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500

£100 - £200

Lot 62 (mark)

Lot 62

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Lot 65

Lot 67

65* Table Lamps. A pair of Chinese porcelain vases, late Qing converted to table lamps, the blue and white vases of baluster form with two handles decorated with ﬂowers, 44cm high, mounted on hardwood stands, converted to electric table lamps each with shade, overall height including shade 81cm (2)

£100 - £150

66* Tibetan. A 19th century Tibetan casket, made from coconut shell with silver mounts to depict a monster, the face ﬁnely detailed with ferocious teeth and ornamental headdress with a curled tail and four angled legs, the hinged lid enclosing a silver lining, 16cm long Provenance: Collection of Jack Webb (1923-2019), London. (1) £500 - £800

67* Tomb Figure. A Chinese clay tomb ﬁgure, believed to be Han / Tang period, modelled as a man with arms by side, traces of pigment on a ﬂared and hollowed base, 27cm high (1)

£200 - £300

Lot 66

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

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Lot 68

Lot 72

68* Vase. Chinese Famille Rose porcelain vase, probably 19th century, of baluster form with two pierced handles, decorated with warriors and a fortress within a mountainous landscape, old collection label to base, with heavy craquelure and ground down neck, 57cm high (1)

£150 - £200

69* Vase. A 20th century Chinese cloisonne gilt metal vase, of hexagonal form decorated with exotic birds and foliage on a gilt ground, blue enamel interior and base, 13cm high (1)

£70 - £100

70* Vase. A Chinese porcelain vase, Qianlong period (1736-1796), of baluster form with a mottled orange ﬁnish, old printed label to base ‘Ch’ien-Lung 1736-1796’, 14.5cm high together with a similar bottle vase, 20cm high (2)

£100 - £200

71* Vase. A Japanese Arita porcelain bottle vase, Meiji Period (1868-1912), with blue spiral decoration on a white ground, 27cm high (1)

£50 - £80

72* Vase. A Japanese porcelain vase, Meiji Period (1868-1912), of baluster form with polychrome enamel decoration depicting ﬁgures and ﬂowers, overpainted six character mark to base, 40cm high Lot 70

(1)

£100 - £150

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TRIBAL ART

73* African Carving. A 20th century hardstone fertility ﬁgure, carved with hands holding body, the base signed ‘Scale’, 66cm high together with large African metal shield with a geometric design, 100 x 60cm (2)

£150 - £200

74* Ashanti. An Ashanti carved wood headrest, probably early to mid 20th century, with curved top above a central column surrounded by four supports, with pierced and geometric decoration on a rounded rectangular base, 25.5cm high x 42cm wide x 17.5cm deep (1)

£150 - £200

75* Cameroon. A Bamileki wooden water buffalo mask, carved in the traditional manner with long horns and elongated face, 49.5cm long Buffalos are respected in the Bamileki tribe for their strength and power. (1) £80 - £120

Lot 73

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

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76* Congo. A Kuba wooden mask, carved as a male with beaded headdress and reeded collar, 33cm high (1)

£80 - £120

Lot 78

77* Congo. A Luba wooden headrest, carved as two confronting ﬁgures linking arms, 19cm high x 19cm wide, together with another headrest carved as a male and female, 19cm high x 16cm wide (2)

£100 - £150

78* Ghana. A Fante wooden female doll, carved in the traditional style with abstract ﬂat head and scariﬁcation marks, 39.5cm high mounted on a wooden base, overall height 51cm (1)

£100 - £150

79* Ivory Coast. A Baule wooden ﬁgure, carved as a seated male with elongated face, long beard and scariﬁcation marks on an integral base, 40cm high (1)

£100 - £150

Lot 79

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80* Kashmiri. An Indian Kashmiri table, beautifully worked in the traditional style, the rectangular top above four outsplayed supports, 31cm high x 38cm wide x 29.5cm deep

82* Nigeria. An Ibeji wooden ﬁgure, carved as a young male with ceremonial headdress and beads on an integral base, varnish ﬁnish, 24.5cm high

(1)

£80 - £120

81* Kenya. A collection of Kamba wooden ﬁgures, including a warrior, carved holding a spear and club, 30.5cm high, another of a boy dressed in colonial wear, 16.5cm and others (5)

£150 - £200

83* South Africa. A collection of Zulu artifacts, including 5 North Nguni wooden pipes, the largest 30cm long, smallest 14cm, 2 beaded bags and other items, an old manuscript label inscribed Kafﬁr Mans Waist Ornament plus a gourd applied with nails, 12cm high (12)

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

£150 - £200

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TEXTILES & FASHION

84* Bags. A Regency reticule, early 19th century, hand-stitched draw-string bag, the lower portion of canvas embroidered with lattice pattern of crosses in pink, black, green, yellow, and purple wool, edged with twisted piping cord, lined with cream grosgrain silk which continues to form upper portion (one side dust-soiled, and the other side with a small hole), matching piping cord draw-string towards top held by 12 small bone rings, 21.5 x 13.5cm (8.5 x 5.25ins), together with 6 19th or early 20th century beaded bags and purses, including a large bag with yellow metal mount set with green enamel (oyster silk lining perished), and a draw-string souvenir purse from Venice, with the words ‘Ricordo Venezia’ in beads, various sizes and condition (7)

£100 - £150

Lot 84

85* Carpet. An early 20th century Oriental heavy pile woollen carpet, with geometric decoration on a red ground within a predominantly brown multibanded border, approximately 239 x 166cm

86* Carpet. An early 20th century Oriental woollen carpet, with central medallion and geometric decoration on a red ground within multibanded border, approximately 198 x 142cm

(1)

£100 - £150

Lot 85

£70 - £100

Lot 86

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87* Christening gown. A mid 18th century christening gown, hand-stitched silk satin infant’s gown, front-opening bodice, 8 rows of ﬁne pleating to front and back, elbow-length sleeves with double row of fringing, matching fringe to front of neckline, in two rows down front, and around bottom hem, lined with ivory silk, chest 44cm (17ins), waist 52cm (20.5ins), sleeves 17cm (6.5ins), length 80cm (31.5ins) Rare early infant’s gown, in unusually good condition and therefore perhaps never used, intended to be worn by a baby for a formal occasion, such as a christening. The early 18th century saw ornate bearing cloths and christening blankets give way to long gowns, with the move away from both full immersion and the custom of swaddling. The earliest christening gowns such as these were sumptuous affairs of rich silk satin, embellished with embroidery or fringing, quite different from the diaphanous white muslin gowns which followed in the Regency period. They were not without an element of practicality, however, as evidenced by the front opening and the adjustable straps which link the sleeves to the bodice, giving extra room if required. For a similar fringed silk satin 18th century christening gown see the V&A, museum number T.21-1956. (1) £150 - £250

Lot 88

88* Court train. A garment of late 18th century silk brocade, circa 1878, a large train of cream silk with broken lines of silvered thread, overlaid with woven large posies of pink and burgundy ﬂowers incorporating gold thread, interspersed with small quatrefoils of gold thread, shaped and gathered at top and with 2 pairs of fastening hooks oversewn with thread (one missing), same fabric gathered at intervals to form edging, occasional small light marks, lined with gold organza, length 180cm (71ins), hem width 157.5cm (62ins), together with an irregular panel of the same silk, pieced from 3 widths, some light toning and dust-soiling, approximately 130 x 158cm (51 x 62ins), and 2 small matching fragments Said to have belonged to Lydia Diana Dashwood (died 1837), and later adapted to be worn as a court train in 1878. (4) £200 - £300

Lot 89 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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Lot 90

Lot 91

89* Embroidered picture. English oval needlework of a lady in a pastoral landscape, circa 1790s, hand-stitched on cream silk, depicting a seated young lady with a basket feeding sheep in a landscape, stitched in silks in shades of brown, cream, green, blue, and pink, using long and short stitch, stumpwork, and satin stitch, within an oval stitched frame, details of hands, face, and hair carefully delineated in pen & ink, generally faded, some loose threads, losses to silk ground, mostly to blank margins around oval, but also small loss to lower part of face (including nose), image size 34 x 26.5cm (13.25 x 10.5ins), tacked to stretcher, 38 x 33cm (15 x 13ins)

90* Embroidered picture. The Samaritan Woman at the Well, English, circa 1790s, hand-stitched on silk, depicting Jesus seated beside a well talking to a Samaritan woman, a pitcher by his side, a dwelling and palm trees in the background, stitched in wool and silks in shades of brown, cream, green, and pink, using long and short stitch, and stumpwork, details of faces, hands, feet, and hair carefully delineated in pen & ink, silk ground perishing, mostly affecting painted sky area, but just touching Christ’s face (and with a split to his neck), and with splits visible on the woman’s face and neck, 36 x 47cm (14.25 x 18.5ins), framed and glazed, inscribed in pencil on backboard in a later hand ‘Bellapaise Abbey N. Cyprus’

(1)

£80 - £120

£100 - £150

91 Embroidery pattern book. Dessins pour coins de mouchoirs, pour manchettes, et pour cols [manuscript cover title], [France or Belgium], circa 1860, a manuscript album in 3 parts of 50, 66 and 24 numbered thin paper leaves, comprising a total of 243 designs on rectos and versos of 140 leaves, leaves not numbered consecutively and some inverted but overall complete, each design being shown both in black India ink and in coloured inks of up to 12 colours, some occasional minor spotting, creasing and marginal fraying, title repaired at margins and with following leaf of designs partly adhered at inner margins, 4 numbered leaves with closed tears (65, 1, 11 & 7), original paper wrappers with ink title in block capitals to upper cover, browned, torn and repaired with modern paper backstrip, folio (31 x 21cm) (1)

£500 - £700

92 Embroidery samples album. Mustersam[m]lung für Pauline Häck den 4. Oktober 1849 [manuscript cover title], [Germany], circa 1850, an album containing one baby bib and 303 bobbin and crotchet lace samples, a few specimens slightly browned, stitched onto rectos (and a few versos) of 31 leaves with green brushed paper to rectos, contemporary half calf over marbled boards with manuscript title label and broken cloth ties, rubbed, 4to (27.5 x 19cm) (1)

Lot 92 31

£400 - £600

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93* Fabric. A small collection of Spitalﬁelds & other early fragments, mid 18th-early19th century, 12 pieces of brocade or damask, with various ﬂoral patterns, in a variety of colours and shapes, some taken from garments, a few incorporating metallic threads, 1 or 2 matching pieces, occasional holes or wear, largest (a pieced portion of early red silvered brocade) 114 x 63cm (45 x 25ins), smallest 19 x 18cm (7.5 x 7ins), plus 3 smaller pieces similar (15)

£150 - £250

94* Hat pins. A boxed set of enamel and mother of pearl hat pins, early 20th century, 4 pins and 4 interchangeable circular heads, latter with enamel centres of blue, pink, green, or gold, bordered by mother of pearl, pins 23cm (9ins) long, heads 20.7cm (1in) diameter, set within original cream velvet and silk-lined paper-covered box with hinged lid and clasps, rubbed, box 32cm (11.5ins) long, together with 6 other hat pins, comprising: a silver hat pin with blue enamel circular head by Arthur Johnson Smith, hallmarked 1910, length 18.5cm (7.25ins); another circular enamel hat pin, stamped ‘sterling silver rims & backs’ on verso; a pair of white metal spherical ﬁligree hat pins; and 2 beaded hat pins (7)

96* Indian. A silk tunic, late 19th/early 20th century, yellow silk long tunic, with printed floral pattern, edged with brocade, 8 (of 9) large mother of pearl buttons to front opening (one detached), and 2 small mother of pearl buttons to one cuff (missing to other cuff), deep side slits, lined with yellow and red printed cotton, underarms somewhat stained and perished, and some edge-fraying and repaired tears, length 126cm (50ins), chest 84cm (33ins), sleeves 71.5cm (28ins), together with another Indian tunic, muslin embroidered with flowers (some wear), plus 13 other items, including: a 1920s appliqué panel with a pharaoh figure and other Egyptian motifs, mounted on a wooden baton for hanging, 141.5 x 45.5cm (56 x 18ins); a bright pink Indian silk skirt length with handembroidered repeated pattern, and border to one edge incorporating mirror work, some areas of wear, 187 x 73cm (73.5 x 29ins); a 19th century belt incorporating a small hanging pocket, heavily hand-embroidered in tambour work using metalled threads on blue grosgrain, the pocket lace-edged in matching thread, lined with turquoise silk, 189 x 7cm (35 x 2.75ins), pocket 12 x 10.5cm (4.75 x 4.25ins), excluding trim; an irregular-shaped pieced fragment of 19th century Chinese cream silk, hand-embroidered with birds, butterflies and flower sprays, some wear and stains, longest edges 132 x 63.5cm (52 x 25ins); and 2 other small pieces of Chinese handembroidery on yellow silk

£100 - £150

95* Hat pins. A silver hat pin, Welsh hat design, Charles Horner, 1911, hallmarked, on a steel pin, length 28.3cm (11ins), together with another of the same Welsh hat design, silver, hallmarked 1912, length 23cm (9ins), plus 8 other hat pins, comprising: 2 silver hat pins by Charles Horner, each with differing twisted art nouveau design, one hallmarked 1909, the other 1910; a pair of small art nouveau white metal hat pins by Charles Horner, stamped with maker’s mark; 2 differing Pearce & Thompson art nouveau thistle hat pins, each silver and set with citrine, hallmarked 1909 and 1911; and two other hat pins, possibly by Charles Horner (10) Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

(15)

97 No lot

£200 - £300

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99* Liberty. A ladies’ embroidered dress, 1930s, sleeveless long black dress of fine wool, lavishly embroidered all over with polychrome silks in tambour work to form floral decoration, notched collar, matching fabric belt tie (held on loops), and buttons (12 down front opening) all similarly embellished, printed Liberty label at nape, occasional unexceptionable tiny holes and neat repairs, lacking a closure (hook?) at waist, bust 99cm (39ins), waist 73.5cm (29ins), length 137cm (54ins), together with a circa 1880 gown apron front of black net embroidered all over with small black bugle bead stars, with waist decoration and ties of jet, lined with fine muslin, occasional small holes, mostly to lining, length 110.5cm (43.5ins), waist 32cm (12.5ins), plus 5 other garments, early 20th century, comprising: a 1920s hand-made long pale blue muslin tea dress with dropped waist and embroidered lattice inserts to bodice, short sleeves, and skirt; a royal blue satin opera cloak by Strohbach, size 38; 2 1920s red wool embroidered dressing gowns, both incorporating metallic thread embroidery, one with occasional loose threads, and a few small holes in seams, the other with much of threadwork loose, one sleeve marked and with 2 holes, and lacking the waist tie; and a green silk knee-length coat by Lord & Taylor, some edge-wear and small holes (7)

£150 - £250

98* Lace. A Victorian wedding veil, probably Irish, cream tambour lace net veil, with scattered shamrocks and ﬂoral motifs, and ﬂower spray border and cornerpieces, scattered small holes, 212 x 190cm (83.5 x 75ins), together with a portion from another veil, and a Victorian wide lace collar (3)

£80 - £120

100* Manuscript Genealogy. The Family Chart of British Kings from the Norman Conquest to 1905, by F.A. Fairall, Aldershot, 1905, large cream glazed cotton chart, with calligraphic title at head and royal pedigree carefully delineated in pen & ink, accompanied by numerous portrait busts, heraldic motifs, medals and ensignias, crowns and coronets, ensigns, and country emblems, all in pen, ink, and watercolour, lower right corner inscribed ‘Designed and Drawn by F.A. Fairall. 119 Grosvenor Road, Aldershot, 1905’, toned and some fox spots, stained to left hand margin and with a 2” closed tear (not quite touching one of the portraits), edges frayed and creased, and with tack holes where previously mounted, 101.5 x 94cm (40 x 37ins) A most unusual large-scale production, painstakingly delineated by someone who clearly had some time to spare; perhaps intended for instruction in the classroom or nursery. (1) £100 - £150

Lot 99

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102* Needlework slips. A collection of slips, English, early 18th century, 12 crewelwork slips, in plant-dyed wools, in shades of green, pink, brown, and cream, depicting various ﬂoral and foliate motifs, worked in long and short stitch, satin stitch, French knots, bullion stitch, and stem stitch, some wear and loss of stitching, each stitched to a herringbone weave fabric, and sometime later laid down on a thick cream fabric backing, largest approximately 32 x 32cm (12.5 x12.5ins), smallest 6.5 x 9cm (2.5 x 3.5ins) (12)

£200 - £300

103 No lot

101* Mittens. A pair of silk mittens, English, circa 1760-1780, a pair of long silk ﬁngerless gloves, hand-stitched, cream silk taffeta lined with white kid, terminating at point over hand and with set-in thumb cut off at tip, serpentine open work band to underside of arm, edges and details neatly worked in herringbone stitch (lower edge of each mitt faggoted), some fading, soiling, and wear, length approximately 37cm (14.5ins), together with two brown labels inscribed in ink in an early-mid 20th century hand, indicating that the mittens were lent for exhibition by Mrs. de la Hey of North Cerney House near Cirencester Rare early mittens. Very similar to two pairs of mittens in The Art Museums of Colonial Williamsburg (see object numbers 1985-216,1 and 1985-217,1). The stitching on these mitts is stretchy and therefore facilitates expansion when the gloves are taken on and off, thereby adding a practical as well as a decorative element. (2) £150 - £200

104* Ottoman. A Turkish towel, 19th century, ﬁne cream linen, with wide ﬂoral polychrome and metal thread hand-embroidered border at each fringed end, occasional minor loose threads, a couple of small holes (not affecting embroidery), small tear to one corner just touching embroidery, 148.5 x 48cm (58.5 x 19ins), together with 6 other Ottoman Empire embroidered towels or similar, various sizes and condition Lot 102

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

(7)

£200 - £300

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106* Sampler. A Quaker sampler by Mary Hesletine, York School, 1791, oval cross-stitch sampler, worked in black thread on fine linen, with ‘York School’ above various Arabic numerals and alphabets, with 4-line stanza below, and the maker’s name and date to lower margin, all within a stitched oval border, faintly foxed and with scattered small holes, occasionally just touching embroidery, 25.3 x 30.3cm (10 x 12ins), oval mount, together with: Sampler. A needlework sampler by Susette Judith Clement, 1843, cross-stitch sampler, worked in various colours on fine linen, with bands of letters and decoration above a 2 stanza poem ‘God is Love’ flanked by birds and lyres, with maker’s name and date below between cornucopia motifs, linen toned, some small holes and minor losses, 34.7 x 24.3cm (13.75 x 9.5ins), framed and glazed, plus two other needlework pieces: an 18th century embroidered picture of a flower urn containing sprays of lilies, tulips, carnations, and roses, worked in silks in shades of pink, green, and blue, and the urn incorporating spangles and metalled threads, on cream silk, latter perished with repairs, sometime later stitch-mounted into thick cream fabric, incorporating an over-lay of consolidating net to most of embroidery, 48 x 35.5cm (19 x 15ins); and an early 20th century wall sampler by Rosa de Clercq (born 1892), dated 1902-3, worked in red cross-stitch on 2 canvas panels, with various letters, numbers, and ‘hemelsdaele’, interspersed with panels of tucking/hemming, inserts of crocheted lace, an example of soutache embroidery, and a knitted sample within stem-stitch patterns, losses to embroidery, bordered and backed with yellow fabric, 104 x 32cm (41 x 12.5ins)

105* Regency embroidery. A collection of fabrics & pocket books, late 18th/early 19th century, 10 pieces of silk or satin, each embroidered with silks or ribbons, including: a hand-pieced portion of a skirt, cream satin, finely hand-worked in tambour stitch and ribbons with all-over pattern of flower and bow sprigs, a couple of small areas with marked-up pattern visible where unpicked, generally marked, some loose stitches, approximately 142.4 x 98cm (60 x 38.5ins); a hand-stitched cream silk fichu with fringed edging, 2 sides finely hand-worked with scrolling border of ribbons, flowers, and peacock feathers, in tambour stitch and ribbon embroidery, incorporating metal threads and tiny spangles, toned and spotted, fabric perishing in places, embroidered sides approximately 76cm (30ins); 3 small irregular fragments from a gown, cream satin, finely hand-worked in tambour stitch with floral sprays, peacock feathers, and bows and tassels, some holes and marks; and 4 ladies’ pocket books, worn, each hand-embroidered, some incorporating metal threads and spangles, one with stitched initials and date of 1808 (14)

Rare early Quaker sampler. 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: ‘Would’st thou in safety plough th’ inconstant tide,/The helm let prudence ever watchful guide./She shuns the deep, where mountain-billows roar./And shuns alike the shallows and the shore.’ 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. Susette Judith Clement was born in Panfield, Essex, in 1828, and died in Brentwood in 1891. She married David Rist and they produced a son named William. The two verses are taken from Thomas Moore’s hymn ‘There’s nothing bright, above, below,/From flowers that bloom to stars that glow ...’. (4) £500 - £700

£200 - £300

Lot 106

107* Slipper fronts. A pair of 18th century slipper fronts, possibly Ottoman Empire, each with pressed and engraved steel mounts decorated with a vase of ﬂowers, birds, and entwining foliate tendrils, one with a few breaks, hand-stitched onto a red felt cloth base, 12 x 14cm (4.75 x 5.5ins) Provenance: Collection of Jack Webb (1923-2019), London. A pair of rare and highly decorative slipper fronts, clearly once owned and worn by a person of status. (2) £200 - £300

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109* Toiles de Jouy . A collection of fabrics, late 18th century and later, 14 pieces of Toiles de Jouy fabric, printed in raspberry on a white cotton or linen ground, various patterns showing classical ﬁgures, putti, a wedding party outside a village church, dogs, sheep, a cat, children at play, including 4 pieces of ‘l’Amour et l’Amitié’ (‘Love and Friendship’) and 5 hand-quilted pieces, a couple with braided trim, some portions pieced, a few faded, some marks and holes, largest (pieced) 167.5 x 42cm (66 x 16.5ins), smallest 30 x 18cm (12 x 7ins), together with 10 other small fragments of Toiles de Jouy fabric and similar, including one piece in blue titled ‘Le Printemps’ and 2 of hunting scenes in mustard (and a matching pin cushion), plus a fragment of early French Vichy fabric, some holes, 116 x 34cm (45.5 x 13ins) (26)

£100 - £150

108* Spitalfields. A deconstructed gown of mid-late 18th century brocade, circa 1840s, comprising a hand-stitched bodice and skirt (and a matching small fragment) of figured cream silk, woven with large flower sprays, including roses, carnations, and lilies, in shades of pink, green, blue, and yellow, the lined bodice boned and fitted, and with short sleeves, the skirt opened out at side seam and comprising a number of joined pieces, stiffened on reverse with canvas, a few remnants of pink silk lining extant, some light soiling and wear, but colours bright, skirt dimensions: length 101.5cm (40ins), waist 82.5cm (32.5ins), hem 239cm (94ins) (3)

£200 - £300

110* WWII Escape Map. Scandinavia and the Baltic, circa 1940, ivory rayon printed on both sides in black and red with a map of Scandinavia, ‘Top Half’ to one side and ‘Lower Half’ to the other, former with heading ‘International Boundaries, 1st April 1940, International Boundaries 1st Sept. 1939, Partition of Poland, Sept. 1939’, a couple of small faint marks, hem becoming unstitched in a few places and slightly frayed, 48 x 58cm (19 x 22.75ins), together with: Derby Winners. Silk scarf, 1927, cream silk scarf printed with illustration of Call Boy ridden by Charlie Elliott, winner of the 1927 Derby, surrounded by the names of all the Derby winners from 17801927, all printed in black, with royal blue border, some faint fox spots and small holes, a little dust-soiled in 1 or 2 places, 91.5 x 84cm (36 x 33ins), together with 2 other scarves, including a silk scarf with colourful all-over design featuring ﬂags of various countries of the world, the border incorporating 8 illustrations of galleons and other sailing ships printed in black, worn, 86 x 79cm (34 x 31ins) A Second World War escape map in very good condition. Such maps were produced by the Allies for use by airmen in the event of being shot down over enemy occupied territory; some were also smuggled into prisoner of war camps in Germany in order to aid escape. (4) £100 - £150

Lot 109

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

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SILVER & JEWELLERY

Lot 112

111* American Silver. A silver milk jug by Richard & William Wilson, Philadelphia c.1815, of helmet shape form with organic decoration and engraved with initials and scroll handle on conforming pedestal foot, clear marks to the underside of the base, 19cm high, approximately 7oz (1)

£150 - £200

112* American Silver. A silver soup ladle by Thomas Underhill, New York c.1785, of plain form engraved with initials, stamped twice with makers initals ‘T.U.’, 35cm long, approximately 6oz (1)

£150 - £200

113* American Silver. An American silver ﬁddle pattern stufﬁng spoon by Robert Wilson, Philadelphia c.1810, engraved with initials, there is a cut in the silver where the bowl meets the stem, marked ‘RW’ but no other markings, 30cm long, approximately 3.5oz long (1)

£100 - £150

Lot 113

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115* Creamer. A George II silver creamer by Walter Brind, London 1759, of baluster form with scroll handle on three cabriole supports with pad feet, 10cm, approximately 3oz (1)

114* Australian Silver. An Australian silver ladle by Jacob Josephson, Sidney c.1820, of plain form engraved with a ‘B’, stamped with makers mark ‘JJ’ but no other markings, 32cm long, approximately 5oz and scarce (1)

116* Cup. A George III silver cup by Andrew Foelberg, London 1802, formerly used as a christening cup, of cylindrical tapered form engraved with four dates each with initials ‘Born 1799’, ‘Born 1831’, ‘Born 1879’, ‘1912’, engraved with wrigglework and scroll handle, gilded interior and nice clear marks, 8.2cm high, approximately 3.5oz

£200 - £300

(1)

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

£70 - £100

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119* Forks. A collection of silver table forks, including a George III ﬁddle pattern fork by Peter & William Bateman, London 1811, others by Samuel Hayne & Dudley Cater, London 1845, Henry Holland, London 1875, Richard Poulden, London 1821 and other forks, total weight approximately 37oz (15)

£300 - £500

117* Fish Slice. A Victorian silver fiddle pattern fish slice by Rettie & Son, Aberdeen 1851, engraved with initials and a finely pierced slice, 30cm long, approximately 4oz (1)

£80 - £120

120* Forks. A collection of silver table forks, including a set of 6 Victorian ﬁddle and shell pattern forks by Henry Hutton & Co, Shefﬁeld 1890, a set of 4 Victorian forks by George William Adams, London 1848 and other forks, total weight approximately 36oz (14)

£300 - £500

118* Forks. A collection of silver table forks, including 3 George III ﬁddle pattern forks by Alexander Hendersom, Edinburgh 1812, a pair by Anne Robertson, Newcastle 1807, a pair by Richard Crossley, London 1799 and other forks, total weight approximately 37oz (15)

£300 - £500

121* Forks. A collection of table and dessert forks, including 3 George III table forks by George Smith & William Fearn, London 1790, a set of 4 Victorian dessert forks by George Maudsley Jackson & David Landsborough, London 1901 and other forks, total weight approximately 27oz (15)

Lot 119

£200 - £300

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122* Forks. A collection of table and dessert forks, including a George III table fork by John Hampston & John Prince, York 1790, a table fork by John Walton, Newcastle 1818, a table fork by James Le Bas, Dublin 1838, an 18th century table fork with marks for the Hague, Holland, a set of 4 table forks by William Eley, London 1821 and other forks, total weight approximately 42oz (25)

£400 - £600

Lot 124

Lot 125

124* Meat Skewer. A George III silver meat skewer by Smith & Fern, London 1789, of plain form with ring terminal, 30cm long, approximately 2.5oz (1)

125* Meat Skewer. A George III silver meat skewer by William Sumner, London 1784, of plain form engraved with a coronet and with ring terminal, 33.4cm long, approximately 3oz

123* Ladles. A collection of silver ladles, including a Victorian fiddle pattern sifter spoon by Thomas Byne, Exeter 1842, a Victorian Scottish Elgin fiddle pattern ladle by Joseph Pozzi & Robert Stewart, a fiddle and shell pattern ladle by William Marshall, Edinburgh 1842 and other spoons, total weight approximately 11oz (10)

£80 - £120

(1)

£100 - £150

126* Mixed Silver. A collection of silver, including an 18th picture back mote spoon, a pair of coasters, Shefﬁeld 1911, a large ladle, 8 napkin rings and other items, weighable silver approximately 34oz

£100 - £150

(21)

£300 - £500

127* Mixed Silver. A collection of silver, including dessert spoons, table forks, sifter spoons and other items, total weight approximately 41oz (30)

£300 - £400

128* Mixed Silver. A mixed collection of silver items, including glass inkwell with hinged silver lid on a silver navette shaped stand by James Deaking & Sons, Shefﬁeld 1906, a 4 piece condiment set comprising 2 mustard pots and 2 salts, Birmingham 1945, 3 George III silver handle knives with steel blades c.1780 and other items, weighable silver approximately 14oz (19)

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

£100 - £150

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Lot 130

131* Serving Fork. A Victorian silver ﬁddle and thread serving fork by John & Henry Lias, London 1847, engraved with ‘C’, 28cm long, heavy gauge weighing approximately 7oz

129* Paul Storr. A George III silver cheese scoop by Paul Storr, London 1817, ﬁddle, thread and shell pattern engraved with a family crest depicting a horse on a coronet, good clear marks, 23.5cm long, approximately 3oz (1)

(1)

£300 - £500

132* Snuff Box. A Continental silver snuff box, of oval form embossed with a shepherd boy and ﬂock, the sides with repeating neo-classical decoration, hallmarked on side, 6.5cm long, together with a modern silver model of three squirrels (weighted), three Japanese netsuke including two boxwood both signed and other items

130* Serving Fork. A George III silver serving fork by Eley, Fern & Chawner, London 1812, of plain form engraved with a family crest, 28cm long, approximately 4oz (1)

£80 - £120

£100 - £150

(7)

£70 - £100

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135* Spoons. A collection of silver dessert spoons, including 3 George III spoons by Thomas Wallis & Jonathan Hayne, London 1817, a pair of George III spoons by George Smith & William Fearn, London 1788, a pair of George III spoons by William Eley, London 1808, plus various single spoons including a Victorian cased spoon by Samuel Whitford, London 1884, total weight approximately 26oz (18)

£200 - £300

133* Snuff Box. A George III oval silver snuff box by Phipps & Robinson 1801, engraved with a wreath and wrigglework border, the base formerly hinged but now secured ﬁrmly and inoperable, 7cm long, approximately 2.5oz, together with a George III silver and steel carving set by Moses Brent, London 1788, the reeded silver grips engraved with a family crest depicting a unicorns head, the knife 34cm long, weighted (3)

£80 - £120

136* Spoons. A collection of silver dessert spoons, including a set of 6 George III spoons by Alexander Rollo, Edinburgh 1812, a pair by James McKay, Edinburgh 1825 a set of 4 probably by Thomas Chawner, single spoons including David Reid, Newcastle 1861, Josiah Williams & Co, Exeter 1875, Smith & Gamble, Dublin 1831 and other spoons, total weight approximately 26oz (23)

£200 - £300

137* Spoons. A collection of silver serving spoons, including a George III spoon by Hester Bateman, London 1785, another by William Welch II, Exeter 1805 and other spoons, total weight approximately 33oz (12)

£300 - £500

134* Spoons. A collection of dessert and table spoons, including a set of 6 Victorian ﬁddle pattern spoons by Thomas Hart Stone, Exeter 1863, a pair by William Woodman, Exeter 1823, a set of 4 by Jonathan Hayne, London 1831, a pair by Edwin Henry Sweet, Exeter 1853 and other spoons, total weight approximately 40oz (25)

£400 - £600

138* Sugar Tongs. A collection of silver sugar tongs, including a pair of colonial tongs probably Calcutta or Madras by Thomas Gordon c.1825, ﬁddle pattern with shell bowls (with a detailed letter dated 1979), a George III bright-cut pair by Peter & William Bateman, London 1807, another George III pair makers mark worn, Newcastle c.1800, a Scottish Provincial pair by George Sangster, Aberdeen c.1870 with shell bowls and other tongs, total weight approximately 10oz (8)

Lot 135

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

£100 - £150

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139* Teaspoons. A collection of silver teaspoons, including a set of 10 Victorian teaspoons by Wakely & Wheeler, London 1890, engraved with ﬂoral decoration, total weight approximately 39oz (approximately 70)

£300 - £500

140* Toddy Ladle. A George III silver-gilt toddy ladle by John Shea, London 1809, ﬁnely engraved with a repeating folitate decoration and twisted stem leading to an urn shape terminal, the bowl similarly engraved and richly gilded throughout, 37cm long, approximately 2.5oz (1)

£100 - £150

141* Ring. An 18ct gold & platinum diamond and ruby ring, the large facet cut ruby surrounded by 30 brilliant-cut diamonds presented in an illusion setting, the ring stamped 18ct & Plat, size K/L, total weight approximately 6.7g (1)

£400 - £600

142* Ring. An 18ct gold diamond cluster ring, set with a large central brilliant-cut stone surrounded by 21 smaller stones, stamped 18ct, size P, total weight approximately 7g (1)

Lot 140

£400 - £600

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WATCHES

144* Cartier. A modern ladies le must de Cartier silver-gilt wristwatch, circular black dial gold makers markings with Swiss movement, the backplate stamped ‘Cartier Paris 925 Quartz Argent Plaque or G-20 Swiss 18 039333’ on a snakeskin strap, with original red and gilt leather box and paperwork contained in similar wallets (1)

£200 - £300

143* Rolex. A gentleman’s Rolex Oyster Perpetual Submariner wristwatch, serial number U286797 (1997), gold and stainless steel with blue bezel and dial, Oyster bracelet numbered 93153 401B, in excellent fully working condition with original green leather and cardboard box plus Rolex Ofﬁcial Chronometer Certiﬁcation booklet and three Rolex promotional booklets

145* Pocket Watch. A fine Victorian enamel pocket watch, with white enamel dial, black roman numerals interspersed with stars, similarly decorated around the blued steel hands, the silver-gilt case embellished with pearls and the back with a fine enamelled portrait of a young woman, the hinged cover enclosing a very fine gilt metal movement housed under glass with hallmarks for London 1844 and numbered 83242, with key

(1)

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

£5,000 - £7,000

£300 - £500

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146 Pocket Watch. A French yellow metal ladies fob watch c.1900, with engraved gold dial, black roman numerals and hands, elaborate foliate case, the back inset with pearls on a black enamel ground, the inner cover engraved ‘No 2943 Echappement A Cylindre QuatreTrous En Rubis, J. Muller’ with a ﬁne yellow metal chain with brooch ﬁtting inset with pearls, contained in a Fattorini & Sons box with key (1)

147 Pocket Watch. An 18th century pair case pocket watch by John Downes, London c.1750, with white enamel dial, black Roman numerals and gold hands, with verge fusee movement and signed and numbered 2671, the outer case with tortoiseshell veneer but in poor condition, with key (1)

£200 - £300

£150 - £200

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CERAMICS & GLASS 148* 1st Earl of Durham. A ﬁne Wear Flint Glass Company ﬁnger bowl c.1820, the heavily cut glass bowl with mitre cut lozenges and coat of arms of John Lambton, 1st Earl of Durham, the crest having a rams head above a shield, with the motto beneath ‘Le Jour Viendra’ (The Day Will Come), signed Greener Sculpt, minor chips notably around the top rim and a more obvious chip to the lower section of one of the shaped rims, 10cm high x 14cm diameter Provenance: Collection of Jack Webb (1923-2019), London. The lot includes two magazine cuttings, one from County Life c.1976 featuring a wine goblet from the same service (Alan Tillman (Antiques) Ltd). John George Lambton, 1st Earl of Durham, GCB (1792-1840) was a Whig statesman, colonial administrator, Governor-General and high commissioner of British North America, also known as “Radical Jack”. He was prominent in many reform movements, especially the Reform Act of 1832, and played a key role in the colonisation of New Zealand. On 12 September 1823, the Wear Flint Glass Company, Sunderland, took part in a procession through the streets of Newcastle and Gateshead. The Tyne Mercury records ‘A Prince of Wales decanter and four wines, engraved with the arms of J G Lambton Esq.’ as being among the glass carried aloft by the men. The John Hutton glass collection (1992) refers to and also features a similar (if not the same) goblet featured in the magazine cutting referred to above. (1) £200 - £300

Lot 148 149* Baccarat. A 19th century clear glass vase probably Baccarat, the ﬂat tapered vase with koi carp moulded decoration, chips to the inner rim of the neck, some scratches, 24cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

150* Decanters. A George III glass mallet shape decanter, with slice cut decoration, replacement mushroom stopper, 25cm high, together with a ﬁne pair of Victorian cut glass decanters, each of mallet form engraved with exotic birds and grape and vine decoration, the teardrop stoppers similarly engraved, 29cm high, a pair of Victorian cut glass decanters each with tot glass stopper, 24.5cm high plus six cut glass tumblers and an early 20th century Continental blue glass vase with printed decoration depicting Napoleon, 32cm high (12)

£100 - £150

151* Mixed Glassware. An 18th century cordial glass, with cotton twist stem, damaged, 17.5cm high together with another cotton twist glass, damaged, 18th century blue glass pedestal bowl with enamel decoration, old staple repair, 12cm high, a Victorian heavily cut glass goblet, 14cm high, a 17th century onion shape bottle with a deep lustre ﬁnish, damaged, 15cm high and other items Provenance: Collection of Jack Webb (1923-2019), London. (11)

Lot 149

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

£70 - £100

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152* Moon ﬂask. A late 19th century purple and pink glass overlay japonaserie moon ﬂask, engraved with a newt amongst foliage, the opposite side similarly engraved, the neck, handles and foot cut with grooves, 20cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

153* Queen Charlotte. An 18th century glass bowl, c.1790, the oval bowl heavily cut with turret edge and bearing the cypher of Queen Charlotte with a crown and swags, 7cm high x 26cm wide Provenance: Collection of Jack Webb (1923-2019), London. Charlotte of Mecklenburg-Strelitz (1744-1818) was the wife of George III. (1) £200 - £300

154* Tumbler. A Victorian glass presentation tumbler 1897, engraved with the inscription ‘Annie Davis, Esto Memor Brevis Aevi, November, XVI. MDCCCXCVII’, with an olive branch beneath and a spray of ﬂowers, slice cut with star cut base, 9.5cm high, presented in a mahogany box with key and manuscript notes detailing the history of the piece Provenance: Collection of Jack Webb (1923-2019), London. The notes read as follows ‘It is to be hoped and requested that this record and box be kept by those claiming the tumbler in order that in years going by the history of the same may be known, D.W. Darling (Darnell William Darling). Translation of motto on tumbler ‘be mindful of the shortness of life, November 16th 1897’. (1) £70 - £100

Lot 152

155* Uiterwaal (Stephanus Albertus, 1889-1960). Madonna and Child, Leerdam, 1929, frosted glass sculpture, factory mark to base, 37cm (14 in) (1)

£100 - £150

156* Webster (Jane). A curved glass diamond point engraving 1979, the curved glass ﬁnely engraved with a rural landscape, signed and dated lower right, mounted on a composite base, 47cm wide x 30cm high Provenance: Collection of Jack Webb (1923-2019), London. Sold with an exhibition catalogue, Glass Engraving Resurgent, The wWork of the Guild of Glass Engravers, Ashmolean Museum 1979, which features work by Jane Webster. (1) £100 - £150

Lot 153

Lot 155

Lot 156 47

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159* Coalport. A George III “Warwick vase” probably by Coalport c.1820, the elaborate vase with grape and vine moulded handles and decoration with a presentation inscription ‘TO MR JAMES HEATHER SENIOR, A humble, though grateful tribute, expressive and respectful Attachment, and grateful sentiments, for protection offered, and favours received, from the hands of the respected Individual to whom this triﬂe is presented, by a select few who have experienced his Benignant Patronage 1820’, painted with ﬂoral sprays on a square pedestal base, unmarked, 26cm high x 35cm wide Provenance: Collection of Jack Webb (1923-2019), London. (1)

£100 - £150

157* WMF. An early 20th century WMF myra glass bowl, with an iridescent crackle ﬁnish on a pronounced foot, 28cm diameter, displayed on a Chinese hardwood stand Provenance: Collection of Jack Webb (1923-2019), London. (1)

160* Communism. A pair of modern Chinese porcelain half busts modelled as Karl Marx and Joseph Stalin, the base with Chinese moulded characters, both restored, 26cm high

£70 - £100

158* Blue and White. An 18th century Chinoiserie coffee pot, painted with pagodas, with domed cover and knop, moulded spout and handle, hairline crack, 24cm high, together with a collection of early 19th century and later blue and white ceramics including a pair of meat plates printed with insects and foliage, one with impressed Spode mark the other printed, 42 and 43cm long, a Spode tureen decorated in the ‘Carmanian Series’ c.1810, with cover, impressed Spode mark to base, 20cm long, an ocatagonal bowl by Heathcote & Co, printed with a shepherd boy and cattle before a country house, 28cm long and other items

Each with a QC code IconApp (Iconastas Russian Art, London). (2) £100 - £150

Provenance: Collection of Jack Webb (1923-2019), London. (10) £100 - £200

161* Communism. A Chinese mid 20th century porcelain ﬁgural group modelled as Mao and Lenin, Lenin seated with hand resting on Mao, on an oval base, restored, 35cm high (1)

Lot 159

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

£100 - £150

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Lot 163

Lot 164

162* Dessert Service. A Victorian porcelain dessert service, comprising, pedestal fruit bowl, 17 plates and 6 bowls, all painted with ﬂoral sprays on a white and peach coloured ground, some pieces damaged notably the fruit bowl and general rubbing to the gilding, 18.5cm high x 31cm high, the plates 23cm across (24)

165* Flask. A novelty pottery ﬂask probably 19th century, modelled as the head of a man with long side burns, the two handled ﬂask with a cream glaze and damaged, 21cm high Provenance: Collection of Jack Webb (1923-2019), London. (1)

£70 - £100

163* Drug Jar. A 19th century Italian majolica drug jar, for E. Rabarb., decorated with a hunting scene with two rope-twist handles, N mark painted on base, some damage notably to the rim, 35cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

164* English Ceramics. A mixed collection of 18th century porcelain including three teabowls, one in the famille rose style and two blue and white decorated with pagodas, together with four blue and white saucers, all different including one with an old label inscribed ‘P. Christian 1765-76 c.1770’, 13cm diameter (damaged), a 19th century blue and white delft serving plate probably Dutch, 32cm long and other items, some pieces damaged Philip Christian worked at the Liverpool factory. (a carton)

£70 - £100

166* George III. A rare Wedgwood white ware Jubilee pattern teapot and cover c.1810, of octagonal form printed with a portrait medallion of George III and badge and chain of the Order of the Garter, with overpainted ﬂowers on a stippled geranium coloured ground, the handle and spout gilded, the spout is chipped and the underside of the inner rim of the teapot has three chips, there is some general rubbing to the gilding, 24cm long Provenance: Collection of Jack Webb (1923-2019), London. Sold with a letter to the owner from The Antiques Dealer and Collectors’ Guide dated 15 October 1956, in which they identify the teapot as a specimen. The set was executed by royal command and presented to King George III by his family on his jubilee in 1810. The set may have been made under the personal direction of his daughter, Princess Elizabeth, as the princess herself was an artist of talent, studying under Gainsborough. The engraver who carried out the designs for the insignia of the Order of the Garter was John Robinson, whose name is entered in Wedgwood’s account books. Sets of Jubilee ware, though made for the royalty, were put on sale in the ﬁrm’s London showrooms (Country Life, 22 November 1962, refers). (1) £200 - £300

Lot 165

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172* Nelson (Horatio, 1758-1805). An early 19th century Delft bowl, polychrome painted with a portrait of Admiral Lord Nelson and Flagship, additionally decorated with ﬂoral sprays, vertical stress cracks to the rim and general crazing, 29cm diameter (1)

167* Jug. A George III period oversized pottery jug by Chetham & Woolley c. 1796-1810, relief decorated with huntsmen and hounds, brown painted spout collar and handle, old restoration and rivets to the spout and neck, 30cm high Provenance: Collection of Jack Webb (1923-2019), London. (1)

173 Royal Crown Derby. A large ‘Posy’ pattern dinner service, comprising 10 dinner plates, 6 side plates, 7 smaller side plates, 13 sandwich plates, 9 tea cups, 9 saucers, 2 twin handle bowls, 2 large teapots, 2 bachelor teapots, coffee pot, 2 lidded sugar pots, 6 various milk and cream jugs, jug, sauce boat and stand, meat plate, 3 various plates, sugar bowl, 7 small dishes (various shapes), tea strainer, spoon and knife, some damage but generally in good condition

£70 - £100

168* Mixed Ceramics. A collection including a Royal Worcester porcelain wall plaque painted by Bryan Cox, showing a Nuthatch on a branch, 16 x 11.5cm, mount aperture, gilt frame, frame size 31 x 26.5cm, together with a pair of vases by the same artist showing a Green Woodpecker and a Kingﬁsher on the opposite side on a yellow ground, the base titled and signed by the artist, the other vase showing a Chafﬁnch and a Robin,17.5cm high, a Royal Worcester fruit painted cylindrical vase by K. Blake (damaged) 16cm high, Royal Worcester “Heritage Collection” urn and cover and other items (11)

£300 - £500

(2 cartons)

£200 - £300

£100 - £150

169* Mixed Ceramics. A collection of ceramic birds, including a Herend Cockrel, 25cm high, Royal Crown Derby Green Woodpecker (boxed), Royal Crown Staffordshire Flycatcher by Doris Lindner, Royal Crown Derby Blue Tit (boxed), Royal Crown Derby Long Tailed Tit (boxed), and other animals including a Royal Crown Staffordshire “Hare” by B. Linley Adams (10)

£70 - £100

170* Mixed Ceramics. A collection of decorative ceramics, including a plaster model of Temple Bar, London, housed in a glass display cabinet, 17cm high x 22cm wide x 16cm deep, a pottery plate printed in green with presentation inscription ‘In works of labour or of skill I would be busy too. For Satan ﬁnds some mischief still for idle hands to do’ ‘Presented to the prisoners of White Cross St Prison by Charles Pearson Govr Pro Tem 1858’, Copeland Spode mark to base and old printed label ‘James Blewitt Boxted Hall Colchester, general crazing, 27cm diameter and other items including a Chinese celadon ﬁgure of Guanyin, crazed and damaged, 15cm high Provenance: Collection of Jack Webb (1923-2019), London. (14)

£70 - £100

174 Royal Doulton. A collection of dog brooches, comprising a German Shepherd, Beagle (damaged) and two other both lacking pin back

171* Mixed Ceramics. A collection of decorative ceramics, including a Royal Worcester coffee set, comprising 6 coffee cans and 6 saucers each painted with ﬂowers, black marks, contained in original cardboard box (unused), together with various late 18/19th century ceramics including a Flight Barr & Barr cup painted with Goodrich Castle on the River Wye (poor condition), another Flight Barr & Barr cup with ﬂoral decoration (damaged), a continental porcelain pug dog 13.5cm high and other items (3 cartons) Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

(4)

£100 - £200

£70 - £100

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176* Royal Worcester. “Cat Eating” modelled by Stella R. Crofts (2897), purple mark, 15cm long (1)

£100 - £150

177* Royal Worcester. “Sheep” modelled by Bargas (3155), green mark, 13cm long (1)

£200 - £300

175 Royal Doulton. A unusual Victorian salt glaze stoneware fire hydrant jug by Frank Butler c.1890, finely detailed in the form of a fire hydrant with beaded and scroll decoration, the cover with raided knop, the base with impressed Doulton stamp, England and 8162, incised artist monogram, and numbered 589, small firing crack to rim of interior otherwise in good condition, 23cm high (1)

£200 - £300

178* Royal Worcester. A collection of animal brooches, mostly dogs and birds, comprising two foxes, 7.5cm long, Sealyham, Dandy Dinmont, Fox Hound, Cocker Spaniel, Pekingnese, Wire Haired Terrier, Peke, Robin, Penguin, two Kingﬁsher, Perch, Snipe and a Parroquet (16)

£200 - £300

Lot 176

179* Royal Worcester. A collection of animal menu holders, comprising Airedale (2959), Cocker Spaniel (2961), Alsation (2971), Collie (2963), Wire Haired Terrier (2970), Springer Spaniel (3007), West Highland Terrier (2969), Setter (2966), Field Spaniel (2962), Pheasant (2988), Owl (2980), plus a Crown Staffordshire menu holder of two hunting dogs (12)

Lot 177

£150 - £200

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Lot 180

Lot 183 180* Royal Worcester. A collection of cats modelled by F.G. Doughty, comprising three Short Haired Cats (3616), two Long Haired Cats (3615), black stamps, approximately 10cm high (5)

£100 - £150

181* Royal Worcester. A collection of coffee cans and saucers comprising, a Ptarmigan can and saucer by G. Banks, can 6cm high, saucer 12cm diameter, Golden Plover by L Maybury, together with mixed coffee cans and saucers (all non matching), artists include James Stinton, P.H. Platt and other artists, some damage (19)

Lot 181

£200 - £300

182* Royal Worcester. A collection of dogs including Ranter by Miss A. Ellis, matt glaze (3356) purple mark, 11.5cm long, a spaniel catching a pheasant (3311) black mark (damaged) 16cm long, plus 2934, 3033 and another (5)

£100 - £150

183* Royal Worcester. A collection of fox and hounds, comprising three fox cubs (3131), purple mark, “Fox” modelled by Doris Lindner (2997) purple mark, 13.5cm long, a similar piece modelled as a hound (2996) purple mark, 13cm long, “Fox” modelled by Doris Lindner (2950) and “Hound” by the same modeller (2951), both on a curved base with purple mark, 10cm long, two further hounds numbered 3528 and 3571, plus two foxes numbered 3527 and 3570

Lot 182

(9)

£200 - £300

184* Royal Worcester. A collection of tea cups and saucers, comprising, a pheasant cup and saucer by James Stinton, tea cup 5cm high, saucer 9.5cm diameter, another of sheep by E. Barker (hairline to the cup), three fruit painted cups and saucers by W. Hale and two by Ricketts (with hairline to the saucer), together with an assortment of mixed tea cups and saucers (all non matching) (18)

Lot 184 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

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189* Royal Worcester. A pair of bookends, modelled as “Sam” the Polar Bear by Ethelwyn Baker, hairline cracks, 16.5cm high mounted on wooden stands (1)

£70 - £100

185* Royal Worcester. A collection of Zoo Babies, comprising a pair of bears (3315) purple stamp, 15cm long, a pair of lion cubs (lacking any marks), 15cm long, a pair of leopard cubs (lacking number and restored) purple mark, 15cm long, a tiger (2780) purple mark, 11cm long plus three koalas (3273) purple mark, 12cm long, and a model of tiger cubs, (3318), black stamp, 16cm long (6)

£200 - £300

186* Royal Worcester. A large collection of porcelain birds, comprising Kingfisher (3235), Fledgling Wren, Yellow Hammer (3377), Thrush (3234), two Chaffinches (3364), two Coal Tits (3376), two Pied Woodpecker (3363), Blue Tits (3375), two Thrush (3234), two Linnets (3365), Yellow Hammers (3377), smaller birds comprise, Wren (3198), Nuthatch (3324), Western Tanager (3650), Waxwing (3648), Nightingale (3337), Blue Jay (3646), Blue Bird (3649), Hedge Sparrow (3333), Marsh Tit (3336), Blue Tit (3199), Sparrow (3236), Red Cardinal (3645), Goldfinch (3239), two Chaffinch (3240) (one damaged), Robin (3197), American Robin (3647), Gold Crest (3338), Bullfinch (3238), Great Tit (3335) and Wood Warbler (3200) (36)

£150 - £200

190* Royal Worcester. A pair of circular porcelain wall plaques painted with cats by Bryan Cox, one with a mother and her litter resting on a cushion, the other with a mother and her litter on a carpet with a ball of string close by, both signed lower right, 26cm diameter presented in gilt frames, frame size 43 x 43cm

187* Royal Worcester. A mixed collection mostly dogs, including a cocker spaniels desk calender modelled by Doris Lindner, 12cm long, a Royal Worcester cocker spaniel ashtray, another ashtray with a terrier on green onyx base, two desk calenders on onyx bases, pair of terriers and onyx bookends and other items (11)

(2)

£100 - £150

£150 - £200

188* Royal Worcester. A mixed collection of porcelain birds, comprising two large Woodpecker (3249), Jay (3248), together with smaller glazed birds, Robin (3197), Goldfinch (3239), Nuthatch (3334), Great Tit (3335), Thrush (3224), Chaffinch (3240), Bullfinch (3233), Gold Crest (3338), Wood Warbler (3200) and Wren (3198) (13)

£80 - £120

191* Royal Worcester. A small vase and cover decorated with pheasants by James Stinton, the ovoid vase with pierced and gilt painted rim and foot, numbered 278 H, purple mark to base, 9cm high (1)

Lot 189 53

£100 - £150

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193* Royal Worcester. “Foals” modelled by Doris Lindner (3152), green mark, 13cm long together with “Foal” modelled by Geraldine Blake (3187), 15cm long (2)

£100 - £200

194* Royal Worcester. Fox and Hound models, numbered 2993 and 2994 (fox with hairline cracks on base), purple marks, 18cm high together with a similar pair of wall masks numbered 3024 and 3025, black marks, fox 12cm long, hound 10cm (4)

£150 - £200

192* Royal Worcester. A Royal Worcester vase decorated with highland sheep by Ernest Barker, the long slender vase with pierced neck on four scroll feet, green mark to base, 15cm (1)

195* Royal Worcester. ‘Maytime’ by Doris Lindner, modelled as two lambs (3123) green mark, 10cm long

£200 - £300

(1)

£100 - £150

196* Royal Worcester. Two calf models by Stella R. Crofts, (2896), purple marks, 7.5cm long (2)

Lot 193

Lot 194

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

£150 - £200

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Lot 197

Lot 199 197* Wedgwood. A pair of 19th century ‘Dancing Hours’ black basalt urns, each decorated in high relief with a procession of girls holding hands with two bacchanalian handles on a socle base with square foot, impressed Wedgwood mark to base, each lacking cover, both with a handle crudely restored and one with chips to the base, 20cm high, together with a similar Wedgwood urn (damaged) plus an 18th century mottled brown marble urn, carved with Vitruvian scrolls and bucranium skulls united by swags, on a gilt metal socle with circular foot, lacking monopodium handles, 21cm high Provenance: Collection of Jack Webb (1923-2019), London. Dancing Hours is attributed to John Flaxman (1755-1826) and dated to c.1778. It was a popular choice notably incorporated in friezes and ﬁre surrounds. The Dancing Hours depicts the classical Horae, personiﬁcations of the hours of the day. (4) £100 - £150

198* Wilson (John, 1785-1854). A Victorian Copeland parian ﬁgure of the writer Professor John Wilson, modelled standing with a robe across his shoulder, one hand holding a scroll resting on a column, the base impressed ‘Jn Steell. R.S.A. Sculpt. F. linr 1866’, the rear ‘Royal Association Edinburgh Published August 1866 Copeland’, 45cm high Provenance: Collection of Jack Webb (1923-2019), London. John Wilson of Elleray FRSE (1785-1854) Scottish advocate, literary critic and author, was also known under the pseudonym Christopher North of Blackwood’s Edinburgh Magazine. Wilson was Professor of Moral Philosophy at the University of Edinburgh from 1820-1851. (1) £70 - £100

199* Worcester. A Victorian Worcester copy of a Chinese armorial plate, with blue printed decoration bearing the arms of the Earl of Charlemont, the border representing the collar and the badge of the Order of St Patrick, blue printed mark to base for 1881, the glaze very scratched and some staining, minor chip to the underside rim, 24.5cm diameter Provenance: Collection of Jack Webb (1923-2019), London. James Caulﬁeld, 1st Earl of Charlemont KP PC (Ire), Irish statesman (17281799), was born in Dublin and had a passion for classical culture having spent nine years on a Grand Tour in Italy, Greece, Turkey and Egypt. After his return to Dublin he employed the Scottish architect Sir William Chambers to remodel his main residence Marino House into a unique neoclassical garden pavilion building, the Casino at Marino. He was also the ﬁrst president of the Royal Academy and in 1793 was made a founding Knight of the Order of St Patrick. (1) £100 - £150

Lot 198

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FOSSILS & MINERALS

200* Ammonite Plate. A multiple ammonite plate, Jurassic Period, Lyme Regis, Dorset, this piece has 3 Asteroceras and 8 Promicroceras on this lovely shard of rock, the largest ammonite measures 6.3cm across

202* Drotops Megalomanicus. One of the larger trilobites from the Devonian Period, Morocco, the specimen has been cleaned away from the surrounding rock and even the Hypostome has been revealed from the underside, measuring 13cm along its axis

(1)

This is a very well preserved example from the Lower Devonian of Morocco. (1) £200 - £300

£500 - £600

203* Fossil Starﬁsh. A Brittlestar, Ophiuroidea from the Middle Ordovician of El Kaid, Morocco, an attractive specimen with lots of ﬁne detail, the fossil is preserved in a coating of Limonite which gives the fossils its orange colouration, the matrix measures approx. 24cm x 14cm (1)

201* Cleoniceras. This Ammonite had been cut through its centre and then polished to reveal the intricate chambers which have been preserved in Calcite and Limestone, measuring approximately 17.5cm across A large and impressive display fossil. (1)

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

£150 - £200

£70 - £100

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Lot 204

205* Fossils & Minerals. A collection of fossils and minerals, including a Green River Formation ﬁsh from the Eocene Period of Wyoming, 19cm set in its matrix, three vertebrae, fossil wood section 40cm long, an ammonite inscribed Wedgnock Park 1889, 13cm across, iron pyrites, quartz crystal, a collection of polished hardstone eggs and other items

204* Fossil Wood. A large fossil wood section, Triassic Period, Madagascar, this fossil wood slice is polished on both sides, weighs several kilos and measures over 46cm across the face An interiors piece. (1)

£200 - £300

Provenance: Collection of Jack Webb (1923-2019), London. (2 cartons) £200 - £300

206* Hand Axes. A pair of Prehistoric hand axes, dating from the Acheulian period (between 1.2 million years and 500,000 years old), both found in North Africa and were fashioned by Homo Ergaster, an exceptional and very rare pair of axes that measures 14.5 and 18.5cm

Lot 205

(1)

£150 - £200

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207* Marston Magna Ammonite. A Marston Magna ammonite display fossil, Jurassic Period, Somerset, there has been over 80 hours of work to reveal all of the small ammonites, both sides of the rock have been cleaned to reveal hundreds of ammonite specimens, 28 x 27cm (1)

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

£2,000 - £3,000

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209* Neolithic Tools. A collection of Neolithic tools from the Leonard Newton Collection, including a collection of 9 Kintampo Neolithic items that were found and collected in the field during botanical fieldwork when Leonard Newton worked in Ghana, they feature in an article in the paper on the Kintampo Neolithic titled A Newly Discovered Site For The Kintampo ‘Neolithic’ Cultural Tradition Near Kumasi, together with 5 Discoid Scrapers (Neolithic found in Kenya), various Obsidian blades / points, Obsidian Lunates (Neolithic, Kenya) plus other items including 8 large Palaeolithic hand tools c.500,000 BC used by the Homo erectus in Kenya, largest 25cm, smallest 12cm (carton) £200 - £300 Many of the items were found in the course of some botanical field work on a granite outcrop near Kumasi Airport, several artificial holes and grooves on the exposed rock surfaces were spotted , and a number of artefacts were found lying around. The Kintampo were a Neolithic culture c.3500 years ago. (carton) £300 - £500

208* Megalodon Tooth. A large Megalodon Shark Tooth, Miocene Period of Java, a beautiful tooth with near perfect serrations throughout, the tooth measures approximately 15cm in length (from tip to the edge of the root) (1)

£600 - £800

210* Paradoxides. A Trilobite, Cambrian Period, approximately 490 Million years old, this is a very well preserved specimen which is preserved in Limonite which gives the orange colour to this impressive interiors piece, the specimen measures 28cm with a larger matrix (1)

£200 - £300

211* Perisphictes. A Perisphictes Ammonite, Jurassic Period of Madagascar, this specimen measures 40cm across and has had the entire host rock removed so that it is freestanding on a custom metal base Lot 209

(1)

£600 - £700

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212* Plesiosaur Paddle. This is a Humerus bone from a Cryptoclidus that was found in Peterborough in the 1980s, many hours of work has gone into exposing this extremely rare British fossil, the bone measures 39cm in length with a larger matrix (1)

£500 - £700

213* Seashells. A pine case containing 2 trays and a drawer of seashells, with hinged lid and metal carry handles, the front with removable section revealing drawer, shells include: a variety of cowries (including a number of Cypraea depressa, Cypraea caputserpentis, Cypraea vitellus and others), a few small bubble shells, various clams, a couple of spider conches, cone and turban shells, ark shells, a pen shell, a few cockles and oysters, etc., 21cm high x 48cm wide x 39.5cm deep (1)

£200 - £300

214* Spinosaurus Tooth. This tooth is fully rooted with good ornamentation to the blade, a beautiful example which is extremely large at 15cm This is an exceptional tooth from one of the largest predators to have walked on earth. (1) £200 - £300

Lot 212

Lot 214

Lot 213

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

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215* Stephanoceras. An Ammonite, approximately 170 Million years old, Yeovil, Somerset, this highly ribbed ammonite is in very good condition with preservation to the very centre of the ammonite, measures approximately 19cm across (1)

216* Stingray. A stingray from the Cretaceous Period, Lebanon, this is a very rare and well preserved fossil with ﬁne detail to the fringes of the ﬁns, a rare and beautiful fossil that measures approximately 11.5cm in length, the rock measures approximately 17 x 14cm

£300 - £400

Stingrays are members of the cartilaginous ﬁsh group and as such do not easily preserve as fossils. (1) £500 - £600

217* Woolly Rhino Jaw. A Woolly Rhino jaw found in Poland, this is a very large low left mandible from an adult Woolly Rhino with three intact teeth, the specimen measures 53cm in length and would have come from an adult (1)

£400 - £500

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219* Taxidermy. Black guillemot in summer plumage by E. T. Clarke of Cheltenham, 1913, on sandy green plinth, old lot label and manuscript annotation to underside (‘Black guillemot ... killed Feb 26 1913 ... Bt of E. T. Clarke, Cheltenham, May 26 1913), approximate height (including plinth) 24cm, together with: Guillemot, late 19th/early 20th century, housed in glass dome on naturalistic base with pebbles and sand, ebonised wooden plinth, old labels to dome, approximate height (including plinth and dome) 38cm, Little auk, late 19th/early 20th century, in naturalistic setting, in wooden case glazed on three sides, 29.5 x 21.5 x 10.5cm

THE DAVID WILSON TAXIDERMY COLLECTION PART I

(3)

£100 - £150

218* Taxidermy. Bittern, 1873, in wooden case glazed on one side, in elaborate naturalistic setting incorporating nest, watercolour backdrop with pin-fastened manuscript label (‘Bittern, shot at Rownhams, Southampton’), manuscript labels to glass and to reverse of case (the latter reading ‘Bittern, Botaurus Stellaris, Shot at Rownhams, Southampton by B. Akers. Bought of him in 1873. Set up by [illegible]’), 82 x 60.5 x 28cm

220* Taxidermy. Blue-winged kookaburra (female), late 19th/early 20th century, perched on a branch with ferns and other vegetation on lozenge-shaped wooden base, 38 x 34 x 18cm

(1)

£200 - £300

Lot 219 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£200 - £300

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222* Taxidermy. Great auk replica by Rowland Ward Ltd, c.1922, on a mount of sand and faux rocks, in a glass case with etched trademark of Rowland Ward Ltd, damage to beak, crude tapereinforcement to frame of case, case dimensions 67 x 56 x 34.5cm Provenance: Captain Vivian Hewitt (1888-1965), aviator, ornithologist and conservationist, purchased by him from Rowland Ward Ltd in 1922 (the lot sold with copied invoice). Illustrated (this specimen): Errol Fuller, The Greak Auk (Southborough, 1999), p. 112. To meet the demand from collectors for specimens of the extinct seabird Rowland Ward Ltd began to produce these skilful replicas, usually from razorbill feathers, though the beaks had to be made from scratch. (1) £500 - £800

221* Taxidermy. Common kingﬁsher, two yellowhammers[?], three mealy redpolls, three lesser redpolls, late 19th/early 20th century, i.e. 9 specimens, all mounted on branches, attached to 5 separate wooden plaques for wall-mounting, the kingﬁsher and yellowhammers with additional naturalistic surround, the two redpoll groups with mounted manuscript labels ‘Caught near Stockton on Tees, 25.12.[18]95’ (mealy) and ‘Birtley fell, male on right, female on left, 17.11.97. H. Walton; male in centre, 26.10.92, Stockton-on-Tees’ (lesser) (5)

£100 - £150

223* Taxidermy. Hobby (female) by Rowland Ward Ltd, 1911, perched on a branch issuing from wooden base with accompanying naturalistic vegetation, manuscript label to underside of base (‘Hobby ... shot from nest near Thursley, Surrey, 3PM, June 21st 1911 by A. W. in mistake for sparrow hawk ... Bird mounted by Rowland Ward Ltd’), 36 x 28 x 18cm (1)

£100 - £150

224* Taxidermy. Leucistic curlew (male) by Rowland Ward Ltd, 1919, on plinth topped with sand and mounted pebbles and shells, Rowland Ward Ltd label to underside, height including plinth 38cm Provenance: Captain Vivian Hewitt (1888-1965), aviator, ornithologist and conservationist; originally shot by C. W. W. Hulse at Tonakilly Point, Tralee Bay, Ireland, 21 May 1919, and acquired by Hewitt from Hulse in 1943. With accompanying letter and notes from Hulse, two annotated photographs of the specimen, and manuscript purchase note by Hewitt (all in envelope). (1) £70 - £100

Lot 222

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Lot 225 225* Taxidermy. Little bittern, green woodpecker and goldﬁnch, late 19th/early 20th century, each in naturalistic setting in separate wooden case glazed on three sides with watercolour or oil-painted backdrop, green woodpecker and goldﬁnch each perched on a branch, various dimensions (33 x 25 x 13.5cm; 41 x 32.5 x 12.5cm; 27 x 19 x 8.5cm), green woodpecker case cracking in places, together with a diorama of a jay and songbird, in naturalistic setting incorporating nest against watercolour backdrop, 53 x 44 x 23cm (4)

£100 - £150

226* Taxidermy. Red knot and dunlin by Rowland Ward Ltd, early 20th century, each in separate glass case in naturalistic setting, Rowland Ward Ltd trademark to glass, Red Knot lacking top panel (replaced with transparent plastic), 29 x 27 x 17cm and 19.5 x 21 x 13cm, together with a Kentish plover (juvenile male) and great snipe (female), each in separate case glazed on one side, typescript labels ‘Shot by Arthur Smith Esq., Yarmouth, August 12th 1893’ (Kentish plover) and ‘Shot at Great Yarmouth, Sept. 19th, 1899’, Kentish plover with damp-staining to inside of case and crude clear tape reinforcement along edges of glass, each 18.5 x 26 x 14cm) (4)

£150 - £200

227* Taxidermy. Albino European mole, early 20th century, an adult specimen baring teeth, on naturalistic faux-rock mount incorporating real moss and other vegetation, on ebonised plinth within glass case, two labels to glass, approximate dimensions (including plinth) 18 x 18 x 18cm, together with another albino european mole on similar mount and plinth, without glass, approximate height (including plinth) 8cm

Lot 226

Albinism is estimated to occur in European moles at a rate 1:100,000 births. (2) £70 - £100

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

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228* Taxidermy. Wilson’s storm petrel (male) by G. Bristow of St Leonards-on-Sea, 1914, on faux-rock mount, plinth with old stencilled lot ticket to front elevation and lengthy manuscript provenance note on underside (see note), approximately 23cm high from foot of plinth to wing-tip, together with: Two fork-tailed storm petrels (male and female) by J. Cullingford of Durham, 1889, each on separate corbel in a single wooden case glazed on one side, with printed label ‘Herbert Coxon’s collection ... taken at St. Kilda’s, June 1889’ laid in, 31 x 38 x 12.5cm, Two fork-tailed storm petrels, 1910, in naturalistic setting of rocks and shingle, in glass case with wooden backdrop, manuscript label verso dating the specimens to October 1910, ‘St Catherine’s Light’. (probably St Catherine’s Lighthouse, Isle of Wight), joins of glazing reinforced with tape, 30 x 35.5 x 15cm The manuscript label pasted to the underside of the Wilson’s storm petrel reads: ‘Wilsons petrel ... Blown ashore and caught by a dog at West St Leonards, Sussex on Dec 2nd 1914. Exam[ine]d in the ﬂesh by H. N. FordLindsay Esqr. Recorded by him in Brit. Birds Vol VIII p. 199. 13th British 2nd Sussex ... B[ough]t of G. Bristow, Dec 15, 1914’. (3) £200 - £300

229* Taxidermy. Woodcock by W. Kidd of Godalming, 1829, in wooden case, glazed on three sides (front panel loose), landscape backdrop painted in oils, W. Kidd’s printed label completed in manuscript to rear, 25 x 33 x 10.5cm, together with: Sandpiper, 19th century, on naturalistic base of shells and seaweed, watercolour backdrop on vellum or canvas depicting sailing ships (damp-stained), 26 x 34 x 15cm Lot 228

(2)

£100 - £150

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Lot 230

230* Taxidermy. Woodcock, meadow pipit and leucistic starling, late 19th/early 20th century, each in separate glass dome on lozenge-shaped or circular wooden base, meadow pipit and leucistic starling in naturalistic setting (meadow pipit setting including old-style golf ball), trade label of W. Lowne of Great Yarmouth to underside of base, approximate heights 29cm, 16.5cm and 33cm (3)

231* Taxidermy. A ﬁne taxidermic display c.1920, showing two pheasants in a naturalistic setting, contained in a glazed oak display case, 61cm high x 81cm wide x 24cm deep Not part of the David Wilson Collection. (1)

£100 - £150

Lot 231

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

£200 - £300

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CLOCKS, SCIENTIFIC INSTRUMENTS & MECHANICAL MUSIC

234* Pocket compass / sundial. An early 18th century pocket combination compass sundial by L. Grafs, the octagonal brass case with circular brass compass and silvered dial, blued steel hand under glass, folding circular with a crescent index marked in degrees, folding brass gnomon, the base engraved with the latitudes of cities ‘Elev a Poli’, ‘Eslingen’ ‘Stockholm’ and ‘Landari’ signed L Grafs, 6 x 5.5cm, with an old label attached inscribed with details of a similar example in the Science Museum, London Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

232* Taxidermy. A Victorian taxidermic cockatoo, ﬁnely presented under a glass dome with naturalistic setting on a black wooden base, 68cm high Provenance: Collection of Jack Webb (1923-2019), London. (1) £200 - £300

235* Sundial. A Victorian ivory pedestal sundial by Comyns, Kings Road, Chelsea c.1840, the paper sundial housed under convex glass, the pedestal with a thermometer and makers marks, the ivory ﬁnely detailed with leafy rim and geometric base, 11.5cm high, presented under a glass dome with oak base

233* Taxidermy. An Edwardian taxidermic Slavonian Grebe, in a naturalistic setting and stained pine and glazed display case, 46cm high x 37.5cm wide x 23cm deep Not part of the David Wilson Collection. (1)

Provenance: Collection of Jack Webb (1923-2019), London. Henry Comyns, Optician, ﬁrst appeared in trade directories in 1833. (1) £100 - £150

£70 - £100

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236* Clock. An English walnut striking bracket clock by Chater & Son, London c.1775, the ﬁve pillar twin fusee movement with original verge escapement, the dial with 7 inch silvered chapter dial engraved with black roman numerals, pierced steel hands, with calendar aperture and signed ‘Chater & Son London’ with ﬁne pierced foliate spandrels, the brass back plate engraved with scrolls and foliage, signed ‘Chater & Son London’, the bell striking on the hour with strike or silent option on the arch, the inverted bell top case with brass carrying handle and gilt-edged doors and side windows, on brass supports, some damage to the case, notably loss of moulding to the rear, modern screws securing the movement, approximately 48cm high x 30cm wide x 20.5cm deep, with winding key Provenance: Collection of Jack Webb (1923-2019), London. Sold with an original insurance valuation dated 1969 (£350) plus repair bill for overhaul dated 1969 (£35). There were two William Chaters recorded as working in the 18th century (father and son). William Chater the elder was apprenticed in 1718, made a member of the Clockmakers Company in 1726 and died in 1762. His son, also named William, was apprentice in 1746 and died 1785. (1) £2,000 - £3,000

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

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Lot 237

237* Clock Garniture. An art deco marble clock garniture, the pink veined marble clock with circular silvered dial with black arabic numerals and gilt spelter dragonﬂy mounted to the case (damaged), on a black slate base, 45cm long with conforming garnitures (1)

£70 - £100

238* Clock. An Edwardian style inlaid mantel clock, the silvered dial with black Arabic numerals, three train movement stamped ‘Made in Germany’, the arched mahogany case inlaid with paterae, 42cm high with pendulum (1)

239 Longcase Clock. An early 18th century longcase clock by William Grimes, Hatton Garden London, the 10 inch silvered chapter dial with black roman numerals, engraved brass dial with piereced cherub spandrels, subsidiary seconds dial, calender aperture, blued steel hands, two winding holes each with key, signed Wm Grimes in Hatton Garden fecit, 38 x 27cm, in a later pine case with pendulum and two weights, 188cm high

£100 - £150

(1)

£1,500 - £2,000

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240* Mechanical Music. A late 19th century Swiss “The Britannia” Polyphon by B.H.A. of St. Croix, the rectangular walnut and ebonised case enclosing movement and 30cm discs, with two winding handles, knocks and scuffs commensurate with age and use but in good working order (1)

£300 - £500

241* Mechanical Music. A late 19th century Swiss “The Britannia” Polyphon by B.H.A. of St Croix, the walnut and ebonised case with pierced fretwork frieze and two mirrored doors enclosing movement and 30cm disc, general knocks and scuffs commensurate with age and use, in good working order, 64cm high x 48cm wide x 24cm deep (1)

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

£300 - £500

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Lot 242

242* Mechanical Music. A Victorian inlaid rosewood musical box, of rectangular form, the lid inlaid with ﬂoral scrolls, the hinged lid enclosing a large cylinder and mechanical movement and winding handle numbered 11258, all teeth and pins appear to be intact and the box is in good working order with a lovely tone, there is a note inscribed with the various tunes which include God Save The Queen and Auld Lang Syne, 17cm high x 64cm wide x 23cm deep Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500

243* Mechanical Music. An American Regina tabletop polyphon, the shaped stained hardwood case with a hinged lid inset with trade label, the mechanical movement in good original condition, with ivorene trade label and instruction for use, in good working order, with various discs, 27cm high x 56cm wide x 50cm deep

Lot 243

Provenance: Collection of Jack Webb (1923-2019), London. (1) £300 - £500

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FURNITURE 244* Armchair. A Victorian elm wheelback armchair, 107cm high (1)

£70 - £100

245* Chair. A ﬁne 18th century walnut child’s chair, in the Chippendale style, the back splat with pierced heart shape motif, shepherds crook arms, tapestry upholstered drop-in seat on cabriole supports united by stretcher, a beautiful rich patina with an old characterful repair to the top rail, 60cm high (1)

£200 - £300

246* Chairs. A set of 8 Edwardian bent oak chairs, each with hoop back and turned spindles, solid seat on turned supports united by stretchers, some restoration and old worm holes, 83cm high

247* Chairs. An Edwardian elm smokers bow armchair, with curved back and arms, turned spindles, solid seal on turned supports united by stretchers, 84cm high, together with an early 20th century beech poker work spinning chair, decorated with stylised rams heads amongst acanthus scrolls, on turned supports 90cm high

(8)

(2)

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

£70 - £100

£100 - £150

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251* Cradle. An 18th century oak cradle, of panelled construction with raised back and turned ﬁnials, 57cm high x 93cm long (1)

252* Dressing Table. An Edwardian mahogany dressing table with oval mirror, supported by turned uprights, on rectangular base with two long and two short drawers, each with barber’s pole strung inlay on turned tapered supports with ceramic casters, 157cm high x 114cm wide x 52.5cm deep

248* Child’s Chair. A 19th century child’s elm Windsor chair, with hoop and stick back, curved arm rests, solid seat and turned supports united by stretchers, old repairs, 76cm, high (1)

(1)

£100 - £150

£200 - £300

(9)

250 Coffer. An 18th century carved oak mule chest, the lunette carved lid with three-panel front carved with lozenges and foliate decoration with one long drawer beneath with brass handles and carved with initials A H and dated 1724 on stile supports, 78cm high x 130cm wide x 50cm deep (1)

£70 - £100

253* Ercol Table. An Ercol beech dining table and 8 chairs, the table with rectangular top with rounded corners on four splayed legs, 71cm high x 145cm wide x 73cm deep, the hoop back chairs comprising 2 carvers and 6 side chairs each with a spindle back, 6 of the chairs have been painted white, 81cm high

249* Club Fender. An Edwardian style brass club fender, of typical form with leatherette button upholstered cushions, approximately 215cm long (1)

£70 - £100

£100 - £150

254* Liberty & Co. An Anglo-Moorish octagonal occasional hardwood table retailed by Liberty, profusely inlaid with brass, the base applied with retailers ivorene plaque ‘Liberty Birmingham London & Paris, 47cm high x 46cm wide

£200 - £300

(1)

£200 - £300

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255* Mirror. An Edwardian mahogany cheval dressing mirror, the rectangular mirror supported by a slender mahogany frame each with urn ﬁnial, raised on scroll supports each with brass caster, 159cm high x 57cm wide, together with an early 20th century mahogany bedpost torchere, with circular top above ﬂuted and acanthus carved column on three cabriole supports with claw and ball feet, 105cm high plus a Victorian mahogany towel rail (3)

£70 - £100

256* Morton (Thomas, 1859-1945). A spinning chair attributed to Thomas Morton of Muirkirk, with pokerwork and coloured fruit decoration in the art nouveau style, the opposite side of the high pierced back with fern decoration, solid seat on four stylised supports, 88cm high Thomas Morton of Muirkirk (1859-1945) specialised in applying fern ware ﬁnishes to large and small items of wood ware and furniture. (1) £150 - £200

257* Sideboard. An 18th century oak sideboard, the rectangular top above two drawers eack with pierced brass batswings handles and key plate with shaped apron raised baluster supports with block supports to the rear united by undertier shelf, on bun feet, old cracking and wear commensurate with age, 76cm high x 123cm wide x 44.5cm deep (1)

£200 - £300

258* Stove. A modern Morley green enamel wood burning stove, the front panel with three glass windows, a hinged door to the side with brass handle, raised on four outsplayed supports, 50.5cm high x 50cm wide x 32cm deep (1)

£50 - £80

Lot 256

Lot 257

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

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Lot 259

259* Table & Chairs. A 1920s oak dining table and 8 chairs, the draw leaf table on substantial turned supports united by stretchers, 78cm high x 198cm (fully extended) x 81cm deep, the chairs all upholstered with brass studs on turned supports, 87cm high (9)

262* Washstand. An Edwardian style marble top pine washstand, the white marble with shaped splashback above a pine base with two drawers and two cupboard doors enclosing a shelf, on four bun feet, some loss of wood and old worm holes, 95cm high x 84cm wide x 52cm deep

£100 - £150

(1)

260* Table. A William IV mahogany pedestal card table, the rectangular top, hinged to reveal green baize, above a square tapered pedestal on four splayed supports with brass lions paw casters, 72cm high x 88cm wide x 44cm deep (1)

263* Work Table. A 19th century mahogany work table c.1840, the rectangular top above a drawer with divisions, on a turned baluster tripod base, 76cm high x 47.5cm wide x 36cm deep, with key (1)

£100 - £150

261* Table. An 18th century oak gateleg table, the oval top above turned supports united by stretchers, 75cm high x 107cm long (1)

£70 - £100

£100 - £150

£150 - £200

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A SINGLE OWNER COLLECTION OF MOTORING MEMORABILIA

266* Amazon Tires. A large American monochrome photograph showing two early Chevrolet outside an Amazon Tires shop, 47 x 59cm, period oak frame, glazed, together with another large Amazon Tire photograph showing an advertising car painted by George A. Hollinger, 50 x 60cm, mount aperture, unframed plus a large American monochrome photograph of a car and ﬁgures, label inscribed verso ‘ﬁrst auto in Haverstraw about 1905’, 40 x 50cm, period card oak frame, glazed

264* Advertising. A mixed collection of colour advertising c.1900 onwards, including English Ovals Cigarettes, showing a pilot taking a cigarette with the caption ‘The Choice at Croydon’, laid on card, 45 x 52cm, together with Fine Dorset Butter and Fine Cheddar Cheese, colour lithograph laid on card, 73 x 49.5cm, plus Chocolat Suchard, Carr’s Biscuits, North Pole Patent Pram Tyres, Snow ﬁre Powder Cream, Cycles Sirius, Savannah Brewing Co and other items (24)

(3)

267* Automobilia. A collection of 7 vintage foot pumps comprising, Dunlop, Dunlop Major, Dunlop Junior (2), Kismet Baby, Kismet Juinior amd Kismet Duplex, together with 4 car jacks including a Cadillac jack, 11 oil cans and other items

£150 - £200

(2 cartons)

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

£100 - £150

268* Automobilia. A collection of items, including a 1930s aluminium car mascot in the form of a clothed rat, standing with arms behind its back, indistinct mark to base, 10cm high, mounted on a modern trophy base, a 1920s car dashboard clock, the circular white enamel dial indistinctly signed, with illuminated arabic numerals, with 8 day movement, the case and movement stamped ‘Octavo Watch Co Switzerland’, overwound and inoperable, two brass petrol ﬁllers, three miniature petrol cans including Esso and Junior Shell and other items

265* Advertising. A 1920s Saqui & Lawrence Jewellers advertising enamel sign, London’s Largest Jewellers, Eastbourne and Brighton, showing an art deco female adorning luxury jewellery, some loss of enamel notably around the edge, 70 x 49.5cm (1)

£100 - £150

(10)

£200 - £300

£70 - £100

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Lot 269

Lot 272

269* Bates Tyres. An original 1920s Bates Special “All Weather Cord Tyres” poster, colour lithograph on paper laid on card, two repairs upper and lower left, closed tear upper right, adhesive tape, some scufﬁng, 79 x 55cm, framed and glazed, together with a related Bates coupon ‘For every order of 10 Bates Motor Cycle Covers or Tubes an Additional Discount of 10% will be given’ printed by the Dunlop Rubber Co. Ltd, creases, 7.5 x 12.5cm (2)

270* Bergougnan Tyres. A Ber-Goon-Yon advertising board c.1920, colour lithograph on card, eyelets to the upper section, some damage, notably around the edge and staining, 61 x 45cm, period frame, glazed Bergougnan Tyres dates back to 1921 when the Belgian owned company started making industrial pneumatics, tyres for bicycles and other items. (1) £100 - £150

£100 - £150

271* Biais (Maurice, 1872-1926). Motoracing 1902, colour print on paper, showing a racing car on track with trees and green landscape, printed signature lower left and dated 1902, printed by Imp. J. Minot. 34. R. Des Martyrs. Paris.’ lower right, 46 x 66cm, period oak frame, glazed, together with two colour prints, titled ‘Une Entree Sensationelle’ and ‘La Carte Forcee’ by Albert Beerts, both framed and glazed (3)

£100 - £150

272* Birmingham Small Arms. An original B.S.A. Motor Bicycles c.1900, printed by White & Pike Ltd, Birmingham, quarter creases, 25cm high x 73cm wide, period art nouveau green and gilt frame, glazed White & Pike Ltd were printers based at Longbridge, Birmingham. They ceased trading in 1901 and their premises were bought by Herbert Austin in 1906 for his motor vehicle business. (1) £300 - £500

Lot 270

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275* Cambridge Tyres. A Cambridge Tyres advertising board c.1915 printed by Robert Park & Co, London, colour lithograph on card, artwork by Lionel Hayes, two eyelets to the upper section, some scuffs and scratches, 38 x 49.5cm, period carved wood frame, glazed (1)

£150 - £200

273* Boyce Motometer. A Boyce Motometer manufactured and sold by The Benjamin Electric Ltd, London c.1913, the gauge with glass on both sides, mounted on brass wings with threaded screw, in good original condition,13cm long (1)

£100 - £150

274* Boyce Motometer. A winged temperature meter c.1915, the guage with glass front and back, black and gold panel the front, gold panel the back, with patent marks for Mar 17-14 July 16-18, Aug 13-18, mounted on a brass eagle with splayed wings and threaded rod, 14cm long with original trade label (1)

£100 - £150

276* Commercial Motor Transport Exhibition. A 1920s colour lithographic poster, printed on paper by Hill Sifken London, the artwork by Harry Whincap, some creases, 94 x 57cm, period oak frame, glazed (1)

Lot 275

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

£200 - £300

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Lot 277 277* Cycling. A large Cycle Maker shop sign c.1930s, mirrored gold lettering with red edges, on a black ground, very poor condition, period gilt frame glazed, frame size 53cm high x 200cm wide (1)

£100 - £200

278* Cycling. A Raleigh bicycles advertising poster c.1930s, lithograph on paper laid on card, designed by F.H. Bell, fold creases 48 x 36cm, period oak frame, glazed (1)

£100 - £150

Lot 281

279* Cycling. A Royal Enfield “Made Like A Gun” Bicycles advertising board, c.1900, colour lithograph on card, two eyelets to the upper section, some scratches and creases, 57 x 43cm, period oak frame Royal Enfield’s trademark “Made Like A Gun” first appeared in 1893 (1) £100 - £150

280* Cycling. An original Rudge-Whitworth Cycles advertising poster c.1920, colour lithograph on paper printed by James Upton Ltd, Birmingham & London, fold creases, 47 x 48cm, period carved oak frame, glazed 281* Cycling. An original French advertising poster for Brampton c.1910, showing pedals and chains, colour lithograph on card, 58 x 38cm, period oak frame, glazed

282* Cycling. An Edwardian advertising poster c.1905, Ride “Vinco” Cycles, showing Lord Kitchener and the innkeepers child, colour lithograph on paper laid on card, printed by Maclure, McDonald & Co, Glasgow, some staining, loose in frame, 63.5 x 46cm, period frame, glazed

(1)

£100 - £150

£70 - £100

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283* Daimler. H.M. The King’s Daimler Car Fitted with Seven Inch Palmer Cord Tyres c.1915, a large carbon print photograph, 64 x 82cm, mount aperture, period oak frame, glazed (1)

£200 - £300

Lot 285

284* Decauville. A colour print of a Decauville Car, printed lower left ‘Decauville Car by Kind Permission of the Motor Car Co Ltd, Blocks by John Swain & Son Ltd, 56 Farringdon Street E.C.’, 43 x 53cm, laid on card, period oak frame, glazed, together with an identical print, period carved rosewood effect frame The factory was established by Paul Decauville in 1897 and started producing motorcars and the company produced automobiles from 1898 and ceased production of motorcars in 1911. (2) £100 - £150

285* Dunlop. A Dunlop Motor Cycle Belts advertising board c.1920, colour lithograph on card, two eyelits to the upper edge, some creases and staining, 49 x 37cm, period oak frame, glazed (1)

£100 - £150

286* Early Motoring. A veteran car window blind c.1900, the silk blind with weighted ﬁxing bracket and tassles, 63cm long x 33cm drop, together with veteran car seat (heavily rusted), two Dunlop double acting foot pumps, a motoring Brexton picnic set in a wicker basket c.1950 and other items

287* Exide Batteries. An original show card for Exide The Long Life Battery c.1950, “Needs No Handle to its Name”, colour lithograph on card, some loss notably to the i of Exide, 82 x 52cm, mount aperture, modern pine frame, glazed, inscribed verso ‘has folding stand on the back’

(13)

(1)

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

£100 - £200

£200 - £300

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288* Flying Jacket. A modern WWII Irvin style brown leather ﬂying jacket, with large pockets, cuffs straps and sheepskin lining, 65cm shoulder to bottom, inner arms 45cm together with a suede jacket with YKK zips and soft wool lining (2)

290* Gladiator. An original Gladiator Cycle & Automobiles Poster c.1904, monochrome and red lithograph on paper, creases, spotting and restoration lower right, 76.5 x 59cm, framed and glazed (1)

£150 - £200

289* French Grand Prix. An original 1924 French Grand Prix poster, monochrome on paper, printed R.C. Seine 78.412 Imprimerie Tournet Paris 8.24 lower right, upper section with vertical crease, close tear upper right, some discolouration notably to the corners, 78 x 59cm, mount aperture, framed and glazed

291* Goodrich Motor Tires. An original Goodrich Company poster c.1910, colour lithograph on paper, showing a portrait of Marie by Albert Lynch, with copyright 1909 by the B.F. Goodrich Co, Akron, O, U.S.A., vertical closed tear upper right, 77 x 67cm, period carved oak frame, glazed

The 1924 French Grand Prix (XVIII Grand Prix de l’A.C.F.) was held at Lyon on 3 August 1924. The race took place over 35 laps with a total of 503.37 miles. The fastest lap was completed by British driver Henry Segrave in his Sunbeam, but the winner was the Italian Giuseppe Campari in his Alfa Romeo, closely followed by two Frenchmen both driving a Delage. (1) £150 - £200

Marie was one of the 17 “Goodrich Girls”. The Goodrich Girl series was given to customers as Christmas promotional gifts in various forms including advertisements, calendars, postcards and other items. (1) £200 - £300

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292* Goodrich Tyres. A Goodrich Safety Tread advertising board c.1920, colour lithograoh on card, crease on left handside, some staining and general wear, 56 x 42cm, card mount aperture, period oak frame, glazed (1)

£150 - £200

293* Great Western Railway. A reproduction cast iron GWR badge, with gold painted lettering on black, 31 x 28cm, together with a Railwayman’s goliath pocket watch by Goldsmith’s & Silversmiths Company Ltd, 112 Regent Street, London, with white enamel dial, black roman numerals and blued steel hands, subsidiary seconds dial, the nickel case enclosing Swiss movement, 7.5cm diameter on a solid silver watch chain and other items (5)

£70 - £100

294* Great Western Railway. A GWR circular fusee wall clock, the 25cm diameter cream painted dial with black roman numerals and GWR logo, in a period mahogany case, the back stamped EQ20 285 No8, with brass fusee movement, case size 33cm diameter, with winding key and pendulum (1)

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

£300 - £500

Lot 295

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295* Gutta Percha. A 1930s Gutta Percha Tires enamel sign, with white and black block lettering on a red ground with a roundel of ‘Perky’ the terrier, some damage and rust, 41.5 x 199.5cm The Canadian ﬁrm Gutta Percha & Rubber Limited was established in 1883, the factory and headquarters was located in Toronto, Ontario, Canada (1) £500 - £800

298* Lincolnshire Motor Co Ltd. An advertising poster c.1920, colour lithograph, minor damage notably to upper right corner, 39 x 49cm, period carved and giltwood frame, glazed (1)

£100 - £150

296* His Master’s Voice. An original HMV enamel sign, showing Nipper by a gramophone with the logo “His Master’s Voice” beneath, predominantly yellow and black enamel, holes to each corner for wall ﬁxing, some loss enamel notably to the edge and the rear side retaining most enamel, 45.5 x 60.5cm (1)

£300 - £500

299* Mercedes. A modern brass model of a vintage Mercedes, stamped ‘Mercedes G.P. Car 15/100 1985 Chris ...’, ,mounted on a wooden base, 25cm long (1)

£70 - £100

300* Model Aircraft. A collection of large scale model aircraft, including an American biplane, green fabric fuselage and wings, aircraft identiy markings for EF-I, 119cm wingspan x 134 nose to tail, together with another American biplane and other models (5)

301* Model Aircraft. A large scale model of the Red Baron’s Fokker triplane, 141cm wingspan x 104cm nose to tail, together with another similar 121cm x 94cm nose to tail

297* Leonard Wyer & Co. An advertising poster c.1915, monochrome and blue lithograph on paper, showing the shop and workshop at Comberton Hill, Kidderminster, 37 x 46cm, period oak frame, glazed (1)

£100 - £200

(2)

£70 - £100

302* Model Cars. A collection of early model cars, including a scratch-built wooden motorcar c.1920, painted in blue with aluminium radiator grille and four composite wheels, 49cm long, together with a Tria-and tinplate tow truck and winch 42cm long, scratch built tinplate locomotive 51cm long and other items

£70 - £100

(9)

£70 - £100

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Lot 305

Lot 303 303 Motor Aneroid. A 1920s dashboard barometer by J.W. Ray & Co, Liverpool, the silvered dial compensated for temperature, with rotating dial for adjusting temperature to falling or rising, in a circular aluminum case with dashboard mounting screw holes, 11.5cm diameter

306* Motoring Jackets. A modern brown leather bomber jacket, with tailors label for Targa, size Large, the lining printed with a map of Northern Europe, together with 3 other leather coats all formerly used for motoring

(1)

(4)

£70 - £100

304* Motor Insurance. Accident Insurance Coy Ltd poster c.1920, colour lithograph laid on card, some staining and scuffs, 61.5 x 49cm, period carved oak frame, glazed (1)

£100 - £150

305* Motoring Apparel. A 1930s Dunhill red leather motoring/flying helmet, fur lining with original tailors label together with a 1930s brown soft leather motoring/flying helmet, black fur lining, pop stud ear flaps, and chin strap, two white leather motoring/flying helmets plus 3 pairs of fur drivers gauntlet gloves and 2 pairs of folding goggles including a pair with amber glass lenses (9) Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 307

£200 - £300

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307* Motoring Overcoat. A 1930s soft brown leather overcoat, with 6 composite buttons to the front, large pockets and waistbelt, soft wool lining, in generally good condition, approximately 120cm drop, inner arm 46cm, together with a silmilar brown leather overcoat in very worn condition (2)

£100 - £150

308* Motoring Photographs. A collection of early to mid 20th century monochrome photographs, large format including a Morris Minor, 50 x 60cm, laid on card, motorcycles, bicycles all unframed with the exception of 4 (34)

£200 - £300

309* Nevil (Andre, 20th century). Motor racing 1905, colour pochoir lithograph on paper, printed by Pour L’Estampe Sportive Artisique, signed in pencil by the artist lower left, 42 x 71.5cm, gilt painted carved wood frame, glazed, together with another by the same artist showing horse and cart bolting as a racing car passes by, signed in pencil lower left, 43 x 72cm, gilt painted carved wood frame, glazed (2)

Lot 310

£300 - £500

310* New-Hudson Motorcycles. An advertising poster c.1915, colour lithograph on paper, printed B.P.52 lower left, some creasing and closed tears, 74 x 47cm, period carved oak frame, glazed New-Hudson Motorcycles was established in 1903 by George Patterson in Birmingham. They expanded between 1910 and 1915 using JAP engines before the factory joined the war effort until 1919. In 1927 Bert le Vack broke the 100 miles per hour record at Brooklands on a 500 cc New-Hudson. The ﬁrm stopped motorcycle production in 1932 and changed its name to Girling Ltd. (1) £200 - £300

311* Orel. An original “Orel” Argenteuil S & O Automobiles poster by Walter Thor (1870-1929), colour lithograph on card, light creases, 45.5 x 63cm, period maple frame (modern backing board), glazed The Argenteuil company was a short-lived car manufacture established in 1905 and ceasing production in 1914. “Orel” was their brand name. (1) £200 - £300

Lot 311

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312* Pedal Car. A 1930s child’s pedal car representing a Miller racing car, probably American, in racing green, lacking radiator grille but with a brass shield badge bearing the initials HS, an additional number 98 painted on the rear, red painted seat and a gear lever to the side, stearing wheel bound in tape, remains of four rubber tyres, in “barn ﬁnd” condition, heavily rusted and in need of restoration, approximately 120cm long

Lot 312

(1)

£200 - £300

313* Pedal Car. A 1930s child’s pedal car in the form of a racing car, with cream painted bodywork, traces of red decals to the rear, the grille detached, lacking front wheels and in very poor “barn ﬁnd” condition, approximately 111cm long (1)

£70 - £100

314* Pedal Car. A 1960s pedal car in the Veteran style, probably Triang, green painted bodywork with licence plate BJ 424, one plastic side lamp, leatherette / plastic upholstered seat, four wheels each with Lines Bros Ltd rubber tyres, in “barn ﬁnd” condition, heavily rusted and in need of restoration, approximately 89cm long

Lot 314

(1)

£100 - £150

315* Pedal Car. A child’s Veteran open-top child’s pedal car c.1910, wooden construction painted in light blue, the radiator grille with licence plate for YU 78, pair of headlamps, rubber pedals and with two steering wheels each with column (possibly not related), four wheels, two black and two white tyres, in “barn ﬁnd” condition and in need of restoration, approximately 115cm long (1)

£200 - £300

Lot 315 316* Pedal Car. A modern child’s open-top pedal car in the vintage style, red bodywork with racing number 1 in white with chequered decoration, the grille with oval ‘Classic’ badge, black leatherette upholstered seat, brown steering wheel and printed dashboard instruments, four wheels each with black rubber tyres and a spare to the rear, some rust spots, scratches and scrapes but overall condition is good, approximately 93cm long (1)

Lot 316

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

£200 - £300

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317* Petrol Cans. A collection of vintage petrol cans comprising, Shell, GPO, Shell Motor Spirit with Esso bras cap, Shell Aviation Spirit with Shell brass cap, another repainted recently with Shell cap, Shell with BP cap, Pratts, all in poor condition (7)

£70 - £100

321* Petrol Pump Globes. A vintage glass petrol pump globe for Swan Bulbs, the milk glass globe with printed black block lettering and sun motif, the threaded neck maked ‘11 A’, approximately 25cm across and 26cm high, together with a larger petrol pump globe, lacking any markings

318* Petrol Cans. A collection of vintage petrol cans comprising, Shell Motor Spirit with Shell brass cap, BP Motor Spirit with BP cap, SM & BP Ltd, Shell with Shell cap, Pratts Perfection Spirit with Pratts cap and two unidentiﬁed cans, all in poor condition (7)

(2)

£200 - £300

£70 - £100

319* Petrol Cans. A collection of vintage petrol cans comprising, Pratts with brass Shell cap (2), Pratts Perfection Spirit with Pratts cap and 3 unidentiﬁed cans (6)

£70 - £100

320* Petrol Pump Globe. A vintage Vaccum Mobiloils glass globe, the milk glass globe with labels applied with black block lettering showing a petrol can labelled Vacuum No.1 Mobiloil, the opposite side with label printed ‘Vacuum Oil Co., Ltd., Norfolk St., London, W.C.’, on an black painted metal stand, approximately 18cm across and 23cm high (1)

322* Petrol Pump. A late 20th century display model of a petrol pump, the wooden base painted green and white with price per gallon indicator, the top with a milk glass pump globe, approximately 110cm high

£200 - £300

(1)

£100 - £200

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323* Pratts. A pack of Pratts Perfection Spirit playing cards, The Golden Pump or The Green Can, complete with original two part card box, together with another pack of card (complete) in green two part box with lithographic paper label showing a biplane, pratts petrol can and motorcar, a similar set (complete) box tatty and worn plus a Triumph Road Map c.1910, with 7 maps lacking number 1 plus a box of Pratts Poultry Regulator c.1920s, unopened, 20.5cm high (4)

325* Pratts. A Pratt’s aluminium advertising sign, black lettering ‘Use Only Pratt’s The Best’ on a yellow and green ground, 56 x 56cm, together with Pratts Motor Oil Grades and Prices list, aluminium lithograph, 75 x 52cm and other signs including art nouveau Schweppes Table Waters tin sign, triptych form with a female nude in classical drapery pouring water from an urn, 55 x 56cm and other items

£70 - £100

324* Pratts. A large wooden sign c.1930, painted ‘Ornan Garage Pratts Cars for Hire’ white and black lettering on an orange ground, inscribed ‘Clayton 62 Chalk Farm Rd. N.W.I.’ lower right, 76 x 123cm (1)

(8)

£200 - £300

Lot 324

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

£100 - £150

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328* Pratts. An original Pratt’s double sided enamel sign, produced by Franco Signs, 25 Oxford Street, W.1., additional stamped B.U./U.H.?, black and red lettering on a yellow ground, with angled brack for wall ﬁxing, some wear notably around the edge, 45.5cm high x 53.5cm wide (1)

£200 - £300

326* Pratts. A Pratt’s cast metal sign in the form on a petrol can, polychrome painted in green, yellow and red, 47 x 35cm (1)

£100 - £150

327* Pratts. An original Pratt’s single sided enamel sign, with black and red lettering on a yellow ground, holes to each corner for suspension, loss of enamel notably around the edge, 60.5cm high x 91cm wide (1)

329* Pratts. An original Pratt’s Motor Spirits double sided sign, produced for Anglo-American Oil Co Ltd, black and white lettering on a yellow ground, some loss of enamel notably to the edge and does effect some of the lettering, with angled integral bracket for suspension, 46cm high x 54cm wide

£200 - £300

(1)

£200 - £300

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330* Pratts. A Pratt’s High Test Ethyl desk lamp, with milk glass globe shade applied with an sticker of a girl wearing an Ethyl hat, the lacquered brass base with shaped glass inﬁlled in red Pratts, blue spherical bead and another piece of glass inﬁlled High Test, the base with switch, unwired and therefore not working

332* Pratts. A rare and original Pratt’s Perfection Spirit advertising mirror, with gold and black block lettering, green petrol can and royal coat of arms lower left, some loss of silver, period oak frame, 67 x 51.5cm

(1)

331* Pratts. A Pratt’s Perfection advertising board c.1915, colour lithograph on card, 46 x 36cm, period oak frame, glazed

333* Pratts. A rare and original Pratt’s Perfection advertising mirror, the oval bevel edge glass mirror with gold and black block lettering, green petrol can and royal coat of arms, some loss of silver, 46 x 58.5cm

(1)

£100 - £150

Lot 333 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£700 - £1,000

£500 - £800

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Lot 334 334* Pratts. An originial Pratt’s Perfection Spirit enamel sign, produced by the Imperial Enamel Co. Ltd Birmingham for AngloAmerican Oil Co Ltd, black and red font on a yellow ground, with 20 holes for wall ﬁxing, some damage to the enamel notably around the edge, 46.5cm high x 132cm wide (1)

336* Repair Garage. A toy garage c.1930, of wooden construction with main ofﬁce, 11 storage units each with hinged door and large forecourt, embellished with owners sign for The Circle Garage, proprietor H. Crighton, and with Pratts, Castrol and Shell advertising signs, approximately 25cm high 76cm wide x 50.5cm deep, together with another toy garage but later

£300 - £500

(2)

335* Prices. A Prices Motorine Oil advertising board c.1930, colour lithograph on card with 2 eyelets to the upper edge, poor condition,75 x 49cm, period oak frame, glazed together with J Sanders maker of the noted Royal Seven Cycles and Motor Cycles, colour lithograph advert c. 1910, 49 x 33cm, mount aperture, period maple frame, glazed and other related framed pieces (7)

£100 - £200

337* Royal Automobile Club. A 1950s enamel double sided sign for RAC Get-You-Home Service, some rusting notably around the edge, 69cm high x 56cm wide, with original wrought iron bracket (1)

£100 - £150

£300 - £500

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339 Royal Mail. A George VI postal service circular wall clock c.1939, the 30.5cm diameter cream dial with black roman numerals and G.VI.R. cypher, in a period mahogany case, the back stamped SM & Co 1939 GR VI, with brass fusee movement stamped 11984 SM & Co 1939 GRVI with crown beneath, case size 38cm diameter with key and pendulum (1)

338* Royal Automobile Club. A 1920s RAC car badge by Elkington & Co, enamelled union jack centre beneath a kings crown and winged mercury, the reverse with a proﬁle of Edward VII, base stamped Elkington & Co Ld, numbered D9157, 14cm high presented on a modern trophy base, together with a RAC Civil Service car badge c.1930s plus a Vintage Sports Car Club radiator bar badge (3)

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

£200 - £300

340* Sacony Oils. A reproduction American Sacony Aircraft Oils advertising sign, white and red block lettering on a blue ground with an image of a monoplane, 30.5 x 46cm

£100 - £200

(1)

£70 - £100

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Lot 342

341* Shell. A reproduction Shell Sealed Pump enamel sign, in the form of a petrol pump with black and white lettering on a red ground, 71 x 31cm (1)

£100 - £200

342 The Midland Rubber Co Ltd. A British Britannic and Midland Tyres poster c.1910, colour lithograph on card, two eyelets to the upper edge, noticeable scratch upper left, staining and some scufﬁng, 58 x 45cm, period oak frame, glazed (1)

£150 - £200

343* The Palmer Tyre Ltd. A Palmer Motor Cycle Tyres advertising poster c.1915, colour lithograph on card, two eyelets to the upper section, 75 x 50cm, framed and glazed Palmer Cord Tyres was established in 1895, and in 1914 Rene Thomas won the Indianapolis 500 in his Delage ﬁtted with Palmer Cord tyres. (1) £200 - £300

344* Tinplate Toys. A Mamod Steam Roller incomplete, in original card box (box poor condition), together with a tinplate Streamline Speedway game by Louis Marx & Co, with 3 clockwork racing cars and track, the box in poor condition, a boxed Ford model T 1912 by Radio, a tinplate Boil Over Car and other items (8)

£100 - £200

Lot 343

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345* Transport Ephemera. A large collection of advertising and transport ephemera, including a Aeroplanes A. Deperdussin 1919, colour print by Henri Edmund Rudaux (1870-1927) showing a pioneer aircraft in ﬂight, with a similar remark lower left, 55 x 76cm, a Rowntree’s Motoring Chocolate board designed by Alfred Leete c.1930, 39.5cm long plus Bicyclette Clement monochrome board c.1905 and other items, condition generally poor throughout (3 cartons)

£100 - £200

346* Tricyle. An Edwardian steel framed child’s tricycle, with two cogs and chain, two pedals, remains of seat and handlebars, with eight-spoke wheel at the front and two larger wheels to the rear, in “barn ﬁnd” condition, approximately 90cm long together with a Coventry Eagle child’s ordinary / penny farthing, with badge applied to the front, red pained ﬁnish, Club No.2 leather saddle, white rubber tyres, in poor condition, approximately 93cm high plus two 1950/ 60s Triang child’s scooters (4)

Lot 348

£70 - £100

347* Tyres. A set of 4 Firestone gum dipped tyres - Model A Ford, each numbered 4.40/4.50-21, 78cm diameter together with a smaller tyre, 65cm diameter (5)

£100 - £200

348* Vanner & Prest. An American advertising clock for Vanner & Prest’s “Molliscorium”, the drop dial wall clock with pine and pressed metal case, 29cm diameter white dial with black roman numerals, makers mark B.U.C. Co, 79.5cm long, with pendulum, probably a later version of this late 19th century clock (1)

£100 - £150

349* Warwick Tyres. The Warwick Tyre Company Ltd advertising board c.1915, colour lithograph on card, printed by Automatic Photo-Printing Syndicate Ltd, Rickmansworth, some water marks, 60 x 43cm, period maple frame, glazed (1)

£200 - £300

Lot 349

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

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PAINTINGS & PRINTS

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OLD MASTER PAINTINGS, DRAWINGS & PRINTS To commence at 10am

352* Bemmel (Willem van, 1630-1708). River landscape with bridge & town beyond, black chalk and grey wash on thick laid (watermak of encircled anchor beneath star), dark grey wash frame border lines, few discreet paper repairs to old folds and edges, signed and partially inscribed in pen & ink to verso ‘Bemel del: No[ribergae]’, 440 665mm (17.25 x 26.25ins), gilt frame, glazed Provenance: Anonymous sale, Sotheby’s Amsterdam, 14 November 1988, lot 108; Private UK Collector. Willem van Bemmel was the younger brother of landscape painter Jacob Gerritsz van Bemmel (1628-1673) of Utrecht. They both studied under Herman Saftleven from 1645 to 1647. Willem travelled to Italy, spending the years 1647 to 1649 in Venice, 1649 to 1653 in Rome, also travelling to Naples and London. He was in Kassel between 1656 and 1662. In 1662 he moved to Augsburg before settling in Nuremberg, where he married. He is known for his Italianate landscapes and is the originator of the German von Bemmel family of painters of Nuremberg. (1) £1,500 - £2,000

350* Italian School. Study of a Greek warrior with helmet, possibly Miltiades or Pericles, probably Rome, late 16th or early 17th century, white chalk on laid paper with a grey prepared ground, with additional study to verso by the same hand, of Atlas supporting the world, in black chalk, some marks and light soiling, small loss of paper towards upper left corner, sheet size 300 x 225mm (11.8 x 8.9ins) (1)

£400 - £600

351* Attributed to Jan van Balen (circa 1611-1654). Helena Fourment, wife of Peter Paul Rubens, mid-17th century [or possibly later], black and white chalk on pale blue laid paper, inscribed in ink to top right corner J.V. Balen, and bearing an indistinct date below ending in '57', minor loss to extreme lower right corner, a few surface marks and minor scratches, sheet size 555 x 485mm (21.75 x 19ins), 19th century black and gilt frame An early chalk copy of the ﬁgure of Helena Fourment (1614-1673), the second wife of Peter Paul Rubens, taken from the famous oil painting of the artist and his family, Rubens, His Wife Helena Fourment (1614–1673), and their Son Frans (1633–1678), of circa 1635, now in the Metropolitan Museum of Art, New York. The original painting measures 80.25 x 62.25 ins. (see image). (1) £300 - £500

Courtesy of the Metropolitan Museum of Art

Lot 351 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

Lot 352 96

Lot 351

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353* Mondella (Galeazzo, called Il Moderno, 1467-1528). The Flagellation of Christ, circa 1510 [but later], bronze relief plaquette, showing the scourging of Christ at the pillar below a twin barrel-vaulted ceiling, initialled P.V.R. to lower edge, integral hanging loop to verso, 14 x 10.5cm (5.5 x 4ins) Provenance: Collection of Jack Webb (1923-2019), London. Literature: Douglas Lewis, ‘The Plaquettes of “Moderno” and His Followers’, Studies in the History of Art, volume 22, ‘Symposium Papers IX: Italian Plaquettes’, Washington, 1989, pages 105-141. Galeazzo Mondella (1467-1528), prominent goldsmith and guild master of Verona, and perhaps the most accomplished artist of Italian Renaissance plaquettes. His work, which included both sacred and profane subjects (including the Labours of Hercules and the Life of Christ) was inﬂuenced by Mantegna and other artists in his native Veneto, as well as by fellow artists such as “Antico” (Pier Jacopo Alari Bonacolsi, circa 1460-1528), whose “trade” name almost certainly inﬂuenced his own. ‘P.V.R.’ may represent the name of the foundry that created this later casting. (1) £200 - £300

Lot 354

354* Le Sueur (Eustache, 1617-1655). Robed male holding a staff, possibly Saint John, seen walking in proﬁle, black chalk on pale blue laid paper, heightened with touches of white chalk, laid down on cream backing paper, inscribed in pencil lower left with artist’s name in a later hand, collector’s mark to extreme lower left corner of a Maltese Cross blindstamp within a circle, sheet size 371 x 248mm (14.6 x 9.75ins), tipped on to late 18th or early 19th century backing paper with wash ruled border, numbered in brown ink at head ‘No. 84’ inset to later backing paper, window-mounted Provenance: Formerly in the collection of Peter Ward-Jackson (1915-2015), curator at the V & A Museum, London. (1) £400 - £600

355* Continental School. Portrait of a young gentleman, mid 18th century, coloured chalks on laid paper, with large watermark incorporating the ﬁgure of a man, head and shoulders portrait half-proﬁle to right of a young bewigged gentleman wearing a dark coat and neck bands, some slight spotting, lower corners each with several short (maximum 4cm) incisions, some very slight fraying to top edge, verso with indistinct early pencil inscription ‘? Pfr GyriMeyer’, and partially edged with brown paper strips, sheet size 29.5 x 21.5cm (11.5 x 8.4ins) See Churchill 509: watermark very similar to that of Wendelsteiner Mill of Bavaria (1686). (1) £150 - £200

Lot 355

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Lot 356 356* Wilson (Richard, 1714-1782). Mont Palatine, Rome, pencil and white chalk on blue paper, showing Roman ruins including the palace of Domitian on the Palatine Hill in Rome, signed lower right, and titled upper left, sheet size 21.9 x 29.8cm (8.5 x 11.75ins), mounted, framed and glazed Provenance: Christie’s Interiors Sale, London, South Kensington, 29th May 2012, lot 805. (1) £400 - £600

Lot 357

357* Manner of Jean-Charles Delafosse (1734-1789). Design for a ewer, mid 18th century, pen and brown ink with watercolour wash on laid paper (with indistinct watermark), depicting a decorative vessel, the side elaborately embellished with atlas ﬁgures and putti, the spout with a ﬁgurehead, and the handle formed by a rearing faun, residue on verso where previously adhered, sheet size 25.6 x 14cm (10 x 5.5ins) (1)

£200 - £300

358* Esdaile (William, 1758-1837). A collection of 21 pen and ink sketches after William Hogarth, 21 small pen and black or brown ink studies of heads, taken from figures in prints by William Hogarth (16971764), on laid paper, 10 of which are signed with initials by William Esdaile, many with handwritten caption giving the identity of the figure (Don Quixote, Sancho, Southwark Fair, Dr. Vaccuum, Dr. Roch, Landlady, Inn Yard, Waiter, 2nd Stage of Cruelty) each irregularly cut down, and mounted on old backing card, 50 x 50mm (2 x 2ins), or smaller William Esdaile (1758-1837), son of a Lord Mayor of London, a banker who worked for the family firm Esdaile, Hammet & Co., at 21 Lombard Street, London. From an early age, he was a collector of of Old Master prints and drawings, and a regular attendee at the auction rooms. His collection, one of the most important in England at the time, was sold off in a number of sales at Christie’s between 1838 and 1840, at prices sadly often well below their original cost. (21) £200 - £300

Lot 358 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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Lot 359 359* French School. Landscape with Waterfall, later 18th century, large-scale colour pastel on laid paper, with later canvas relining, 58 x 71cm (23 x 28ins) frame aperture, period moulded gilt frame, glazed, with slight damage to frame mouldings, remains of old Agnew’s of London label to verso, and modern auction stencil to stretcher FA949 Provenance: Private Collection, Herefordshire, UK. (1)

£800 - £1,200

360* Grimm (Samuel Hieronymus , 1733-1794). Cows and ﬁgures in a landscape, with thatched cottage and church, circa 1780s, pen, brown and black ink, brown and grey wash on paper, laid down on later card, sheet size 175 x 227mm (6.9 x 9ins), mounted with wash ruled border and with artist’s name and dates printed below, framed and glazed, with mid-20th century typewritten note, and adhesive address label for Ian & Wendy Fox, Basingstoke, attached to verso (1)

£300 - £500

Lot 360 99

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361* Grimm (Samuel Hieronymous, 1733-1794). Landscape with ﬁgures making camp, ﬁne pen, ink and watercolour on wove paper, sheet edges with grey wash border, image size 205 x 292mm (8.1 x 11.5ins), sheet size 226 x 305mm (8.9 x 12ins), framed and glazed, with Abbott & Holder gallery label to verso (1)

363* Attributed to Robert Dighton (1752-1814). A series of six drawings illustrating the story of the Prodigal Son, circa 1780s, 6 oval pen, ink and wash drawings on rectangular laid paper, one with partial watermark, image size 110 x 153mm (4.3 x 6.1ins), sheet size 125 x 165mm (5 x 6.5ins), a few minor marks, tipped-in to 19th century album leaves, bound in later (probably 20th century) antique-style half morocco over marbled boards, with red morocco title ‘Prodigal Son’ to spine, (192 x 235mm, 7.5 x 9.2ins)

£300 - £400

The story of the Prodigal Son has a long tradition in European art, and became especially popular in England during the 18th century. The six scenes represent 1) The Prodigal Son receives his patrimony, 2) The Prodigal Son taking leave, 3) The Prodigal Son revelling with the harlots, 4) The Prodigal Son in misery, 5) The Prodigal Son returns reclaimed, and 6) The Prodigal Son feasted on his return. (1) £1,000 - £1,500

362* Follower of Samuel Hieronymous Grimm (1733-1794). Courting couple in a landscape with waterfall, watercolour on card, depicting a rural landscape with horned cattle, sheep, a donkey, and a young peasant couple, on a lane beside a steep waterfall, with a ﬁgure on the wooden bridge above, and a cottage and trees, trimmed to an oval and laid down on paper, sheet size 41.9 x 31.6cm (16.5 x 12.5ins), mounted (1)

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

364* Londonio (Francesco, 1723-1783). Studies of Sheep and Figures, including man drinking a bowl of soup, after Philipp Peter Roos, circa 1655-1706, brown ink on pale cream wove paper, signed lower right Londonio del, and additionally inscribed Roos to lower left corner, sheet size 175 x 235mm (6.9 x 9.25ins) (1)

£100 - £150

100

£200 - £300

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365* Serres (Dominic Michael, 1722-1793). Landscape with figures, watercolour on card, laid down on paper and edged with a border of brown card, depicting a wooded landscape, with rocks in the foreground, and three country figures on a winding road, one mounted sideways on a grey pony, signed lower right, toned, some minor marks and slight surface lifting, 39.5 x 62.5cm (15.5 x 24.5ins) Although French-born, Dominic Serres is strongly associated with the English school of painting. He was one of the founding members of the Royal Academy in 1788, and was briefly its librarian, from 1792 until his death. Serres first left France to journey to Spain and become a ship’s captain, sailing to Cuba. He was captured by the British navy towards the end of the 1740s, and he eventually settled in London in about 1758, where it is believed he trained as a painter in Northamptonshire, and later in London under Charles Brooking. He is best-known for his naval and marine paintings, reflecting his earlier career. (1) £150 - £250

Lot 365

366* Manner of Giovanni Volpato (1733-1803) and Abraham-Louis-Rodolphe Ducros (1748-1810). Tempio detto della Sibilla in Tivoli, circa 1780s, pen, brown ink and watercolour on laid paper, heightened with touches of gouache, mounted on contemporary backing paper with outer ruled border in brown ink, brown and pale green wash, inscribed with the title of the work in brown ink to lower margin, some light marks and minor discolouration (generally in good condition), image size 378 x 490mm (14.9 x 19.3ins), overall size (including the backing paper) 445 x 560mm (17.5 x 22ins), laid down on 20th century card, 20th century gilt frame The Temple of the Sibyl at Tivoli near Rome was one of the most popular Roman ruins visited by Grand Tourists, and also the most frequently depicted. (1) £300 - £500

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367* Flemish School. Massacre of the Innocents, first quarter 17th century, oil on canvas, depicting a frenzied scene of warring figures, with infants being torn from outstretched arms in the foreground, and being thrown from a large arched bridge or viaduct in the middle ground, with a vista of a classical city to the right, including a domed basilica and a monumental gateway with drawbridge, heavily darkened in places and with surface wear, including central vertical split with old restoration, several small circular piercings to the canvas, and one or two other small closed tears or marginal defects, old re-lining, mounted on a later 18th or 19th century stretcher with hand-made nails, 117 x 171.5cm (46 x 67.5ins) Provenance: Acquired by the Bednarski family on the Portobello Road, West London in 1960; by descent to Adriana Dixon (née Bednarski) in 1970; purchased by the present owner in 2019. A large-scale composition in need of cleaning and restoration. The rendering of the architecture, the skilful portrayal of burnished armour, and the addition of earrings on two of the figures, suggest a competent artist such as Pieter van Lint (1609-1690) or his teacher Artus Wolfaerts (1581-1641), both of whom produced large-scale works. Peter Paul Rubens (1577-1640) renderings of this same subject are well-known. (1) £5,000 - £8,000

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

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368* Italian School. Abraham and Isaac, later 17th century, oil on canvas, some surface discolouration, and small areas of ﬂaking with slight loss (mainly to a small area below the foliage of the tree on the left), 64 x 52cm (25.25 x 20.5ins), with later painted numeral to verso of the canvas ‘6B’, old gilt frame (1)

£500 - £800

Lot 368 369* English School. Rural Landscape with ﬁgures and covered wagon on a track, late 18th century, oil on wood panel, bears later erroneous inscription to lower left ‘J.A. Grimshaw’, 28 x 42cm (11 x 16.5ins), framed (1)

£200 - £300

Lot 369

103

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370* Baillie (Captain William, 1723-1810). The Three Trees after Rembrandt, 1758, etching with drypoint and roulette on laid paper, fourth state (of 6), with the addition of lightning and monogram W.B. to centre of left margin, with short margins, plate size 210 x 280mm (8.25 x 11ins), sheet size 217 x 290mm (8.5 x 11.5ins), together with a reproduction on laid paper of Rembrandt’s self-portrait in a feathered cap with plume, circa 1638, etching on laid paper without watermark, trimmed to plate mark, sheet size 137 x 102mm (5.4 x 4ins), both framed and glazed (2)

£200 - £400

Lot 371

371* Baudous (Robert Willemsz de, 1574-1659). Phoebus exposing Mars and Venus to the ridicule of the Olympians, after Hendrick Goltzius, circa 1615, copper engraving on laid paper, with indistinct watermark, with small collector’s stamp to lower right blank corner (Lugt 971), plate size 177 x 254mm (7 x 10ins), sheet size 190 x 270mm (7.5 x 10.65ins), window-mounted, together with: Daddi (Bernardo, Master of the Die, circa 1512-1570). Sacriﬁce to Priapus, after Raphael or Julio Romano, circa 1532, engraving on laid paper, trimmed to plate margins, paper restrengthening to verso, with unidentiﬁed collector’s mark ‘(JJS)’ in blue to verso, sheet size 123 x 285mm (4.85 x 11.3ins), window-mounted

372* Beham (Hans Sebald, 1500-1550). Frieze with Two Tritons, woodcut on laid paper, with watermark of a crowned serpent, a very good impression and in good condition, with collector’s mark of the Graf von Lepell Sammlung, and Kupferstich Sammlung der Konigl. Museen to verso, sheet size 225 x 460mm (8.9 x 18.1ins), window-mounted Provenance: W. Graf von Lepell; Count Wilhelm Heinrich Ferdinand Karl von Lepell (1755-1826, Lugt 1672); Berlin, Kupferstichkabinett der Staatlichen Museen (Lugt 1606). Pauli, Hans Sebald Beham, Kritisches Verzeichniss, 1346; Hollstein 1346. Exhibited: Colnaghi, London, 500 Years of Fine Prints, 1976, number 67. (1) £600 - £800

Provenance: Friedrich August II (1797-1854) King of Saxony (Lugt 971). From the series of 52 engravings illustrating stories from the Metamorphoses by Ovid. (2) £200 - £300

Lot 372

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

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373* Blake (William, 1757-1827). Beggar’s Opera, Act III. ‘When my hero in Court appears, &c.’, From the Original Picture, in the Collection of his Grace the Duke of Leeds, 1790, engraving by William Blake after William Hogarth, published July 1st 1790, by J. & J. Boydell, Cheapside, & at the Shakespeare Gallery, some light soiling to margins and two short closed tears to lower portion of right blank margin and lower margin, trimmed to plate mark, sheet size 46 x 58cm (18 x 23ins), old Hogarth-style frame, glazed (1)

375* Castiglione (Giovanni Benedetto, 1609-1664). Man with beard and moustache wearing a turban, from the series Large Heads in Oriental Headdress, etching on laid paper, trimmed just inside the plate mark, extreme upper left corner torn (without loss), sheet size 180 x 150mm (7.1 x 5.9ins), window-mounted Bartsch 51. (1)

£200 - £300

£70 - £100

376* Castiglione (Giovanni Benedetto, 1609-1664). Young man looking down to the right, & a head of an old bearded man with a turban, from Small Heads in Oriental Headdress, circa 1650 [or later], two etchings on laid paper, some light surface marks and soiling, the second work with small loss to blank margin towards upper right corner, adjacent to plate mark, plate size 110 x 80mm (4.4 x 3.1ins), sheet size 128 x 98mm (5 x 3.9ins), corner mounted to old folio mounting leaf, together with 11 other various Old Master prints, 10 of which are mounted (on the same and one other backing leaf), including A. Gastiers, St. George, 2 etchings by Hollar (Ein Shiffers Weiss zu Ambsterdam & Ein Burgersfrau zu Bern), a later copy in reverse of Rembrandt’s Old Bearded Man in a High Fur Cap, with Eyes Closed (Bartsch 290), a later 19th century copy of Rembrandt’s Portrait of Johannes Wtenbogaert, preacher of the Remonstrants (trimmed to plate mark, framed and glazed)

374* Caraglio (Gian Giacomo Karalis, circa 1505-1565). Apollo and Daphne, circa 1527, copper engraving on laid paper, with watermark (only partially visible, but believed to include a star above an anchor), trimmed to plate mark, and with small nick to lower margin with very slight loss, collector's mark to verso of Robert Balmanno (Lugt 2193), sheet size 182 x 135mm (7.2 x 5.35ins) Provenance: Robert Balmanno (1780-circa 1863), F.S.A. Bartsch 18. From the series of 20 engravings by Caraglio, after designs by Perino del Vaga and Sebastiano Rosso. In this impression the 8-line caption in Italian has been removed. (1) £200 - £300

(13)

105

£100 - £150

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378* Vicentino (Niccolo, active circa 1510-circa 1550). Olympus (Surprise), (after Parmigianino), circa 1540s, oval chiaroscuro woodcut on laid paper, printed from three blocks: olive green, grey-green and black, trimmed to the edge of the oval image (with loss of the outer rectangular edges of the print), sheet size 231 x 149mm (9.1 x 5.9ins), tipped-on to mount card, framed and glazed Bartsch XII, 146, 10. Also attributed to Ugo da Carpi (1450/80-1532). See Naoko Takahatake, The Chiaroscuro Woodcut in Renaissance Italy (2018), Los Angeles County Museum of Art (2018), 47 (pages 136-139). (1) £300 - £500

377* Collaert (Adriaen, circa 1560-1618). Augustus (from the series The Twelve Months), 1578-82, copper engraving on laid paper, after Hans Bol (1534-1593), trimmed to circular border of the image, just touching border line in one or two places, 141mm diameter, framed and glazed The landscape depicts activities appropriate to the month: for August, farmers are harvesting, sheaving corn, and loading hay. The zodiac sign for Virgo ﬂoats in the sky above. (1) £150 - £200

379* Attributed to Jerome David (circa 1605-circa 1670). Timur, from the series of Character Heads, circa 1637, engraving and etching on laid paper, trimmed just inside the plate mark, sheet size 221 x 188mm (8.75 x 7.4ins), together with: De Jode (Pieter, 1570-1634). Portrait of Albert, Archduke of Austria (1559-1621), 1621, etching on laid paper, a very good dark impression, with margins, collector’s stamp of Count ClemensWensceslas de Renesse-Breidbach (1776-1833), Belgian ofﬁcer, politician and collector (Lugt 1209) (2)

Lot 378

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£200 - £300

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Lot 380

Lot 381

380* Della Bella (Stefano, 1610-1664). A Satyr Family Walking, etching on laid paper, the third state, published by Pierre Mariette, Paris, plate size 220 x 223mm (8.7 x 8.7ins), sheet size 269 x 246mm (10.6 x 9.7ins), window-mounted De Vesme 103. (1)

£200 - £300

381* Della Bella (Stefano, 1610-1664). La Perspective du Pont Neuf de Paris, 1646, etching on laid paper, laid down on backing card, some marks and wear to sheet edges, vertical crease to centre and towards the right side, laid down on card, sheet size 370 x 695mm (14.5 x 27.5ins), framed and glazed De Vesme 850. (1)

£150 - £200

382* Schindler (Johann Josef, 1777-1836). Ossian, 1819, oil on canvas laid on card, small spot of ﬂaking to lower left corner, inscribed in black ink to verso in a contemporary hand: Gemalt im October 1819 von Professor Schindler in Wien, 57 x 45.5cm (22.5 x 18ins), later painted wood and gilt frame (69 x 57.5cm, 27.2 x 22.5ins) Provenance: Private Collection, Vienna; Dorotheum, Vienna, 19th Century Paintings and Watercolours, 20 September 2016, lot 203. Austrian artist Johann Josef Schindler was a student at the Academy of Fine Arts, Vienna, becoming a member in 1818. (1) £1,500 - £2,000

Lot 382

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Lot 384

383* Durer (Albrecht, 1471-1528). The Standard Bearer, 1502, copper engraving on laid paper, without watermark, a Meder b impression, trimmed to or just inside the plate mark on each side, some marks and light overall toning, remains of old mounting paper to corners on verso, collector’s mark (Lugt 1425) to verso, and with old number in brown ink 42490, sheet size 114 x 69mm (4.5 x 2.75ins) Provenance: Reverend John Burleigh James (1811-1891), Knowbury Park, Shropshire, Vicar of Knowbury from 1841 to 1876. Bartsch 87; Meder 92; Schoch Mende Scherbaum 31b. The important print collection of Reverend John Burleigh James was sold at Sotheby’s in three parts between March 19th and May 31st, 1877, and included 5,699 lots. The collection was rich in examples by Durer and Rembrandt, and every print in the sale bore his collector’s mark, as here. (1) £700 - £1,000

384* Durer (Albrecht, 1471-1528). The Three Bishops, Nicholas, Ulrich and Erasmus, circa 1510 [but later], woodcut on laid paper, a copy in reverse, probably 18th century, trimmed to borderline, 207 x 139mm (8.2 x 5.5ins), tipped-on to 19th century backing paper Provenance: Inscribed in a late 19th century hand in pencil to verso ‘B. 118. Prestel. H. 1875’. (1) £100 - £200

Lot 385

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

£700 - £1,000

387* Hollar (Wenceslas). [The Dance of Death from the original designs of Hans Holbein, London: J. Coxhead, 1816], comprising 30 etched plates (of 33, numbered 1-30, without portrait plates) on wove (with re-working), 75 x 55mm Pennington 233-262. The collection of plates appears to be from the 1816 edition printed by B. M'Millan for J. Coxhead which were coarsely re-worked. (30) £200 - £300

386* Goudt (Hendrick, 1582/88-1630/48). Ceres seeking her Daughter, after Adam Elsheimer, 1610, etching and copper engraving on laid paper, a good dark impression, trimmed just inside plate mark, remains of paper mount hinges to top margin verso, and two small ownership stamps (Lugt 3926 and Lugt 4812), sheet size 315 x 247mm (12.4 x 9.75ins) Provenance: Hubert Georges Désiré Dupond (1901-1981/82), Brussels; Albert Aaron Feldmann (1920-1999). Bartsch, Hollstein 5. The second of only seven prints by Goudt, all of which were engraved after paintings by the German artist Adam Elsheimer, who had established himself in Rome at this time. The story is taken from Ovid’s Metamorphoses, and illustrates an episode during the search by the goddess Ceres for her daughter Persephone. The goddess stops at a cottage where she is offered a bowl of hot broth by an old woman. A little boy appears and mocks her for drinking so greedily, for which the goddess turns him into a lizard. (1) £200 - £300

388* Hollar (Wenceslaus, 1607-1677). The Angler, 1650, etching on laid paper, a very good impression of the second state, with added words to centre of lower blank margin: buyten Brussel, and with numeral 7 to lower right blank corner, also inscribed lower left Brüghel pinxit, and W: Hollar Fecit, ex Collectione Arundeliana, 1650, plate size 121 x 177mm (4.5 x 7ins), with margins, together with: The Four Windmills, 1650, etching on laid paper, a very good impression, probably from the second state, although the added text buyten Brussel and numeral 5 are no longer present due to trimming, trimmed to the border of the image, sheet size 110 x 170mm (4.35 x 6.7ins), both framed and glazed Pennington 1214, ii/ii and 1215. (2)

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£200 - £300

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Lot 390

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

£150 - £200

391* Labruzzi (Carlo). Figure Di Carlo Labruzzi, 1788, 8 sepia etched plates with aquatint, some with etched numerals to upper right and line borders, some lined to verso, approximately 120 x 170mm, together with Carlo Labruzzi fece a Roma 1794, comprising 13 sepia etched plates, some with etched numerals to upper right and close-trimmed to image, few lined to verso, 125 x 185mm and smaller, and 14 other sepia etched plates of ﬁgure studies in a country landscape, etched numerals to upper right, few lined to verso, 70 x 90 mm

390* Kolbe (Carl Wilhelm, 1757-1835). Das Gespräch, 1800 [or slightly later], copper engraving on heavy wove paper, some minor pale green spotting, trimmed to plate margins, sheet size 435 x 370mm (17.1 x 14.6ins), together with: Wooded Landscape with Huntsman, 3 Cows and 3 Sheep, etching on wove paper, trimmed to plate margins, inscribed to verso ‘Chez Naudet Md au louvre, 1810’, sheet size 330 x 264mm (13 x 10.4ins), hinge-mounted on modern cream backing card, plus 4 other similar etchings by Kolbe, various sizes

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Provenance (for the second work): Naudet, circa 1800, print dealer, Louvre, Paris (Lugt 1937). Jentsch 94, second state (for the second work), and Jentsch 7, 17, 55 & 56 (for the ﬁnal 4 works). (6) £300 - £500

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£300 - £500

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392* Laurie (Robert, circa 1755-1836). Landscape with storm and ﬁshermen by the river, ﬁne mezzotint on laid paper, with indistinct watermark, published by Robert Sayer, and published January 30, 1773, central vertical crease where previously folded, closed tear repaired to lower margin at right, without loss, plate size 452 x 550mm (17.75 x 21.7ins), sheet size 466 x 570mm (18.4 x 22.5ins) together with: Burgkmair (Hans). The Triumph of Maximilian I, 1516-18, single woodcut from the series of 236, on laid paper, with watermark of a spread eagle within a circle, probably later 16th century, with handwritten inscription in brown ink (late 18th or early 19th century) to banner ‘Triumphal Procession of the Empr. Maximilian 1st - drawn by Hans Burgmair under the direction of the Empr.’, sheet size 382 x 367mm (15 x 14.5ins) (2)

£300 - £500

Lot 392

393* Laurie, (Robert, circa 1755-1836). A Tigress, after George Stubbs, 1800, ﬁne metzotint on thick wove paper, the third estate, as published by Laurie and Whittle, 12th November 1800, a rich, dark impression, lower margin trimmed to plate line, closed tear repaired to top margin towards the right, touching image, similar short closed tear repaired to left blank margin, and similar restoration to upper left blank margin, sheet size 50 x 65.8cm (19.7 x 25.9ins), window-mounted, framed and glazed

394* Leyden (Lucas van, 1494-1533). The Beggars (Eulenspiegel), 1520 [or later], etching and engraving on laid paper, with large indistinct watermark (possibly a crown and shield), left edge of the sheet with a few small nicks, with little or no loss, inscribed in ink to verso ‘original Fountaine Walker 1867 extremely rare’, sheet size 177 x 141mm (7 x 5.6ins)

Lennox-Boyd Dixon & Clayton 139, iii/iii. (1)

Provenance: Fountaine Walker (1833-1892), Ness Castle, Inverness, Scotland (Lugt 4840). New Hollstein 159. Also known by the title Owlglass, as well as The Beggars. (1) £300 - £500

£400 - £600

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Lot 396 395* Merian (Matthaus, 1593-1650). Copper plate for Icones Biblicae, depicting a woman seated on the ﬂoor leaning over an infant on her lap, between a group of people on one side, and a cluster of Roman soldiers on the other, with a city on a hill burning in the background, 101.8m x 15.6cm (4.75 x 6.25ins) (1)

£300 - £500

396* After Paul Bril (c.1553/54-1626). Five landscapes, early 17th century, etching & engraving on laid paper, including two by Johannes Sadeler (1550-1600) after Paul Bril, and one by Willem van Nieulandt (1584-1636) after Bril, and two others, each closetrimmed, image size 195 x 270mm (7.75 x 10.75ins) & smaller, framed and glazed, together with Sadeler (Jan or Johannes, the Elder, 1550-1600). Christ crowned with thorns, from The Passion of Christ (Passio verbigenae quae nostra redemptio Christi), circa 1580-90, copper engraving on cream laid paper, after Marcus Gheeraerts the Elder (c. 1520-c. 1590), trimmed just outside the plate border, plate size 162 x 112mm (6.4 x 4.4ins), sheet size 166 x 116mm (6.55 x 4.55ins), window-mounted

Lot 395

Sadeler: Hollstein XXI, 213. The sixth of a thirteen-part series of ornament prints depicting the passion of Christ. (6) £200 - £300

397* Piranesi (Giovanni Battista, 1720-1778). Veduta della Piazza di Monte Cavallo, 1750 [or later], etching on thick laid paper, a strong impression, including one or two printing smudges, paper bears a watermark of a ﬂeur-de-lys within a double-rule circle, surmounted by the letter B, plate size 391 x 547mm (15.5 x 21.6ins), sheet size 510 x 590mm (20 x 23.25ins), framed Hind 15; Wilton-Ely 142. (1)

Lot 397 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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£200 - £400

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398* Rembrandt (Harmensz. van Rijn, 1606-1669). Christ at Emmaus: The Larger Plate, 1654, etching with drypoint on laid paper, with indistinct watermark, New Hollstein’s 4th state (of 5), signed and dated in the plate ‘Rembrandt f 1654’ to lower left, several minor nicks to blank margins (except one small tear to right hand margin with minor loss, just touching engraved area), hairline closed tear within the image towards centre of lower margin, with minute loss (approximately 1mm square), traces of adhesive to verso, and two paper mounting tabs to upper and lower left corners verso, plate size 209 x 160mm (8.25 x 6.25ins), sheet size 214 x 164mm (8.5 x 6.5ins)

399* Rembrandt Harmensz van Rijn (1606-1669). The Stoning of St. Stephen, 1635, etching on laid paper, a posthumous, late 18th century impression, reworked, by Claude Henri Watelet or PierreFrancois Basan (1789) or his son Henri Louis Basan (1807), pale mount stain, plate size 95 x 85mm (3.75 x 3.3ins), sheet size 120 x 105mm (4.75 x 4.1ins) Hind 125; New Hollstein 140; Bartsch, Hollstein, Nowell-Ustike 97. (1) £500 - £800

Bartsch 87; New Hollstein, iv/v; Hind 282. Christ at Emmaus: The Larger Plate depicts the biblical episode following Christ’s resurrection when the two disciples present with him, recognise Christ for the ﬁrst time, as he breaks and blesses the bread at the dinner table. (1) £700 - £1,000

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401* Saenredam (Jan Pietersz., 1565-1607). The Adulterous Woman, after Hendrick Goltzius, copper engraving on laid paper, a very good impression, trimmed to plate margins, sheet size 195 x 138mm (7.7 x 5.4ins), inscribed in light brown ink to verso ‘P. mariette 1674’, window-mounted, together with: Goltzius (Hendrick, 1558-1617). Pygmalion and Galatea, 1593, engraving on laid paper, with indistinct watermark, published by Jan Saenredam, trimmed with lower margin excised, removing the 4 lines of caption, some marks and marginal repairs, with small area replaced to centre of lower margin, sheet size 308 x 217mm (12.1 x 8.5ins) Hollstein (Dutch) 37 (for Saenredam); Hollstein 158 (for the Goltzius). (2) £300 - £500

400* Ribera (Jusepe de, 1591-1652). The Drunken Silenus, 1628, etching on laid paper, the second state (of 3), with address of Giovanni Orlandi, some surface marks and light soiling, trimmed just inside the plate mark, sheet size 268 x 344mm (10.6 x 13.6ins) (1)

£700 - £1,000

402* Saint-Aubin (Gabriel de, 1724-1780). Frontispiece for the Recuil de Poesies by Michel Jean Sedaine, 1757, etching on laid paper, the second, deﬁnitive state (of 2), with the etched name of the artist carefully removed, inscribed in brown ink to foot of lower blank margin Sedaine, plate size 142 x 85mm (5.5 x 3.25ins), sheet size 152 x 88mm (6 x 3.4ins), hinged to modern window-mount Dacier 14a. Hollstein XXI, 213. The sixth of a thirteen-part series of ornament prints depicting the passion of Christ. (1) £100 - £150

Lot 401

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404* Vorsterman (Lucas, The Elder, 1595-1675). Thomas Howard, Duke of Norfolk, after Hans Holbein, circa 1655, engraving on laid paper, with Strasbourg Lily watermark, trimmed just inside the platemark, a good, strong impression, sheet size 273 x 201mm (10.8 x 8ins), together with: [Loggan, David, 1635-1692]. The Efﬁgies of the most magnanimous & thrise puisant George Duke of Albemarle Earle of Torrington. Baron Monck of Potheridge, Beauchamp. and Teys, circa 1670, etching on laid paper, a strong, dark impression, faint vertical crease where previously folded, with very short associated closed tear to lower margin, without loss, trimmed just inside the platemark, sheet size 270 x 215mm (10.8 x 8.5ins), plus other various 17th and 18th century prints, many portraits, including Crispijn de Passe (1564-1637), Portrait of Thomas Scott, 1624 (circa 1580-1626), radical Protestant preacher, Pieter van Sompel, Aureolus Theophrastus Bombastus von Hoheim (Paracelsus), circa 1630, engraving on laid paper, with foolscap, trimmed to plate mark, residue of mounting paper to corners verso, with some light associated skinning, sheet size 302 x 216mm (11.9 x 8.6ins), Willem de Passe (1598-circa 1637), Portrait of Darcy Wentworth, 1624, Wenceslaus Hollar (1607-1677), Mulai Al-Rashid (Muley Arsheid Zeriff, Prince of Taffeleta, Emperour of Marocco Fezz, 1670, etching on laid paper, trimmed just inside the platemark, Richard Gaywood (active circa 1650-1680), William Fairfax, 1656, etching and engraving on laid paper, trimmed to platemark, Michel Lasne (1590-1667), Francois de Bassompierre, George Vertue (1684-1756), Abraham Cowley, after Lely, John Bowles (1701-1779, publisher), Miss Eyebright, circa 1760s, mezzotint on laid paper, a 17th century engraved portrait on laid paper of King James I [reissued in 1798 by Robert Wilkinson, ‘Engraved from a Scarce Print in the Possession of George Chalmers], etc

403* Schon (Erhard, circa 1491-1542). Albrecht Durer Conterfeyt in seinem alter des LVI. Jares (Portrait of Albrecht Durer in his 56th Year), circa 1528-29, woodcut on laid paper printed by Wolf Drechsel, Nuremberg, some surface marks and light soiling, laid down on later backing card, sheet size 370 x 260mm (14.5 x 10.25ins), framed and glazed

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£200 - £300

Hollstein, 156, I. Erhard Schon’s portrait is based on the medal by Matthes Gebel, and is here printed with a laudatory poem by Hans Sachs. (1) £150 - £200

405* Waterloo (Anthonie, circa 1610-1690). A wooded riverbank with church in the distance, etching on laid paper, plate size 128 x 138mm (5 x 5.4ins), with margins, framed and glazed, with 20th century typewritten label to verso for the work from the Libreria Antiquaria Soave, Torino, Italy, together with 8 other Old Master prints, various, including Lucas van Leyden (1494-1533), David with the Head of Goliath, 1600 [but later], an engraved copy in reverse, trimmed to image, framed and glazed, Schelte Adams Bolswert (1586-1659), The Drunken Silenus, etching and engraving on laid paper after Anthony van Dyck, framed and glazed, John Smith (circa 1652-1742), The Hunt, mezzotint after Jan Wyck, mounted, etc

Lot 404

(9)

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£200 - £300

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PORTRAITS & MINIATURES

Lot 408 Lot 406 406* Continental School. Portrait of a lady, early 17th century, watercolour and bodycolour, heightened with gold, on vellum, oval bust length portrait of a young lady with curled ﬂaxen hair and enigmatic gaze, wearing a dress with black skirt and muslin bodice, a black shawl over her head, and a string of pearls around her neck, indistinct letters in gold top right ‘MARO ANTE’(?), 60 x 46mm (2.25 x 1.75 in), later oval gilt metal pendant frame with hanging loop, glazed (1)

£200 - £300

407* English School. Oval portrait of a gentleman, circa 1780, pastel on paper, head and shoulders portrait proﬁle to left, of a young bewigged gentleman wearing a blue and orange striped waistcoat and brown coat, with white cravat, 24.3 x 19.3cm (9.5 x 7.5ins), 1880s gilt frame with oval aperture, glazed, verso with framer’s label ‘W.A. Smith, Carver and Gilder ... 20 & 22 Mortimer Street, Regent Street, London, W.’ and old manuscript label ‘An Arnott ancestor of Hugh M. Davies to whom this portrait is to be given’ (1)

£200 - £400

408* English School. Oval portrait of a young girl, early 20th century, watercolour on ivory, half-length portrait half proﬁle to right, of a small girl in a white dress with a bow in her curly blonde hair, 50 x 38mm (2 x 1.5ins), oval yellow metal frame, glazed, together with 2 other framed oval portrait miniatures, one of a young gentleman with moustache, circa 1900, the other of a 1940s/50s gentleman, signed L. Maylott, Swindon, each housed in original velvet-lined leather frame with stand and hinged double doors, that to second item rubbed and lettered in gilt on verso ‘A. Debenham, Southsea’ (3)

Lot 407

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£100 - £150

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409* Fleetwood-Walker (Bernard, 1892-93-1965). Portrait of Elizabeth Anne Nassim, 1950s, oil on canvas, signed to lower right, three-quarter length portrait of a young woman seated, wearing a blue silk dress, some surface marks, small scratches, and soiling, 91 x 71cm (35.75 x 28ins), framed Elizabeth Anne Nassim is the daughter of the late eminent physician Joseph Reginald Nassim, and was at one time married to the sculptor James Butler. (1) £200 - £300

410* Indian Miniatures. A collection of 10 miniature paintings, circa 1850s, watercolour and gouache on ivory, highlighted with gold, comprising: 6 oval half-length male portraits, in proﬁle or half-proﬁle, 2 holding a sword, one probably depicting Aurangzeb; 3 female portraits, including a circular full-length portrait of a woman seated on a gilt chair on a terrace holding a hookah, inscribed on verso in contemporary manuscript ‘Ranee’, followed by an indistinct word crossed through; and a painting of a mosque with 3 gilt domes, some surface rubbing and marks, 2 glazed, others with remains of previous framing or mounting, largest 48 x 47mm (2 x 2.25ins), smallest diameter 36mm (1.5ins) (10)

Lot 409

Lot 410

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£700 - £1,000

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411* Memorial miniature. Oval miniature painting commemorating C.F. Buhlman, 1857, watercolour and gouache on ivory depicting an anchor leaning against a large marble monument with German inscription in a landscape with trees and mountains, 5.9 x 7.3cm (2.25 x 2.75ins), ebonised framed, glazed The inscription reads: ‘Hier im Frieden mein theurer Gatte C.F. Bühlmann gest d.2 Janvier 1857 alé 33 ... (1) £150 - £200

412* Miniatures. Portrait of a Senior Ofﬁcer of the British Army and another of his wife, c.1830, watercolour on ivory, 7.5 x 7cm (3 x 2.75ins), each in ebonised frames with brass acorn and oak leaf and the other with grape and wine hanging ring, titled verso Provenance: Collection of Jack Webb (1923-2019), London. (2) £200 - £300

Lot 411

Lot 412

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Lot 413 413* Miniatures. Portrait of George Grifﬁn, Army Surgeon and another of his wife, c.1830, watercolour on ivory, 7 x 5.5cm (2.75 x 2.25ins) gilt mount aperture, each in ebonised frame with brass acorn and oak leaf hanging ring, titled verso Provenance: Collection of Jack Webb (1923-2019), London. (2) £200 - £300

415* Victorian School. Portrait of a young woman, thought to be Princess Alice, dressed in a light silk gauze cape with blue silk neck ribbon, 1862, coloured chalks on brown wove paper, signed (indistinctly) ‘S. Salome’ and dated 1862 in pencil to lower left, some overall darkening with vertical backboard stain towards left margin, 64.5 x 53cm (25.5 x 21ins) oval mount aperture, oval gilt moulded framed and glazed

414* Renoir (late 19th century). Oval portrait miniature of a lady, watercolour heightened with bodycolour on ivory, half-length portrait of a dark-haired young lady wearing a short-sleeved pink gown trimmed with gold and jewels, an emerald and ruby coronet with drop pearls and lace veil, and a matching necklace and earrings, signed to right-hand margin, 8.4 x 6.3cm (3.25 x 2.5ins), ebonised frame, glazed (1)

Verso of backboard with early (probably later 19th century) pencil manuscript label, giving details of the possible identity of the sitter: believed to be one of Queen Victoria’s eldest daughters, either Victoria, Alice or Helena. This portrait is dated 1862, which is the year after their father Prince Albert had died, and is also the year in which Princess Alice married Prince Louis of Hesse on 1st July, when she was just 19 years of age. (1) £200 - £400

£100 - £150

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CHINESE WATERCOLOURS

Lot 416 shown full length across pp. 120-125

416* Chinese School. A hand-painted scroll of birds with ﬂowers and foliage, attributed to Li Ji, 1781-1789, featuring 73 birds of prey, ducks, pheasants and numerous passerines, on 13 joined paper membranes with two spindles, with captions to the various birds in Chinese and Japanese, overall 27 x 1265cm (11 x 506ins) (1)

£3,000 - £5,000

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417* 天明七十末丁岁李基浓阳 Chinese School. A hand-painted scroll of hunting scenes, animals and ﬁgures, late 18th century, featuring two tiger hunting scenes, deer and bird hunting, numerous ﬁgures and horses, a waterfall and a river crossing, on 6 joined paper membranes with two spindles, overall size 29 x 805cm (11.5 x 322ins), with later presentation box (1)

£3,000 - £5,000

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Lot 416 details

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Lot 417 details

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Lot 418

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Lot 419

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418* 清郎世宁母鸡哺子图 Chinese School. Hen and Chicks, attributed to Lang Shih-Ning (1688-1766), Qing Dynasty, ﬁne pen, ink, watercolour and bodycolour on silk, titled in black ink lower left, with artist’s seals, 605 x 325mm (23.75 x 12.75ins), mounted on silk scroll, with manuscript label, silk tie, one handle missing Provenance: A.W. Bahr Collection, with small circular handwritten sticker afﬁxed to the foot of the manuscript label: BAHR L 47.112. Abel William Bahr (1877-1959), collector of Chinese art and antiquities, and Secretary of the North China branch of the Royal Asiatic Society. A.W. Bahr is the author of Old Chinese Porcelain and Works of Art in China, being descriptions and illustrations of articles selected from an exhibition held in Shanghai, November 1908, published in 1911. A survey of Chinese paintings in the Bahr Collection by Osvald Siren was published by the Chiswick Press in 1938. Lang Shih-Ning was the adopted Chinese name for the Italian Jesuit missionary Giuseppe Castiglione, who served as an artist at the Imperial Court of Kangxi, Yongzheng and Qianlong. His work represents a fusion of Western and Chinese traditions. (1) £1,000 - £1,500

419* 宋崔白雪意梅花画 Chinese School. Snow and Plum Flowers, in the manner of Cui Bai, Song Dynasty, ﬁne pen, ink and watercolour on silk, 650 x 420mm (25.5 x 16.5ins), mounted on silk scroll, with manuscript title label, silk tying thread, handles missing Provenance: A.W. Bahr Collection. Abel William Bahr (1877-1959), collector of Chinese art and antiquities, and Secretary of the North China branch of the Royal Asiatic Society. A.W. Bahr is the author of Old Chinese Porcelain and Works of Art in China, being descriptions and illustrations of articles selected from an exhibition held in Shanghai, November 1908, published in 1911. A survey of Chinese paintings in the Bahr Collection by Osvald Siren was published by the Chiswick Press in 1938. (1) £700 - £1,000

420* Chinese School. Seven Deities, 1931/2, 7 watercolours on paper, each laid on separate pasteboard panel, rubbed, soiled and worn, small metal pins or holes through corners, some delamination of panels, rodent-damage to left edge of one image and to lower right corner of another, Chinese manuscript captions verso, 44.5 x 24cm The Chinese captions on the versos suggests that these are copies of older paintings done in the twentieth year of the Republic of China. (7) £300 - £400

Lot 420

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19TH CENTURY PAINTINGS & WATERCOLOURS

421* Breanski (Alfred Fontville de, 1877-1957). Kilchurn Castle, Loch Awe, oil on canvas, signed A. F. de Breanski to lower right, title on verso, 29.5 x 49.5cm (11.5 x 19.5ins), framed and glazed (1)

£300 - £500

423* Continental School. Pair of battle scenes, mid 19th century, oil on tin, one showing a grey horse with flared nostrils and rolling eyes leaping in the air, his unseated rider holding a sword in his right hand, and being dragged by his foot in the stirrup, a prone horse on the ground beside, and a building on fire behind, the other showing a rider falling from a brown horse, with another horse and figures in the background, somewhat darkened and with overall craquelure, 16.7 x 21.4cm (6.5 x 8.5ins), matching frames (2)

£300 - £500

422* Manner of John Constable (1776-1837). Peasant ﬁgure in a landscape, oil on wood panel, depicting a traveller in a blue coat, with a bundle on his back, and holding a staff, traversing a lane beside a pond, with a rustic dwelling and trees, slight horizontal crack in support visible on paint surface to right-hand side, 21.8 x 29.4cm (8.5 x 11.5ins), gilt moulded frame (1)

£200 - £300

424* Dutton (J.T., 19th century). Birkdale Mill, Southport, oil on canvas, depicting the rear view of a gentleman in back and a woman in fringed shawl and mob cap standing before a white paling fence, and looking towards a windmill and cottages, and a ﬁeld of stooks with labourers, a peacock sitting on the fence beside them, overall craquelure and some occasional minor surface ﬂaking, 29.2 x 40.4cm (11.5 x 16ins), framed, stretcher with impressed metal label ‘R. R. Minton & Co., Paint Manufacturers, 18 Manchester St., Liverpool’ and inscription ‘Birkdale Mill Southport by Josh T. Dutton from a sketch taken in 1820 from Last Bank House’ The Birkdale Windmill was a peg mill, sometimes known as ‘Old Ned’s Mill’. (1) £200 - £300

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

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425* Earp (Henry I, 1831-1914). River landscape with barge and cattle watering, Canterbury? cathedral in background, oil on canvas, relined, signed lower right, 50.5 x 69cm (20 x 27ins), gilt moulded frame, with early Christie’s auction stencil S28TR on verso (1)

427* English School. Landscape with shepherd and livestock, midlate 19th century, oil on canvas, canvas with ‘J.Reeves ..., 98 John Street, Tottenham Court Road’ printed on verso, 50.5 x 60.5cm (20 x 23.75ins), gilt moulded frame

£150 - £200

426* English School. A pair of marine landscapes, circa 1830s/40s, oil on wood panel, the first depicting fisherman and boats on the shore, with sailing boats on the sea, and the sun breaking through storm clouds, 19.5 x 25.2cm (7.75 x 10ins), the other depicting 2 sailing boats moored in a sheltered bay, 20.2 x 25.1cm (8 x 10ins), both with overall craquelure, a little flaking and re-touching to second item, versos with printed label ‘Stratford Trevers (Reigate Galleries), Surrey’, matching gilt moulded frames (2)

(1)

£200 - £300

Lot 426

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£100 - £200

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428* English School. Portrait of a spaniel, circa 1828-1839, oil on wood panel, depicting a small curly-haired white and tan dog standing on a knoll in a landscape, with a ﬁgure punting in a boat on a river in the background, verso with printed label and oval stamp of Roberson & Miller, 15.2 x 22.5cm (6 x 8.75ins), gilt moulded frame Date suggested from the National Portrait Gallery online resource regarding Roberson & Miller labels and stamps. (1) £200 - £300

430* English School. ‘Springtime’, circa 1880-1900, young boy with curly blond hair wearing a white gown, gazing at a vase of daffodils on a side table, oil on canvas, signed with monogram to lower left ‘F. s. P.’ (unidentiﬁed), relined, 71.5 x 48cm (28 x 19ins), gilt moulded frame (1)

429* English School. Portrait of a young gentleman, early 19th century, oil on canvas, half-length portrait of a dark-haired young gentleman wearing a black coat and waistcoat with matching necktie, some minor marks and ﬂaking of paint, small hole towards upper left (with crude repair on verso), 76.2 x 63.8cm (30 x 25ins), gilt moulded frame (1) Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

£300 - £500

431* English School. The Farrier, early-mid 19th century, oil on wood panel, depicting the interior of a smithy, with a blacksmith shoeing a grey horse, another ﬁgure beside, and a bay horse waiting to the right of the furnace, some surface restoration, 18.5 x 31.5cm (7.25 x 12.25ins), gilt moulded frame (1)

£200 - £300

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£200 - £300

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433* French School. Returning From the Fields, early 19th century, oil on wood panel, depicting a family group in a bucolic landscape, comprising a peasant couple, the woman carrying a basket on her head, a girl shouldering a rake, and a small boy with basket and staff, accompanied by a small white dog, with 2 ﬁgures resting under trees to the right, and a vista of meadows, hay stooks, labourers, and a cart, 19.2 x 21.9cm (7.5 x 8.5ins), gilt moulded frame

432* English School. The Groom, circa 1850s, oil on canvas, depicting a grey-haired gentleman standing beneath a stone archway in a stable, wearing a brown waistcoat and breeches, holding a sheaf of hay under his left arm and a 3-pronged fork in his right hand, a horse’s head on the left, and an ox just visible on the right seen through a hay rack, with various accoutrements of the stable, including a curry comb, besom, bucket, basket, pitchfork, and rake, re-varnished and with some surface restoration, 41.5 x 29cm (16.25 x 11.5ins), gilt moulded frame (1)

(1)

£200 - £400

£300 - £500

434* Frith (William Powell, 1819-1909). Bedtime, oil on wood panel, depicting a young mother with ringlets wearing a blue-trimmed white gown, holding a small child on her knee, with washing accoutrements on a table to the right, and a layette basket on a wooden chair to the left, signed lower right and dated 1867, 21.6 x 28.3cm (8.5 x 11ins), framed, with Fine Art Society title label dated August 1961 in manuscript, and white chalked numbers ‘lot 116, 216189’ to verso Provenance: Private Collection, Herefordshire, UK. (1) £3,000 - £4,000

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436* Gore (William Henry, 1857-1942). Portrait of a gentleman, 1895, oil on canvas, half-length portrait half proﬁle to left of a seated white-haired gentleman with side whiskers, wearing a black coat, his left elbow resting on the arm of a red chair, and his left hand holding a paper document, some craquelure to face, signed and dated lower right, 76 x 63.5cm (30 x 25ins), framed

435* Garland (William, active 1857-1882). Going to Market, 1836, oil on canvas, depicting a country woman in a bonnet and red cloak beside a small boy in a cart with a wicker basket behind them, the cart drawn by a grey pony, and a labourer walking beside carrying a whip, with two cottages behind, one with a thatched roof and a female ﬁgure watching from the the stable door, against a vista of hills and a church with spire, signed and dated above cottage porch, 42.5 x 48cm (16.75 x 18.75ins), framed (1)

William Henry Gore trained at the Lambeth School of Art, subsequently entering the Royal Academy Schools in 1880. He exhibited widely and is particularly known for his genre paintings of children and animals, as well as his rural landscapes of the area around Newbury, Berkshire, where he was born and spent most of his life. Gore, a late Victorian romantic, was inﬂuenced by both the Pre-Raphaelites and the French Barbizon School. (1) £300 - £500

£200 - £400

437* Lepine (Stanislas, 1835-1892). Quayside, barge and railway bridge on the River Seine, oil on canvas, signed lower right, 18.5 x 38cm (7.25 x 15ins), decorative gilt moulded frame Considered one of the forerunners of Impressionism, Stanislas Lepine was known for painting scenes in Paris and along the River Seine, including at Rouen, and elsewhere in Normandy. His paintings often portrayed the bridges, banks and barges associated with the river. (1) £1,000 - £1,500 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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438* Attributed to James Loder of Bath (1784-1854). A bay hunter in a stable, oil on canvas, depicting a horse in a stable, with a corner feeding trough, and a blanket on the ground initialled RM, lower right with title ‘Poppet’ in the artist’s hand, and with crude attribution and date of 1838 in black paint, 51 x 64cm (20 x 25.25ins), framed, together with 2 other equestrian paintings, one a 20th century oil on board of horses and hounds by Eric Goddard, signed lower right, 36 x 46.5cm (14 x 18.25ins), gilt moulded frame, the other a mid-later 19th century hunting scene in oil on a japonned board or serving tray, with rounded corners, 48.7 x 69.1cm (19 x 27.25ins), gilt moulded frame (3)

440* Naive School. Mounted huntsman and hounds leaving stone archway, mid-late 19th century, oil on card, 61 x 74cm (24 x 29ins), framed (1)

£200 - £300

£200 - £400

441* Obit (L., 19th century). Russian Snow Landscapes with Huntsmen, oil on wood panel, a pair, each signed lower right and lower left respectively, some minor surface marks, the ﬁrst with remains of label to verso, giving artist’s name and subject, with printed title: ‘...1893. [Inter] National Galleries London, W.’ (2)

439* Naive School. Landscape with steam locomotive, circa 18301840, oil on canvas, depicting an early steam locomotive emerging from under a bridge, observed by two promenading couples and a small girl, a mounted sheep drover and boy on the bridge, against a bucolic landscape of sheep and large trees dotted about parkland beside a small lake, with a Georgian house and two oast houses near a large tithe barn, and a windmill in the distance, overall craquelure, re-varnished, 24.7 x 35cm (9.75 x 13.75ins), framed (1)

£200 - £400

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442* O’Neil (Henry Nelson, 1817-1880). Study for Eastward Ho!, circa 1857, oil study on wood panel, for part of the larger finished work exhibited by the artist at the Royal Academy in 1858, 52 x 41.5cm (20.5 x 16.3ins), attractive moulded gilt frame Provenance: Private Collection, Devon. A preliminary oil sketch for a section of one of O’Neil’s most famous works, Eastward Ho!, first exhibited at the Royal Academy in 1858. The full-scale painting depicts soldiers on board a ship at Gravesend, destined for service in India during the Indian Mutiny, saying their farewells to loved ones. The work changed the artist’s career, and became one of the most popular images in Victorian art. Following its first public appearance at the Royal Academy in 1858, a tour of Britain was organised for the picture, during which time an estimated 540,000 people came to see it. O’Neil made a companion painting, entitled Home Again, depicting the return of the same troops, which was exhibited at the Royal Academy in the following year. Mixed method mezzotint engravings of both works by William Turner Davey were published in 1860 and 1861 respectively, thereby contributing further to their popularity. The present work shows the artist working on details of the composition, which were significantly altered in the finished version. For example, the direction of the composition is in reverse, and the female figure in the foreground is shown with her face covered by a handkerchief to hide her anguish, whereas in the final version she is given assistance down the gangplank by an old salt. The motif of the woman with her face buried in a handkerchief is transferred to another figure further up the gangplank. (1) £2,000 - £3,000

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

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443* O’Neil (Henry Nelson, 1817-1880). Study for Home Again, circa 1858, oil study on wood panel (mainly in brown, grey-white and pale blue with additional touches in pale yellow and red), for a section of the larger finished work, exhibited by the artist at the Royal Academy in 1859, 52 x 42cm (20.5 x 16.5ins), indistinct early auction stencil to verso ‘67S1 (or 6781), and old chalk number 360/1, attractive moulded gilt frame Provenance: Private Collection, Devon. A preliminary oil study for a section of companion painting to Eastward Ho!, exhibited at the Royal Academy in 1858. The painting depicts the homecoming of troops from the Indian Mutiny conflict of 1857-59. The composition of the present work is a very fine finished study of the main area of focus of the exhibited painting, with the figures and paraphernalia of the ship set out in comparable detail. The ship’s rigging, and the depiction of another ship and other details in the distance are not present in this work. (1) £2,000 - £3,000

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445* Attributed to Traugott Schiess (1834-1869). Fallen tree trunk, oil study on paper, after Alexandre Calame (1810-1864), unsigned, 28 x 36.5cm (11 x 14.25ins), framed and glazed Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum. According to a label to verso, this work was purchased in Zurich in the 1970s. The attribution to the artist has been suggested by William Mitchell, author of a catalogue raisonné of Calame. (1) £200 - £300

446* Talmage (Algernon Mayow, 1871-1939). Cattle in Watermeadow, oil on canvas, signed lower right, relined, 45 x 61cm (17.75 x 24ins), moulded gilt frame

444* Saurfelt (Léonard, born 1840). Washerwomen, oil on canvas, depicting French peasant women washing clothes in a stream before a rustic barn amongst trees, signed lower right, some overall craquelure and minor ﬂaking to edges, verso with large ink stamp of Chabod, merchant of artists’ materials and successor of Bovard, Rue de Bucy 15, 46 x 37.5cm (18 x 14.75ins), gilt moulded frame (1)

(1)

£300 - £500

447* After Benjamin West (1738-1820). The Last Supper, 1784, a mid-19th century oil on canvas copy after Benjamin West’s original composition of 1784 (now in the Tate Gallery, London), 69 x 91cm (27.25 x 35.75ins), some marks and ﬂaking, closed tear (repaired), relined, 19th century moulded gilt frame

£300 - £500

Benjamin West’s original painting was presented by the artist to King George III, and subsequently given to the national collection by King George IV in 1828, following the foundation of the National Gallery in 1824. (1) £200 - £400

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

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Lot 446

Lot 447

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19TH CENTURY WATERCOLOURS & DRAWINGS

450* Anelay (Henry, 1817-1883). Folkestone, circa 1875, watercolour and pencil on paper, signed in pencil to lower left, ‘Folkestone, Kent 1875’ in pencil on verso, watermark ‘Whatman 1875’, some light discolouration (but generally in good, bright condition), sheet size 38.5 x 55.5cm (15.25 x 21.75ins), mounted, with artist’s name and title at foot of mount The South Eastern Railway took over Folkestone Harbour in 1842, and in 1848 they built an ornate wooden lighthouse which was known as the Horn Tower. Later, when the pier was extended, a new stone-built lighthouse was erected. The Horn Tower was eventually dismantled in 1941. (1) £100 - £200

448* Irish School. Portrait of a young woman in evening gown and coloured shawl, seated by a marble top table, circa 1840s, watercolour on paper, heightened with white body colour, a couple of minor marks, 43 x 33cm (17 x 13ins), gilt moulded frame and glazed, frame with label on verso ‘From Cranﬁeld’s, 115 Grafton Street, Dublin’ Thought to be a portrait of Oscar Wilde’s mother. (1)

£200 - £300

451* Attributed to George Barret, Junior (circa 1767-1842). Evening, watercolour on paper, depicting an Arcadian landscape at sunset, with colonnaded buildings around a lake, and small boats, a bridge, a ruin on a rocky outcrop, wild goats, and various ﬁgures, including a woman carrying a water vessel on her head, title pencilled in a contemporary hand on verso, beneath an indistinct inscription in the same hand, sheet size 14.5 x 19.5cm (5.75 x 7.5ins), mounted, framed and glazed

449* Abbott (John White, 1763-1851). Landscape with figures, pen, ink, and wash, depicting large trees in a landscape, with 2 rustic figures resting, and 2 other figures traversing a pathway, with a vista of mountains and a tower, toned, 17 x 25.5cm (6.75 x 10ins), mounted, framed and glazed (1)

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

(1)

£200 - £300

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£150 - £200

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453* Brindesi (Giovanni, 1826-1888). Ottoman Gentleman at rest, watercolour, pencil and white chalk on pale brown wove paper, signed Brindesi to margin, sheet size 266 x 190mm (10.4 x 7.5ins), mounted on old backing paper The Italian painter Giovanni (or Jean) Brindesi lived in Istanbul during the reign of Abdul Mecit in 1831. His work is best known through the publications issued by Lemercier in Paris entitled Musée des Anciens Costumes Turcs de Constantinople of 1855, and the Souvenirs de Constantinople, issued between 1855 and 1860. (1) £300 - £500

452* Bertin (Francois-Edouard, 1797-1871). View on the outskirts of Marseille, pencil on pale blue-green wove paper, heightened with white chalk, inscribed ‘Marseille’ in brown ink to lower right corner, some light handling marks to sheet edges, and minor loss to upper margin towards upper right corner, sheet size 395 x 563mm (15.5 x 22.2ins), together with: Rosenlaui, Switzerland, pencil on pale brown laid paper, heightened with dark brown chalk, with contemporary inscription in brown ink to upper right corner ‘Rosenlaui’, sheet size 440 x 490mm (17.3 x 19.25ins), window-mounted Provenance: Eric Carlson (1940-2016), Professor of Art History at SUNYPurchase, and art dealer in New York who specialised in 19th century French drawings and prints. These two drawings formed part of lots 115 and 124 in a sale at Swann Galleries, Old Master Drawings, November 5, 2019. (2) £400 - £600

454* British School. Devil’s Bridge, North Wales, circa 1800-1810, black chalk on laid paper, watermarked J Whatman, with colour annotations in chalk and pencil by the artist, a few minor marks and one or two short closed marginal tears, sheet size 485 x 380mm, with early 20th century pencil inscription to verso: ‘? Devil’s Bridge - Wales Henderson Sale (Pt 3) 1902? by Turner’ (1)

Lot 453

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£300 - £500

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455* British School. The Rescue, circa 1820s, watercolour and pencil on paper (watermarked 1824 according to a pencil note on the backboard), depicting wind-swept figures on a rocky shore, some semi-clad, including a woman weeping over a supine body, and other figures being carried ashore, with a vessel listing in the water off-shore, and a fortification with square tower on the cliff above, 24.5 x 39cm (9.75 x 15.5ins), mounted, framed and glazed Unsigned and apparently unfinished, but nevertheless a dramatic and accomplished watercolour drawing. (1) £100 - £150

457* Collins (B.P., late 19th/early 20th century). Study of a male head, red and black chalks on wove paper, head and shoulders portrait half-proﬁle to right, depicting a young man with ﬂowing auburn red hair, wearing a square-necked tunic and a hat, signed in pencil lower right below mount, sheet size 35 x 28cm (13.75 x 11ins), mounted, framed and glazed

456* Chasselat (Charles Abraham, 1782-1843). Le Grand Conde / Mort de Turenne, circa 1826, a pair of pen and brown ink miniature drawings with watercolour wash, both illustrating a scene from Voltaire, depicting a group of ﬁgures, most carrying swords, 32 x 54mm (1.25 x 2ins), matching mounts and frames, glazed, each with printed gallery label of Eric G. Carlson on verso

We have been able to trace only one other artwork (a female nude) by this elusive artist who was evidently an accomplished painter inﬂuenced by the style of the Pre-Raphaelite Brotherhood. (1) £200 - £300

A pair of original illustrations for Cent Gravures Pour les Oeuvres de Voltaire: convenable a toutes les editions in-octavo et in-douze, publiees d’apres les dessins de Deveria et Chasselat, published by Panckoucke, Paris, in 1826. (2) £100 - £150

Lot 456

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460* Devis (Anthony, 1729-1816/17). ‘From the Field above Mrs Dalton’s’, circa 1790, pen, black ink and watercolour on wove paper, inscribed with title by the artist in pencil to top blank margin, image size 136 x 200mm (5.4 x 8ins), sheet size 159 x 231mm (6.3 x 9.1ins), framed and glazed, with Thomas Agnew & Sons gallery label to verso, and printed catalogue note (erroneously describing another drawing by Devis), together with an English School watercolour study of a gothic church and street scene in France, circa 1830s-40s, unsigned, 295 x 190mm (11.6 x 7.5ins) mount aperture, gilt frame, glazed The Georgian topographical artist Anthony Devis moved to Albury House near Guildford, Surrey in 1780, where he built a mushroom-shaped studio, later known as Mushroom Hall. For much of the time thereafter Devis produced watercolour views of the local landscape, such as the present work. (2) £150 - £200

458* Copinger (A., 19th century). Oval portrait of a young girl, 1860, watercolour, three-quarter length portrait of a girl with a coy expression seated on a ladder-back chair, wearing a blue dress and a blue-trimmed brown coat, her hands clasped together on her lap, signed and dated lower right (ﬁrst name indistinct: Aimie or Annie?), 27.2 x 17cm (10.75 x 6.75ins), oval gold mount and frame with bow, glazed (1)

£150 - £200

461* English School. Four watercolour drawings of big cats, circa 1828, 4 pen, black ink, pencil and watercolour drawings on cream wove paper, heightened with white bodycolour and gum Arabic, each with paper mount, inscribed in pencil with title: Young Lions (Cross’s Menagerie), Tiger (Zoological Society), Black Leopards (Zoological Sy.), and Jaguars (Zool. Socy), each with mount stain, sheet size 170 x 245mm (6.7 x 9.7ins) or slightly smaller, matching 20 th century white painted frames, glazed

459* Creswick (Thomas, 1811-1869). The East Lyn at Lynmouth, watercolour on paper, heightened with bodycolour, 325 x 470mm (12.75 x 18.5ins) mount aperture, gilt frame, glazed Provenance: Private Collection, Wales. (1)

Provenance: Collection of Jack Webb (1923-2019), London. Given the handwritten captions to these drawings, they must have been executed around 1828 or 1829, as Edward Cross’s Menagerie, the ﬁrst commercial zoological collection in England, which had been founded in 1773, closed in 1829. The Zoological Society of London founded the oldest zoological gardens in continual use in Regent’s Park in 1828. These unsigned drawings are therefore likely to have been made around the time of the opening of the Zoological Society’s exhibit. (4) £300 - £400

£200 - £300

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463* Fisher (Thomas, 1782-1836). Mr. Roberts’s house, Tebworth, Bedfordshire, watercolour and traces of pencil, depicting a red stone house with mullioned windows, and a thatched timbered barn adjoined on the right with a lattice-paned window, image size 24 x 28.5cm (9.5 x 11.25ins), titled in ink by the artist to lower margin below image, mounted, framed and glazed Provenance: Sir Gregory Osborne Page-Turner (1785-1848), 4th Baronet of Battlesden, Bedfordshire; Christie’s, The Battlesden Sale, 1824, cat. no. 2503; Emily Page-Turner; purchased from her executors 1885; by descent from the purchaser; Sotheby’s Thomas Fisher’s Watercolours of Bedfordshire and British Architectural Drawings and Watercolours, 12th June 1980, lot 54. Eminent antiquary and draughtsman, Thomas Fisher exhibited a number of topographical drawings at the Royal Academy between 1804 and 1807, but his most important contribution to this ﬁeld was the recording of the history of Bedfordshire, culminating in two publications: Collections Historical, Genealogical and Topographical for Bedfordshire and Monumental Remains and Antiquities in the County of Bedfordshire, published in 1812-16 and 1828 respectively. His interest in Bedfordshire stemmed partly from the fact that its history had been little recorded, and his watercolours show a love of detail arising from careful observation of the landscape and villages of the area. Sir Gregory Osborne Page-Turner was from an eminent land-owning family, and his father was the Member of Parliament for Thirsk for 21 years, but by 1823 he had apparently been incarcerated in a debtors’ prison, having twice been declared a lunatic, once in 1814 and again in 1823. He died during an epileptic ﬁt and his will was the subject of a court case to determine whether or not he was of sound mind when it was drawn up. (1) £200 - £300

462* English School. Thatched cottage with ﬁgures, early-mid 19th century, pencil on card, depicting a rustic dwelling with thatched roof, lattice windows, a dovecote, and tall chimneys, with a ladder resting on the wall, and a peasant man and woman in front conversing, framed by two outbuildings, one with a wheelbarrow in front, toned and slightly marked, 25.4 x 19.9cm (10 x 7.75ins), mounted, together with another pencil drawing on wove paper, of a large tree, possibly an oak tree, toned and a little marked in places, 2 tiny holes, 29.2 x 22.5cm (11.5 x 9ins), mounted (2)

£100 - £150

464* Fisher (Thomas, 1782-1836). Mrs Sandy's House, Eversholt, Bedfordshire, watercolour and traces of pencil, depicting a large and imposing red brick house with sash windows, a path between lawns leading to the panelled front door, and a door in the garden wall to the left leading into a small dwelling or bothy, image size 24 x 28.5cm (9.5 x 11.25ins), titled in ink by the artist to lower margin below image, mounted, framed and glazed Provenance: Sir Gregory Osborne Page-Turner (1785-1848), 4th Baronet of Battlesden, Bedfordshire; Christie's, The Battlesden Sale, 1824, cat. no. 2503; Emily Page-Turner; purchased from her executors 1885; by descent from the purchaser; Sotheby's Thomas Fisher's Watercolours of Bedfordshire and British Architectural Drawings and Watercolours, 12th June 1980, lot 60. For further information on Thomas Fisher, see note to lot 463. (1) £200 - £300

Lot 463

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465* Fisher (Thomas, 1782-1836). Well-head in the parish of Barton, Bedfordshire, watercolour and traces of pencil, depicting a landscape with rolling hills, trees, and a branching stream, some light toning, image size 25.5 x 38cm (10 x 15ins), titled in ink by the artist to lower margin below image, mounted, framed and glazed

466* Fisher (Thomas, 1782-1836). How-green near Ampthill, Bedfordshire, watercolour and traces of pencil, depicting a traveller with a walking stick and a bundle on his back traversing a wide lane lined with trees on the right and piles of bricks beside a double fence on the left, a sign post in the distance, lightly toned, image size 23 x 33cm (9 x 13ins), titled in ink by the artist to lower margin below image, mounted, framed and glazed

Provenance: Sir Gregory Osborne Page-Turner (1785-1848), 4th Baronet of Battlesden, Bedfordshire; Christie’s, The Battlesden Sale, 1824, cat. no. 2503; Emily Page-Turner; purchased from her executors 1885; by descent from the purchaser; Sotheby’s Thomas Fisher’s Watercolours of Bedfordshire and British Architectural Drawings and Watercolours, 12th June 1980, lot 24. For further information on Thomas Fisher, see note to lot 463. (1) £150 - £200

Provenance: Sir Gregory Osborne Page-Turner (1785-1848), 4th Baronet of Battlesden, Bedfordshire; Christie’s, The Battlesden Sale, 1824, cat. no. 2503; Emily Page-Turner; purchased from her executors 1885; by descent from the purchaser; Sotheby’s Thomas Fisher’s Watercolours of Bedfordshire and British Architectural Drawings and Watercolours, 12th June 1980, lot 50. For further information on Thomas Fisher, see note to lot 463. (1) £150 - £200

467* French School. Arcadian landscape, 1824, gouache on paper, laid down on later backing card, with some signs of restoration, depicting 4 female ﬁgures in classical robes beside a tomb lettered ‘Et Arcadia Ego’, in a pastoral landscape with pastureland and trees, a fortress on a hill, and a waterfall, dated and indistinctly signed lower right, sheet size 41.4 x 63.5cm (16.25 x 25ins), framed and glazed (1)

£300 - £500

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468* Haag (Carl, 1820-1915). The Tambourine Player, 1853, watercolour with bodycolour on card, full-length portrait of an Italian woman with black plaited hair and pendant earrings, wearing regional costume and holding a tambourine, titled ‘Donn d’Albano’ lower left, signed and inscribed ‘Roma 1853’ lower right, sheet size 50 x 34.8cm (19.75 x 13.75ins), mounted (1)

470* Haag (Carl, 1820-1915). Italian peasant girl in a landscape, 1899, watercolour with bodycolour on card (additionally laid down on card by the artist), full-length portrait of an Italian woman wearing regional costume, including a white tasselled headdress and suede laced moccasins, standing amongst wild ﬂowers against a sunset panorama of hills and ruins, signed and dated lower right, sheet size 50.6 x 35cm (20 x 13.75ins), mounted

£300 - £500

(1)

£300 - £500

469* Haag (Carl, 1820-1915). Mountain landscape, 1856, watercolour on heavy wove paper, depicting part of a mountain range under stormy skies, 17 x 50cm (6.75 x 19.75ins), sometime laid down on a paper-covered wood panel, old paper label on verso with inscription in the artist’s hand comprising indistinct title ‘Over the ?’, date of 1856, and ‘lent by Carl Haag’, framed (1)

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

£150 - £200

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473* Italian School. Study for an equestrian monument, circa 1820s, watercolour and pencil on laid paper, depicting a statue of a warrior on a rearing horse, before a large classical building, lightly toned and spotted, sheet size 16.5 x 24.3cm (6.5 x 9.5ins), mounted (with ownership name Peter Claas Esq. on verso of mount), framed and glazed (1)

£150 - £200

471* Harrison (Thomas Erat, 1858-1917). Danaé, Dictys & Perseus, monochrome gouache on paper, depicting Dictys standing on a rock and holding a trident, his right hand on the kneeling Danaé’s head, her right arm encircling the infant Perseus, with two male semi-nude ﬁgures in the background securing a wooden box with ﬁshing nets, 40.5 x 24.2cm (16 x 9.5ins), mounted, framed and glazed, verso of mount with Grosvenor Gallery Winter Exhibition label dated 1880, and framer’s label R. Gueraut of Hammersmith Thomas Erat Harrison was a painter, sculptor, medallist and stained glass artist. (1) £100 - £150

474* Landseer (Charles, 1799-1879). Study of an antique sculpture, possibly South-East Asian, circa 1830's-40's, pen, ink and brown & grey wash on paper, depicting a three-headed ﬁgure in carved stone, each head with ornate headdress and looking in a different direction, contemporary pencil inscription to lower left 'By Chas Landseer', 15 x 13.5cm (5.75 x 5.25ins) mount aperture, framed and glazed, backboard with label of the Fry Gallery, 58 Jermyn Street, St James's London, stating artist's name and title

472* Hornbrook (Thomas Lyde, 1780-1855). Sailing vessels and a fortiﬁcation, 1819, pen, ink & wash, depicting a dhow and a barque with a fortiﬁcation in the background, toned and lightly spotted, signed and dated lower left and lower right respectively, 13.8 x 21cm (5.5 x 8.25ins), mounted, framed and glazed (1)

£100 - £150

(1)

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475* Legge (Lady Charlotte, 1789-1877). Between Ronco and Arquato, Apennines, pencil and sepia wash, depicting a mountainous landscape with trees, dwellings, and a church with spire, initialled lower right, a few fox spots, 12.2 x 18.3cm (4.75 x 7.25ins), mounted, framed and glazed, printed label on backboard with attribution and title

477* London. The Fire at The Albion, circa 1820s/30s, watercolour on wove paper, depicting a fire raging at Albion Mills, Blackfriars Bridge, with firefighters and spectators, and St Paul’s Cathedral in the background, sheet size 19.5 x 26.1cm (7.75 x 10.25ins), mounted, framed and glazed, pencil inscription on backboard ‘Ex collection A.W. Ackermann’

Lady Charlotte Legge was the daughter of George Legge, 3rd Earl of Dartmouth, and Lady Frances Finch. She married the Very Rev. Hon. George Neville-Grenville in 1816. (1) £100 - £150

Provenance: from the collection of Arther W. Ackermann (1830-1914), grandson of Rudolph Ackermann. After the aquatint by Augustus Charles Pugin and Thomas Rowlandson which appeared in The Microcosm of London, published by Rudolph Ackermann in three volumes between 1808 and 1810. The Albion flour mill, designed in the neo-classical style by James Wyatt, opened at the foot of Blackfriars Bridge in London in 1786, a symbol of Britain’s rapid industrial progress during the late 18th century. The revolutionary steam engines contained therein were widely resented by millers who still relied on wind or water power, and when, on 2nd March 1791, the mill was entirely destroyed by fire, there were rumours of foul-play. It is thought that poor maintence was the real culprit, but the fire was a sensational event, and many people crowded to the site in the following weeks. The catastrophe became a symbol of the evil of industrial progress and is thought to have inspired William Blake (who lived close-by) to portray his vision of “dark Satanic Mills”, now best-known as part of the hymn ‘Jerusalem’. (1) £200 - £300

476* Linnell (James Thomas, 1820-1905). A collection of 15 figure and landscape studies, 15 drawings, all on coloured wove paper, comprising: a pencil study of bonneted peasant women harvesting; a charcoal drawing of a farm labourer in a smock; black & white chalk studies of a young girl kneeling; black & white chalk studies of a reaper; charcoal studies of a male figure and the figure of a young girl; a black & white chalk drapery study, entitled ‘Mrs Fuller’ lower right; black and white chalk drawings of a smocked labourer bending, and 8 landscape drawings, mostly chalk or pencil, some coloured chalks, including one titled ‘Rook’s Hill’, two of North Wales, and one of South Wales, some slightly creased, occasional short edge-tears, largest sheet size 29.5 x 45.5cm (11.5 x 17.75ins), smallest sheet size 19.5 x 31cm (7.75 x 12ins), each mounted (15)

£300 - £500

Lot 478

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478* McEvoy (Arthur Ambrose, 1878-1927). Portrait of a lady in a red shawl, watercolour, half-length portrait of a woman with swept back fair hair seated in a carved wooden chair, wearing an apron and a red fringed shawl over a black dress, initialled lower right, 30 x 21.5cm (11.75 x 8.5ins), mounted, framed and glazed (1)

£200 - £300

479* Attributed to George Morland (1762/63-1804). Peasants Resting at an Inn, black chalk and watercolour on laid paper, depicting a group of peasants sitting at a table outside an inn, with their horse hitched nearby, some tears and fold marks, slight loss near lower margin, 29 x 43cm (11.5 x 17ins) mount aperture, the mount with 'By George Morland' in ink manuscript, framed and glazed (1)

£200 - £300

481* Naive School. A pair of Regency drawings of domestic scenes, circa 1810, pen, ink and watercolour with traces of pencil, the first depicting 3 women and a man preparing food at a kitchen table next to 3 women stooping or kneeling at a large half barrel on the floor, a water urn on the table beside, 9.1 x 13.1cm (3.5 x 5.25ins), the second depicting 6 female figures around a dining table set for dinner, several of them leaning with wine glass aloft towards a gentleman covering his eyes and holding a bottle of erupting liquid or vapour, a cork and corkscrew dropping to the floor at his feet, some light dust-soiling and minor marks, lower right corner excised (just clipping the gentleman’s foot), 11.8 x 15.1cm (4.75 x 6ins), matching frames, glazed Provenance: Given to the owner by the late Martin Woolf Orskey. A charming and unusual pair of drawings, most probably sketches from real life by an older child. The slightly larger sketch is an entertaining comic tableau, whilst the smaller drawing shows the household engaged in some large culinary undertaking, possibly marmalade-making, with apparently both the ladies of the house and the servants pitching in with the task at hand. (2) £200 - £400

480* Munro (Thomas, 1759-1833). Landscape with a lake, trees and a ﬁgure, charcoal and grey wash on wove paper 15.5 x 22.7cm (6 x 9ins), mounted, framed and glazed, together with another landscape by Munro similar of a castle vista, with later pencilled attribution on verso ‘David Cox’, 10.3 x 14.7cm (4 x 5.75ins), mounted (2)

£100 - £150

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482* Nicholson (George, 1795?-1838). Views in the vicinity of Liverpool, 1832, a sketchbook comprising 17 pencil drawings of buildings and landscapes, mostly full-page on rectos, with a number of blank leaves, the ﬁrst signed to lower right, some titled, e.g. ‘Ancient Hall of the Ireland family, situated behind the Gatehouse called the Old Hut, Halewood. Property of John Blackburn Esqr. Weds. July 18th 1832’, ‘Pemberton nr. Wigan, July 21st’, ‘Woodchurch Church, May 28’, ‘West Dingle’, ‘Raby’, sheet size 17.7 x 26.6cm (7 x 10.5ins), all edges gilt, original burgundy morocco gilt, rubbed, oblong 4to

484* Payne (William, 1755/60-circa 1830). On the River Yealm, Devon, circa 1790, pen, black ink and watercolour on paper, signed Payne to centre of lower margin, 170 x 235mm (6.7 x 9.2ins), gilt frame, glazed (1)

£200 - £300

George Nicholson was from a family of artists, and following his father’s premature death in 1814, hastened by anxieties over debt, the whole family engaged in artistic work. Mr. Nicholson, who had been a school master in Manchester and a typographer in Liverpool, was a self-taught wood engraver, and had given both George and his brother, Samuel, instruction in drawing and engraving. Their mother executed skilful copies of well-known pictures hand-embroidered on silk, and their sister, Isabella, exhibited botanical watercolours and landscapes at the Liverpool Academy of Art between 1829 and 1845. George himself also exhibited there some 50 drawings between 1827 and 1838, mostly landscapes in watercolour or pencil. In 1821 he was awarded the silver Isis medal of the Society of Arts for a drawing of Stirling Castle. In 1821 and 1824 respectively he published Twenty-Six Lithographic Drawings in the Vicinity of Liverpool and Plas Newydd and Valle Crucis Abbey, as well as a volume entitled Eight Select Views, in the County of Carnaervon, published around 1827 under the patronage of the renowned Ladies of Llangollen, Eleanor Butler and Sarah Ponsonby. (1) £400 - £600

485* Powell (James & Sons). A small collection of original designs for stained glass, Whitefriars Glass Works, late 19th/early 20th century, together 8 pen, ink, and watercolour drawings on heavy stock paper, 5 showing triptychs, and 3 showing single windows, each with calligraphic ink title and manufacturer’s name (except one with the information in pencil), further marginal annotations in pencil or ink pertaining to the design, generally dust-soiled, and some spotting and marks, sheet size of largest 34.5 x 28.5cm (13.5 x 11.25ins) and of smallest 25 x 16.5cm (9.75 x 6.5ins) Whitefriars Glassworks was England’s longest producing glassworks. The firm is believed to have been established in 1680, and was purchased by James Powell in 1834, with production continuing until 1980. Although the firm produced high quality art glass on a par with Tiffany, it is best known for its stained glass. The firm under Powell became an innovative world leader in the field of decorative glass, and business was aided by the building of hundreds of new churches during the Victorian era. During the latter part of the nineteenth century Whitefriars Glass formed associations with a number of leading artists and designers, including Philip Webb, William Morris, Edward Burne-Jones and William De Morgan. The designs offered here are for: Catthorpe Church, near Rugby; All Saints Church, Woodford Green (North Aisle window); St Mark’s Church, Bromley; St John’s Ambulance, Clerkenwell; Hereford Cathedral (east window of Crypt Chapel, alternative design); Southwark Cathedral (window over altar in Lady Chapel); Carmelite Church, Kensington; Dunnevirke, Waiapu, New Zealand. (8) £200 - £300

483* Paget (Sidney Edward, 1860/61-1908). Boats and Sailing Ship on a Stormy Sea, watercolour with pencil on paper, heightened with white bodycolour, signed lower right, 29 x 43cm (11.5 x 17ins), framed and glazed (1)

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

£200 - £300

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486* Attributed to Thomas Charles Leeson Rowbotham (18231875). Italian Lake Scene, possibly Lago Maggiore, 1850-60, watercolour on paper, watermarked J WHATMAN TURKEY MILL, unsigned, sheet size 194 x 307mm (7.6 x 12.1ins), framed and glazed (1)

£150 - £200

487* Sasse (Richard, 1774-1849). Rustic Landscape with ﬁgures by an old mill, Switzerland, gouache with watercolour and pen and ink on paper, signed on a plank of wood to lower left foreground, 37 x 45.5cm (14.5 x 18ins), mount aperture, framed and glazed, with Ewhurst Gallery, of Basingstoke label to verso (1)

£200 - £300

488* Scott (Thomas, 1854-1927). Coastal scene with ﬁsherwomen, 1881, watercolour, depicting a bonneted woman on a path beside the sea with a basket over her arm, and another female ﬁgure following behind, a rowing boat and nets to the left, signed and dated lower left, 33.2 x 53.6cm (13 x 21ins), mounted, framed and glazed (1)

£500 - £800

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489 English School. Quarry workers with horses and carts, early 20th century, 3 colour chalk drawings on paper, unsigned, laid down on modern card, approx. 25 x 31cm (10 x 12.25ins), mounted (1)

£300 - £500

491* Attributed to Archibald Thorburn (1860-1935). Study of a sparrowhawk, pen & brown ink on paper, depicting a bird of prey perched on the branch of a tree in a landscape, further drawings on verso faintly visible, lightly toned, 17 x 11cm (6.75 x 4.25ins), mounted (with attribution), framed and glazed, together with: A pair of studies of a bull, two pencil drawings on textured card or paper, one with touches of pen & ink, both showing a bull with his head down, each 7.2 x 12.3cm (3 x 5ins), mounted together in double-aperture mount (with attribution), framed and glazed (3)

£200 - £400

490* Stacey (Walter Sydney, 1846-1929). Landscape with ﬁsherman by a rushing stream, watercolour on paper, signed W. S. Stacey to lower left, 52 x 67cm (20.5 x 26.25ins) mount aperture, framed and glazed, together with two other landscape scenes, both watercolour on paper, each signed A. Aspinall to lower left, one additionally dated 1922, both with a few light spots, each 49.5 x 34 (19.5 x 13.5ins) mount aperture, framed and glazed (3)

£100 - £200

492* Toovey (Richard Gibbs Henry, 1861-1927). Farmhouses in Finistere, 1889, & Carting Seaweed, 1883, two watercolours heightened with gouache on paper, signed and dated lower right (the second work signed to lower left), both 15 x 23.5cm (6 x 9.25 in), mounted, framed and glazed, contemporary label to verso with manuscript title, artist’s name and address: Richard Toovey, c/o M.L. Menpes, Osborn Lodge, Fulham, Price £5.5.0 (2)

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£150 - £200

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494* Wells (Henry Tanworth, 1828-1903). Landscape with two girls and a pig, 1851, watercolour on paper, signed H. T. Wells and dated to lower left, 43 x 31cm (17 x 12.25ins) mount aperture, framed and glazed This probably Welsh scene was painted in the year that Henry Tanworth Wells was introduced to his future wife, the artist Joanna Mary Boyce. They had ﬁrst met in 1849 in north Wales, at Betws-y-Coed. Although Henry proposed marriage in 1855, they did not actually wed until 1857, and were only married for four years before Joanna died in childbirth in 1861. In addition to being an artist herself, Joanna’s brother was the Pre-Raphaelite painter George Price Boyce. (1) £200 - £300

493* Underhill (Frederick Thomas, circa 1847-1897). English Summer Landscapes with Cottages and Cows Pasturing, a pair of watercolours on paper, each signed, 20.5 x 29.5cm (8.1 x 11.6ins), period matching gilt frames, glazed (2)

£100 - £200

495* Attributed to Richard Westall (1765-1836). Joan of Arc bidding farewell to her family, watercolour with traces of pencil, depicting Joan of Arc in a wooded landscape, dressed in armour and a cloak, holding a helmet in one hand and a sword in the other, with spurs on her boots, standing before a family group comprising Joan’s father seated and holding an unﬁnished wicker basket, and her 3 brothers, one standing and holding a shepherd’s crook, the other two seated, one about to blow a horn, slightly toned and some light spotting to background sky, 43.9 x 40.5cm (17.25 x 16ins), mounted, framed and glazed (1)

Lot 494

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£200 - £300

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496* Wilson (Thomas Walter, 1851-1912). Portrait of Colin Hunter ARA, pen, ink, & wash, half-length portrait half-proﬁle to left of a bearded and bespectacled gentleman holding an artist’s palette, monogrammed lower left, 18.7 x 14.5cm (7.5 x 5.75ins), mounted, framed and glazed, later title label in pencil on backboard

497* Zichy (Mihaly von, 1827-1906). Bons Souvenirs, black and chalk on pale brown wove paper, signed lower left, one or two minor surface marks, sheet size 245 x 165mm (9.6 x 6.5ins), window-mounted The original drawing for one of the 40 images included in the erotic portfolio by Mihaly or Michael von Zichy entitled Liebe, Ein Zyklus, privately published in Leipzig in 1911. (1) £500 - £800

Scottish artist Colin Hunter (1841–1904) is best-known for his paintings of seascapes and ﬁsher-folk, painted in ﬁshing villages in Ireland, Devon and Cornwall as well as in Scotland. He exhibited widely, including at the Royal Academy, and he kept a large house and studio in Melbury Road, London where he entertained fellow artists; he was a neighbour of Lord Leighton, G.F. Watts and Luke Fildes. (1) £100 - £150

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

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PRE-RAPHAELITE & 19TH CENTURY PRINTS

500* Alma-Tadema (Sir Lawrence, 1836-1912). Welcome Footsteps, Arthur Tooth & Sons, 1888, uncoloured etching on india wove by Leopold Lowenstam (1842 - 1898), proof before title with remarque of the artist’s house in St John’s Wood, signed in pencil below image by both the artist and engraver, 410 x 530mm, large period gilt gesso frame, glazed

498* Alma-Tadema (Laurence, 1836-1912). The Parting Kiss, Munich: Franz Hanfstaengl, photogravure print after a painting by Alma-Tadema, depicting an embracing couple in a Roman interior, toned, signed in pencil lower left, plate size 29.5 x 15.5cm (11.5 x 6.2ins), framed and glazed, together with an etching by George Percy Jacomb-Hood, of a boy mounted on a barge horse, image size 21 x 17.7cm (8.25 x 7ins), mounted, framed and glazed (2)

A ﬁne impression with wide margins in very good condition. (1)

£150 - £200

501* Alma-Tadema (Sir Lawrence, 1836-1912). [The Convalescent], published J. S. Virtue & Co., 1896, uncoloured etching by Charles O. Murray (1842 - 1923), proof before title, signed by artist and engraver in pencil below image, 570 x 360mm, framed and glazed

499* Alma-Tadema (Sir Lawrence, 1836-1912). A Silent Greeting, 1892, uncoloured etching by Leopold Lowenstam (1842 - 1898), published by Stephen J. Gooding, PSA blindstamp to lower left, remarque of ivy leaves, signed in pencil below image by artist and engraver, 470 x 345mm, framed and glazed (1)

£100 - £150

(1)

£70 - £100

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£70 - £100

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502* Dighton (Richard, 1752-1814). Album of 78 hand-coloured caricatures, 1792-1812, 78 hand-coloured etched caricatures on wove paper, several leaves watermarked Edmeades & Pine, and dated 1808 and 1807, occasional light handling marks to margins, one or two plates close-trimmed to fore-margin, touching image, generally in very good condition, sheet size 310 x 255mm (12.25 x 10ins), bound in early 19th century black half morocco, gilt-decorated spine, titled in gilt ‘Characatures by Dighton’, recased with original spine laid down, a little rubbed and some marks, 4to (320 x 265mm, 12.5 x 10.4ins) Provenance: James Barratt, Lymm Hall (bookplate to front pastedown). A ﬁne collection of original caricatures by Robert Dighton, including George the IIIrd, 1810, Island in Scotland, 1807, A Gentle ride from Exeter ‘Change to Pimlico [William Clarke], 1812, A First Rate Man of War [Admiral Young], 1809, Old Q-uiz the old Goat of Piccadilly, 1796, the Specious Orator [Mr Christie], 1794, A Fashionable Lady in Dress & Undress, 1807, John Bellingham, 1812, Molineaux, 1812, a striking view of Richmond, 1810, a view near Hyde Park Corner [Tattersall], 1802, a Hero of the Turf & his Agent [Captain Mellish & Buckle], 1806, Hamlet in Scotland [Steven Kemble], 1794, Mr Braham in the character of Orlando, 1802, Mr Cooke, 1800, We serve a King whom we love - a God whom we adore [Kemble], 1793, Madame Catalani in Semiramide, 1806, Hold! - Pizarro - hear me! [Mrs Siddons], 1799, Agamemnon a great General, 1804, The Classical Almamater Coachman, Oxford [Mr Dobart], 1808, A view from the Swan Brewhouse, Oxford, 1807, Mother Goose of Oxford, 1807, a view from Brazen Nose College, Oxford [Bishop of Bristol], 1808, a view taken from Christchurch Meadows, Oxford [Mr Webber & Dr Jackson], 1807, a view from Oriel College, Oxford [Dr Eveleigh], 1808, a view from Trinity College, Cambridge [Bishop of Bristol], 1810, a Master Parson & his Journeyman, 1812, a view taken from Chatham Row, Bath, 1809, a view from the Pump Room, Bath [General Donkin], 1809, Descriptions of Battles by Sea & Land, 1801, Members of the Whig Club, 1798, a view of Norfolk [Duke of Norfolk], 1796, Triumph of the British Flag over the French Eagles & Colours, 1811, a Noble General [Earl of Harrington], 1804, a view of Somerset, 1811, a general view of Old England, 1808, the major part of the Town of Portsmouth [Major Ashworth], 1807, etc. (1) £1,500 - £2,000

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504* Holman Hunt (William, 1827-1910). The Finding of the Saviour in the Temple, 1867, etching and engraving on chine colle, by Auguste Thomas Marie Blanchard (1819-1898) after William Holman Hunt, a signed proof, published August 1st 1867 by E. Gambart and Co., with Printseller’s Association blindstamp, signed in pencil below image by Holman Hunt and Blanchard, plate size 531 x 750mm 20.9 x 29.5ins), near-contemporary ornate carved and stained wood frame with elaborate gilt slip, glazed Beraldi, Graveurs du dix-neuvième siècle (1885-92) 14. (1)

£200 - £300

503* Herkomer (Hubert von, 1849-1914). The Lady in White (Miss Grant), 1887, uncoloured etching, an artist’s proof, published by Obach & Co., with PSA (Printsellers Association) blindstamp, signed by the artist in pencil lower right, 495 x 375mm (19.5 x 14.75ins), period maple frame with gilt slip, glazed Miss Grant was the celebrated American beauty Miss Adele Grant, of New York, whose marriage to the Earl of Essex in 1893 was the social event of the season. One of the so-called ‘Lovely Five’, the oil portrait of the same title by Herkomer was widely praised when exhibited at the Royal Academy in 1885. (1) £100 - £150

505* Hunt (William Holman, 1827-1910). The Shadow of Death, [1878], uncoloured mezzotint and mixed method engraving by Frederick Stacpoole (1813-1907) after William Holman Hunt, on pale cream india wove paper, published May 30th 1878 by Thomas Agnew & Sons, with small oval Printsellers Association blindstamp to lower right, a ﬁne, rich impression, image size 74 x 57cm (29 x 22.5ins), handsome period black and gilt moulded frame, with decorations of leaves and ﬂower buds, and carved and gilded cross with crown of thorns to head of frame (overall size 108 x 86.5cm, 42.5 x 34ins) A handsome example of Stacpoole's famous engraving after Holman Hunt's pre-raphaelite masterpiece. The engraver started work on the print in 1874. By the time of publication, the sale of proofs alone had realised more than £20,000. (1) £300 - £500

Lot 504

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507* Leighton (Frederick, 1830-1896). Moretta - A Venetian Girl, 1876, uncoloured mezzotint by Samuel Cousins (1801-1887) after Frederick Leighton, published July 28th 1876 by Arthur Lucas, two light parallel backboard stains across centre of the sheet, plate size 445 x 320mm (17.5 x 12.6ins), framed and glazed, together with Eichens (Philipp Hermann, 1813-1886), Ophelia, or A Pause for Thought, circa 1870, mixed-method engraving after Pierre Auguste Cot (1837-1883), 480 x 305mm, framed and glazed (2)

£70 - £100

506* Leighton (Frederick, 1830-1896). Anita, 1879, mezzotint on india wove by Thomas Lewis Atkinson (1817–1898) after Frederick Leighton, published by P. & D. Colnaghi and Co., 1879, signed in pencil by the engraver lower right, Prinseller’s Association blindstamp lower left, plate size 390 x 295mm (15.4 x 11.6ins), near contemporary stained oak frame with gilt slip, glazed A ﬁne dark impression, in very good condition. (1)

£100 - £150

Lot 507

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

Lot 508

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508* Long (Edwin Longsden, 1829-1891). Merab, & Michal, 1890, a pair of mixed method proof engravings on india wove by Herbert Bourne (1825-1907) after Edwin Long, published October 6th 1890 by Fairless & Beeforth, both signed in pencil by the artist and engraver, plate size 630 x 400mm (25.75 x 15.75ins), period gilt gesso frame and period maple veneer frame with gilt inner slip respectively, glazed

510* Millais (John Everett, 1829-1896). The Order of Release, 1856, mezzotint by Samuel Cousins after J. E. Millais, a proof before letters on india laid paper, published by Henry Graves, May 1st 1856, signed in pencil by both artist and engraver to lower margin, some scattered spotting, plate size 76 x 54.5cm (30 x 21.5ins), with margins, period elaborately gilt moulded frame, glazed

(2)

Millais’ The Order of Release was painted between 1852 and 1853, and depicts the release of a Jacobite rebel soldier into the care of his wife and child. The ﬁgure of the woman was modelled by Efﬁe Ruskin, who later left her husband John Ruskin to become Lady Millais. (1) £200 - £300

£150 - £200

509* Macbeth (Robert Walker, 1848 - 1910). In the Fens, Evening, 1887, uncoloured etching on chine collé, signed with monogram and dated 1887 in the image to lower right, plate size 305 x 595mm, (12 x 23.5ins), period ribbed and stained frame with gilt slip, glazed (1)

£50 - £80

511* John (Everett Millais, 1829-1896). The Minuet, 1868, mezzotint by Samuel Cousins after J.E. Millais, published by Henry Graves, July 17th 1868, signed in pencil by J. E. Millais lower left, with Printseller’s Association oval blindstamp, plate size 71.5 x 52cm (28 x 20.5ins), framed and glazed (1)

Lot 510

155

£150 - £200

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513* After Albert Joseph Moore (1841-1893). Reading Aloud, circa 1900, electrotype printed in sanguine, after the oil painting of 1884, trimmed to image, 250 x 490mm, framed and glazed, together with John (Augustus Edwin, 1878-1961). Alick Schepeler, uncoloured photographic reproduction, 325 x 240mm, framed and glazed, plus Stevens (Alfred Emile, 1823-1906). Le Printemps, circa 1900, uncoloured etching by H. Lefort after Alfred Stevens, 500 x 215mm, framed and glazed, and Boughton (George Henry, 1833-1905). The End of a Spring Day, 1889, uncoloured etching, published by Robert Dunthorne, trimmed to image, 445 x 245mm, framed and glazed (4)

£70 - £100

514* Poynter (Edward John, 1836-1919). Helena and Hermia, A Midsummer Night’s Dream, 1899, proof engraving by William Heydemann (1866-1917) after E. J. Poynter, published by H. Virtue and Company, 1899, signed by artist and engraver, plate size 445 x 510mm 17.5 x 20ins), ﬁne contemporary stained wood frame with gilt slip, glazed (1)

£100 - £150

512* John (Everett Millais, 1829-1896). A Huguenot on St Bartholomew's Day, 1857, mixed method engraving on chine collé, by Thomas Oldham Barlow, after J.E. Millais, published by Thomas White & Messrs. E. Gambart & Co., London, June 1st 1857, with Printseller's Association oval blindstamp to lower left and remarque crest to lower right, signed in pencil by the artist and engraver, plate size 74 x 50.8cm (29 x 20ins), satinwood-veneered frame, glazed (1)

£200 - £300

Lot 514

Lot 513

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

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Lot 515 515* Ryall (Henry Thomas, 1811-1867). The Pursuit of Pleasure (A Vision of Human Life), 1864, uncoloured mixed method engraving by Henry Ryall after Sir Joseph Noel Paton, published by Alexander Hill, very slight spotting and dust soiling, 800 x 1100mm, framed in a near-contemporary gilt gesso moulding, facsimile key plate to verso of frame A moral and allegorical depiction of the fate of the pursuers of a hedonistic lifestyle. Pleasure - depicted as a sensuous and nubile young girl - is crowned with a wreath of poppies and has the wings of a Death’s-Head Hawkmoth. Her escorts are two all-knowing putti who strew flowers and blow bubbles to lure on the massed throng behind them. Pleasure is pursued by a cavalcade of individuals, in the vanguard are an ‘ecclesiastical dignitary’, a ‘son of toil’, a monarch, a ‘youth of luxury’ and a ‘man of genius’. They seem oblivious to the young girl and the unmarried mother that they trample underfoot. They are followed by a ‘Bacchanal’ and three ‘unthinking daughters of vanity’. behind them is a ‘votary of military glory and conquest’ who is spattered with blood and treads humanity under his feet, supported by a soldier and a trumpeter dragging a captive behind them. Above the throng is a damsel borne by a fool and a gallant and after them a miser, a spooning couple and a ‘tyrant king’, blind and brandishing a flaming torch. Lastly, another figure who appears to be turning back. They rush towards a yawning pit whilst above them the Angel of Judgement fills the sky wielding a sword and carrying a open book. (1) £100 - £200

516* Sargent (John Singer, 1856-1925). Miss Jane Evans, 1899, photogravure by William H. Ward & Co. Ltd after the oil portrait by John Singer Sargent of 1898, published March 1st 1899, signed in pencil by the artist, and sitter to lower blank margin, image size 44 x 28.5cm (17.25 x 11.25ins), with margins, pale marginal spotting, framed and glazed, with small printed label to verso of Lechertier Barbe Ltd, 95 Jermyn St. London Jane Evans (1826-1906), described as the last of the Eton Dames, was the landlady of one of the lodging houses run for the Oppidan boys of Eton College. Famed for her powers of sympathy and insight, the oil portrait of her by John Singer Sargent was commissioned by a number of Old Boys of the College, including Bishop John Selwin. (1) £150 - £200

Lot 516

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517* Severn (Walter, 1830-1904). Nearing Home, 1861, etching on chine appliqué, published by Day & Son, December 1st 1861, as issued in Passages for Modern English Poets, illustrated by the Junior Etching Club (1862), plate size 18.8 x 23.5cm (7.5 x 9.3ins), stained oak frame with gilt inner slip, glazed, with Maas Gallery label to verso, together with Clayton (J.N., 19th century). Mother’s Love, etching, published by Day & Son, December 1st 1861, as issued in Passages for Modern English Poets, illustrated by the Junior Etching Club (1862), 102 x 130mm (4.1 x 5.2ins) mount aperture, period stained wood frame with gilt inner slip, glazed, with Maas Gallery label to verso, plus Horsley (John Callcott, 1817-1903), Madame se chauffe, 1872, etching on chine appliqué, as published in Etchings by the Etching Club, published by the Art Union of London (1872), plate size 20 x 15cm (8 x 6ins), period black and gilt frame, glazed, with Maas Gallery label to verso (3)

£100 - £150

518* Sant (James, 1820-1916). The Mirror, 1894, uncoloured mezzotint on india wove by Charles John Tomkins (1847-circa 1897), after James Sant, plate size 635 x 515mm (25 x 20.25ins), near-contemporary stained ribbed frame with gilt slip, glazed, together with: Seymour (George L., 19th century). The Surprise, 1901, uncoloured mezzotint on india wove by John Douglas Miller (1860-1903) after George L. Seymour, published by Arthur Tooth & Sons, an artist's proof with PSA blindstamp, signed in pencil by the engraver below the image, plate size 385 x 270mm (15 x 10.5ins), nearcontemporary stained oak frame with gilt slip, glazed (2)

£150 - £200

Lot 518

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

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519* Walker (Frederick, 1840-1875). Phillip in Church, 1885, uncoloured etching by Hubert von Herkomer after Frederick Walker, published by The Fine Art Society in 1885, an artist’s proof, with remarque portrait of the artist, repaired closed tears to lower right corner, 510 x 390mm, period walnut veneer frame with gilt slip, glazed (1)

£70 - £100

520* Watts (George Frederick, 1817-1904). A Greek Idyll, 1903, etching printed in sepia by Robert Walker Macbeth (1848 - 1910) after G.W. Watts, published by H. Virtue & Co. 1903, signed in pencil by both the artist and engraver, some light creasing, 390 x 535mm, period walnut veneer frame with gilt slip, glazed (1)

£150 - £200

Lot 519

521* Wilkie (David 1785-1841). The Flemish Mother, 1820, etching on chine collé, image size 174 x 146mm (6.85 x 5.75ins), plate size 225 x 182cm (8.85 x 7.15ins), with margins, framed and glazed (1)

Lot 520

159

£150 - £200

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ETCHINGS, LITHOGRAPHS & WOODCUTS

522* MacNab (Iain, 1890-1967). French Market Place, etching on pale cream wove paper, signed in pencil lower right, plate size 275 x 370mm (10.9 x 14.6ins), with margins, framed and glazed (1)

524* Barry (Claude Francis, 1883-1970). Windsor, 1926, aquatint on cream wove paper, lightly toned and with mount mark, titled in pencil lower left, and pencil inscription lower right 'To Dr East from C F Barry. 1926', plate size 23.2 x 30.1cm (9 x 11.75ins), sheet size (irregularly trimmed) 27 x 34.5cm (10.75 x 13.5ins), together with: Boutet (Jean, 20th century). Le Pont Neuf, 1948, etching on cream wove paper, inscribed and signed in pencil lower right, lightly toned and with mount mark, plate size 17.8 x 23.5cm (7 x 9.25ins), sheet size 22.3 x 28.1cm (8.75 x 11ins), plus approximately 50 other etchings and prints, by R.S. Hardie, Andrew Watson Turnbull, William Hyde, Glynn Thomas, August Lepère, Neil M. Lawrence, J.W. Jackson, Charles Claude Houssard, and others, various sizes and condition

£100 - £150

approximately 50

525* Blampied (Edmund, 1886-1966). Purring and Snoring, 1921, etching with drypoint on pale cream wove paper, from the published edition of 100 proof impressions, signed in pencil lower left, plate size 176 x 238mm (7 x 9.4ins), with margins, framed and glazed

523* Austin (Robert Sargent, 1895-1973). The Wooden Bridge, Sottocastello, 1929, copper engraving on pale cream laid paper, signed in pencil, a very good impression, plate size 155 x 120mm (6.2 x 4.75ins), with margins, framed and glazed Campbell Dodgson 85 v/v. (1)

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

£200 - £300

Appleby 77. Malcolm Salaman, Print Collectors’ Quarterly, 24 (1937), 390. (1) £300 - £400

£200 - £300

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527* Brangwyn (Frank, 1867-1956). Sisteron, 1924, etching with drypoint on ivory laid paper, signed in pencil, plate size 150 x 120mm (5.9 x 4.75ins), with margins, framed and glazed, together with: Clausen (George, 1852-1944). Figure Working in a Hay Field, etching on pale cream wove paper, signed in pencil lower right, plate size 124 x 173mm (4.9 x 6.9ins), with margins, framed and glazed, plus: Menpes (Mortimer Luddington, 1855-1938). A City Wharf, 1889, etching on pale cream laid paper, with watermark, signed in pencil, some pale overall toning, plate size 150 x 105mm (6 x 4.2ins), sheet size 244 x 242mm (9.65 x 9.6ins), framed and glazed (3)

526* Blampied (Edmund, 1886-1966). The Vraic Season (The Seaweed Harvest), 1936, etching with drypoint on pale cream wove paper, from the edition of 125 impressions, printed for the American College Society of Print Collectors, signed to centre of lower blank margin, pale mount stain, some minor marks to margins, with tear to right hand outer margin with some loss to outer edge, plate size 305 x 362mm (12 x 14.25ins), sheet size 392 x 508mm (15.4 x 20ins),

£200 - £300

528* Briscoe (Arthur John Trevor, 1873-1943). Outward Bound, 1927, etching with drypoint on pale cream laid paper, printed with plate tone, from the published edition of 75 impressions, signed and numbered 31/75 in ink, plate size 248 x 396mm (9.7 x 15.7ins), with margins, framed and glazed

Appleby 181. Vraic or seaweed was traditionally gathered by horse and cart in Grouville and St. Ouen’s Bay, in the Channel Islands, and then spread over potato ﬁelds before planting in late winter and spring. (1) £200 - £300

Laver 109. (1)

£200 - £300

529* Briscoe (Arthur John Trevor, 1873-1943). Casting Her Off, 1927, etching on off-white wove paper, printed with plate tone, from the published edition of 75 impressions, signed in ink, and numbered 6/75 in pencil to lower margin, some light scattered spots (generally in good condition), plate size 250 x 400mm (9.8 x 15.75ins), with margins, framed and glazed Hurst 203. (1)

Lot 527

161

£200 - £300

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530* Briscoe (Arthur John Trevor, 1873-1943). James & John, 1928, etching on laid paper, with plate tone, from the published edition of 75 impressions, signed, and numbered 20/75 in pencil to lower margin, plate size 250 x 350mm (9.8 x 13.75ins), with margins, some light discolouration, mainly to blank margins, framed and glazed Laver 121. (1)

£250 - £350

532* Brouet (Auguste, 1872-1941). Le Petit Chiffonniers, 1909, etching on pale cream japan wove paper, the 3rd state, printed by Vernant, and published by H. Petiet, Paris, in an edition of 30 on Japan and 60 on Arches, in 1925, with publisher’s blindstamp to lower margin, signed and numbered Japon 3/30, plate size 160 x 120mm (6.25 x 4.8ins), together with: Bejot (Eugene, 1867-1931). Le Quai des Orfevres, Paris, 1920, etching on laid paper, an artist’s proof, plate size 22 x 22cm (8.75 x 8.75ins), framed and glazed, with period label for Matthews & Brooke, Bradford to verso, plus other etchings, various, including Maxime Lalanne, Boulevard Montmartre, Paris, 1884, etc. (6)

£200 - £300

531AR* Brockhurst (Gerald Leslie, 1891-1978). Almina, 1924, etching on pale cream laid paper, from the published edition of 76 impressions, signed in pencil, plate size 182 x 137mm (7.2 x 5.4ins), with margins, framed and glazed, with early label of P. & D. Colnaghi & Co. to verso

533* Cain (Charles William, 1893-1962). A Persian Bazaar, 1929, drypoint etching on pale cream wove paper, from the published edition of 90 impressions, signed and numbered 12.90. to lower margin, plate size 250 x 373mm (9.9 x 14.7ins), with margins, generally in excellent condition, framed and glazed

Fletcher 48. (1)

(1)

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

£200 - £300

162

£100 - £150

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534* Chadwick (Tom, 1915-1942). The Introduction, 1935, wood engraving on cream simile Japan paper, with full margins, from the published edition of 60 impressions, signed, titled and numbered 8/60 in pencil, a few light spots (generally in excellent, clean condition), image size 195 x 253mm (7.7 x 10ins), sheet size 280 x 377mm (11 x 14.8ins), framed and glazed

535* Copley (John, 1875-1950). Monte Pisano: Olive Gatherers, 1913, lithograph on white paper, signed in pencil lower right, image size 535 x 385mm (21 x 15.25ins), sheet size 670 x 510mm (26.25 x 20ins), framed and glazed (glass cracked), together with: Seen from an Omnibus, 1931, lithograph on white paper, signed in pencil lower centre, image size 277 x 170mm (10.9 x 6.75ins), with margins, framed and glazed

Tom Chadwick studied at the Grosvenor School of Modern Art under William Kermode and Iain Macnab, the latter regarding him as his most brilliant student. The present woodcut, The Introduction, depicting cockﬁghters on the island of Bali, was exhibited at the Society of Wood Engravers in 1935 when the artist was just 20 years old. Chadwick was tragically killed at the Battle of El Alamein in 1942. All of Chadwick’s prints are rare, the present work especially so, as the intended edition of 60 published proofs was never completed. (1) £300 - £400

Wright 230 for the second work. (2)

£150 - £200

536* Griggs (Frederick Landseer, 1876-1938). Launds, 1929, etching on laid paper, the ﬁfth, published state, issued in an edition of 70 impressions at the Dover’s House Press, signed ‘F W Griggs imp’ to lower right, and inscribed in ink to verso D.H.P. 67, trimmed to plate margin by the artist, 173 x 253mm (6.8 x 10ins), framed and glazed Comstock 39, v/viii. Griggs initially titled the work Summer Garland. (1)

£300 - £500

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537AR* Gross (Anthony, 1905-1984). Shadow of a Walnut Tree, 1968, etching with drypoint on handmade paper, from the published edition of 70 impressions, signed, titled and numbered 4/70, plate size 253 x 300mm (10 x 11.8ins), with margins, in excellent clean condition, framed and glazed, with original gallery label for the New Academy Gallery, 34 Windmill Street, London, to verso Herdman, The Prints of Anthony Gross, 68. (1)

£300 - £500

539* Icart (Louis, 1888-1950). Louise, 1927, drypoint etching with aquatint in colours on pale cream paper, an artist’s proof, aside from the published edition of 475 impressions, published by Graveurs Modernes, Paris, signed in pencil lower right, with publisher’s blindstamp lower left, plate size 530 x 360mm (20.8 x 14.2ins), with margins, framed and glazed Holland, Catania & Isen 317. The print depicts the artist’s wife on their balcony in Montmartre, Paris. (1) £300 - £400

540AR* Knight (Laura, 1877-1970). Dressing Room No. 2, drypoint etching and aquatint on laid paper, signed in pencil lower right, additionally inscribed by the artist to lower edge of the sheet: aquatint Dressing Room No. 2, plate size 174 x 223mm (6.8 x 8.8ins), sheet size 230 x 330mm (9 x 13ins), framed and glazed

538AR* Gurschner (Herbert, 1901-1975). Seated Woman and Flowers, woodcut on wove paper, hand-coloured by the artist, signed and inscribed ‘Orgl. Holschnitt’, 180 x 155mm (7.1 x 6.2ins) mount aperture, framed and glazed (1)

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

£300 - £500

(1)

164

£300 - £400

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541* Landacre (Paul Hambleton, 1893-1963). Sultry Day, 1937, woodcut, depicting a supine female nude reading a book on the ﬂoor next to a sleeping cat, against a garden vista seen through an open door, image size 20.2 x 15.2cm (8 x 6ins), mounted, framed and glazed (1)

Lot 542

£200 - £400

542* McBey (James, 1883-1959). Rio dei Greci, Venice, (Venice Set No. 1), 1925, etching with drypoint on antique pale cream wove paper, watermarked 1818, from the published edition of 80 proofs, signed and numbered XVII in ink to lower margin, light overall mount stain, plate size 265 x 170mm (10.4 x 6.7ins), sheet size 282 x 185mm (11.1 x 7.25ins), framed and glazed Hardie & Carter 228. (1)

£300 - £500

543* Morgan (William Evan Charles, 1903-1979). Italian Hill Farm, 1928, etching with drypoint on cream laid paper, watermarked DAVID STRANG to lower left corner of the sheet, signed, dated, titled and numbered 19/78, plate size 160 x 210mm (6.25 x 8.25ins), sheet size 235 x 310mm (9.25 x 12.25ins) (1)

£150 - £200

Lot 543

165

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545 No lot 546* Whistler (James Abbott MacNeill, 1834-1903). Chelsea, etching on pale cream wove paper, depicting Old Battersea Bridge and Chelsea Church, butterﬂy monogram to lower margin within image, pencil note to upper left blank margin, some faint creases and minor marks, plate size 13.1 x 20.6cm (5.25 x 8ins), sheet size 28.5 x 40.2cm (11.25 x 15.75ins), together with: Haden (Francis Seymour, 1818-1910). Egham Lock, etching on pale cream laid paper, depicting an open lock on the Thames in Surrey, a little light creasing, mostly marginal, short nick in upper left edge, plate size 15 x 22.5cm (6 x 9ins), sheet size 18.5 x 27.5ins) (2)

£200 - £300

547 Nevinson (Christopher Richard Wynne, 1889-1946). Column on the March, 1917, offset colour lithograph on thin wove paper, signed in pencil lower right, sheet size 287 x 220 mm (11.3 x 8.7 ins), as issued in Modern War Paintings by C.R.W. Nevinson, with an introductory essay by P. G. Konody, 1st edition, Grant Richards Ltd., 1917, with monochrome plates, rough-trimmed, original green cloth-backed boards with printed paper title labels to upper cover and spine, some minor marks and slight fraying to extreme head of spine, spine label somewhat darkened and a little chipped, 4to (1)

£300 - £500

544* Morgan (William Evan Charles, 1903-1979). Perseus, 1929, drypoint etching on pale cream laid paper, from the published edition of 70 impressions, signed, dated, titled and numbered 70/70, plate size 220 x 207 mm (8.2 x 8.7 ins), with margins, sheet size 360 x 280 mm (14.1 x 11 ins), framed and glazed (1)

£200 - £300

548* Osborne (Malcom, 1880-1963). “A Dieppe Café”, Etching for Queen [Mary]’s Dolls’ House, miniature etching on laid paper, depicting 2 conversing men in proﬁle seated at a table in a café, one leaning across table with glass in hand, the other holding a cane, an archway beyond, a few fox spots, signed in pencil lower right below image, plate size 26 x 38mm (1 x 1.5ins), sheet size 63 x 78mm (2.5 x 3ins), mounted, with inscription in ink to mount ‘With all best Wishes for a very Happy Christmas and New Year from Malcolm Osborne’, and title beneath, framed and glazed This minute print was commissioned for the library of Queen Mary’s dolls’ house, designed by Lutyens (see Royal Collection RCIN 927240). There can have been only a very few of these produced, and we have been unable to trace another copy sold at auction. (1) £150 - £200

549 No lot

Lot 546

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

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550 Rothenstein (William, 1872-1945). Portrait of John Singer Sargent, lithograph on pale brown laid paper, printed by T. Way, from the book 'English Portraits, A Series of Lithographed Drawings', published by Grant Richards, 1898, 29.5 x 20.5cm (11.5 x 8ins) mount aperture, together with 8 other lithographs from the same publication, comprising: Prof. Charles Villiers Stanford, Mr. Sidney Colvin, Sir Frederick Pollock, Arthur Wing Pinero, Sir Seymour Haden, Mr. William Archer, Prof. Alphonse Legros, and Mr. Robert Bridges, all similarly mounted, framed and glazed (9)

£100 - £150

551 Rothenstein (William, 1872-1945). English Portraits. A Series of Lithographed Drawings, published by Grant Richards, 1898, 24 lithographic portraits including Hardy, Gissing, Henry James, Walter Crane, Ellen Terry, and others, additional photogravure portrait of George Bernard Shaw from a photograph by Dorothy Hickling loosely inserted, top edge gilt, remainder untrimmed, original buckram gilt, rubbed, folio One of 750 copies, this copy with a signed pencil dedication to George Bernard Shaw: ‘To G.B.S. Greetings! Will Rothenstein 98’. (1) £200 - £300

Lot 550 552* Roussel (Theodore, 1847-1926). Bathers & Tents, 1923-24, etching with drypoint on pale cream wove paper, signed in pencil, a very good impression, with light plate tone, plate size 228 x 355mm (9 x 14ins), with margins, framed and glazed, with old label for A.J. Mucklow & Son, 35 Cranbourn Street, Leicester Square, London, W.C. to verso, with artist’s name, title and price Hausberg 134. (1)

167

£150 - £200

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554* Schwabe (Randolph, 1885-1948). Francis Dodd, 1916, etching with drypoint on pale cream wove paper, an unsigned artist’s proof, aside from the published edition, some very light spotting around margins, sheet size 330 x 254mm (13 x 10ins), with margins, framed and glazed Clarke, Randolph Schwabe (2012), page 75. (1)

£150 - £200

553* Rushbury (Henry George, 1889-1968). St. Paul’s from Paternoster Row, 1941, etching with drypoint on pale cream laid paper, signed in pencil, plate size 200 x 300mm (7.9 x 11.8ins), sheet size 267 x 405mm (10.5 x 16ins), framed and glazed, together with: St. Mary Le Bow, 1943, etching with drypoint on pale cream laid paper, signed in pencil, plate size 280 x 210mm (11 x 8.25ins), sheet size 394 x 270mm (15.5 x 10.6ins), framed and glazed, plus: Stirling Castle, 1945, etching with drypoint on pale cream laid paper, signed in pencil, plate size 200 x 300mm (7.9 x 11.78ins), sheet size 270 x 380mm (10.6 x 15ins), remains of brown paper tab mounts to extreme upper left and upper right, and: Fountains Abbey, 1946, etching with drypoint, published in an edition of 100 impressions, signed in pencil, pale mount stain, brown paper mounting tabs to verso upper left and upper right, plate size 225 x 310mm (8.8 x 12.25ins), sheet size 282 x 381mm (11.1 x 15ins) Rushbury, Owen & Ramos, Henry Rushbury Prints, Catalogue Raisonné, 79, 81, 83 & 84. (4) £200 - £300

555* Simpson (Joseph, 1879-1939). Russian Girl, 1925, etching with drypoint on pale cream wove paper, signed in pencil, printed with plate tone, plate size 302 x 214mm (12 x 8.5ins), with margins, framed and glazed, together with: Todd (Arthur Ralph Middleton, 1891-1966). The Silhouette, etching with drypoint, signed in pencil, plate size 175 x 133mm (6.8 x 5.25ins), with margins, framed and glazed (2)

Lot 554 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

168

£150 - £200

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557AR* Squirrell (Leonard Russell, 1893-1979). Notre Dame, Paris, 1925, mezzotint on pale cream laid paper, signed in pencil lower right, small mark in the sky area to the right of the cathedral, but generally in very good condition, plate size 280 x 400mm (11 x 15.75ins), with margins, framed and glazed, together with: Barn Interior, circa 1930, aquatint on pale cream wove paper, signed in pencil lower right, plate size 276 x 278mm (10.9 x 10.95ins), with margins, framed and glazed (2)

£200 - £300

556* Spear (Francis Howard, 1902-1979). Harlequin, Pulcinella, Colombina, Scopino, & Dottore, 1928, a series of ﬁve lithographs on wove paper, each signed, titled and dated in pencil, image size 345 x 235mm (13.6 x 9.25ins), and similar, with margins, matching gilt frames, glazed Francis Howard Spear, printmaker and stained glass artist, attended the Royal College of Art alongside Edward Bawden and Eric Ravilious, where he also later taught lithography. (5) £200 - £300

558* Steel (Kenneth, 1906-1973). Durham Cathedral and Castle across Milburngate Bridge, etching with drypoint on pale cream wove paper, signed in pencil, a very good impression, plate size 305 x 355mm (12 x 14ins), with margins, framed and glazed (1)

169

£100 - £150

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560AR* Tanner (Robin, 1904-1988). Easter, 1970, etching on pale cream wove paper, from the Robin Tanner Memorial Portfolio edition of 112 impressions, published by Robin Garton in 1988, signed in pencil to centre of lower margin, with blindstamp to lower right corner ‘Robin Tanner Memorial Portfolio’, numbered I in roman numeral, plate size 390 x 270mm (15.3 x 10.6ins), sheet size 450 x 340mm (17.75 x 13.4ins), framed and glazed Garton, Robin Tanner, The Etchings, 5 (although this posthumous edition was issued the year after the publication of Garton’s catalogue raisonné). (1) £300 - £500

559* Strang (William, 1859-1921). Sir Emery Walker, 1906, etching on pale cream wove paper, signed in pencil, image size 368 x 240mm (14.5 x 9.4ins), sheet size 510 x 398mm (20 x 15.7ins), framed and glazed (1)

£150 - £200

561* Tissot (James Joseph, 1836-1902). Histoire ennuyeuse (An Uninteresting Story), 1878 [or later], etching and drypoint on laid paper, with watermark of a ﬂeur-de-lys within a shield with letters JGL below, a very good strong impression, signed and dated in the plate to upper right, unsigned, plate size 314 x 203mm (12.3 x 8ins), sheet size 377 x 283mm (14.8 x 11.2ins) Wentworth 32. (1)

Lot 560

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

170

£300 - £500

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562AR* Tunnicliffe (Charles Frederick, 1901-1979). Hard Winter, 1928, etching on pale cream wove paper, from the published edition of 75 impressions, signed and numbered 29/75 in pencil, plate size 227 x 275mm (8.95 x 10.85ins), with margins, framed and glazed (1)

£300 - £500

563* Whistler (James Abbott MacNeill, 1834-1903). La Marchande de Moutarde, 1858, etching on pale cream laid paper, the 5th state (of 5), with printer's name and address removed, light mount stain, short closed tears to lower left and lower right blank corners, plate size 158 x 88mm (6.2 x 3.5ins), sheet size 323 x 241mm (12.75 x 9.5ins), together with other prints by or after Whistler, including La Robe Rouge, 1894, lithograph (printed in an edition of approximately 3000, as published in The Studio, November 15, 1895, framed and glazed, colour lithographs by Thomas Robert Way after Whistler (Bead-stringers, Venice, 2 copies, Sunset: Venice, The Purple Cap, Baby Leyland, and The Blue Girl), as published in The Studio, 19031905, all framed and glazed or mounted, plus a reproduction of Whistler's Chelsea etching Kennedy 22, v/v; Glasgow Online Catalogue, 20, v/v (75 known impressions). (9) £200 - £300

Lot 562

564* Whistler (James Abbott MacNeill, 1834-1903). Chelsea, etching on pale cream wove paper, depicting Old Battersea Bridge and Chelsea Church, butterﬂy monogram to lower margin within image, pencil note to upper left blank margin, some faint creases and minor marks, plate size 13.1 x 20.6cm (5.25 x 8ins), sheet size 28.5 x 40.2cm (11.25 x 15.75ins), together with: Haden (Francis Seymour, 1818-1910), Egham Lock, etching on pale cream laid paper, depicting an open lock on the Thames in Surrey, a little light creasing, mostly marginal, short nick in upper left edge, plate size 15 x 22.5cm (6 x 9ins), sheet size 18.5 x 27.5ins) (2)

Lot 563

171

£200 - £300

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565* Wohlfart (Johannes, 1900-1975). Die Alten, woodcut on light cream japan paper, signed and titled in pencil, image size 215 x 190mm (8.5 x 7.5ins), sheet size 380 x 300mm (15 x 11.75ins), tippedin to card window mount, together with: Grossmann (Rudolf, 1882-1941). ‘Maler Purrmann bom meister selbst gedruckt’, etching on off-white handmade paper, signed in pencil, also titled in pencil to lower edge, and marked ‘abzug’, with several printing ﬂaws touching the image, 210 x 175mm (8.25 x 6.9ins), plus two lithographs by Anatoli Kaplan (1902-1980), each signed and titled, and an etching of the head of a woman, indistinctly signed F. Schimmings (?), the latter three works framed and glazed (except ﬁnal work without glass) (5)

£200 - £300

566* Wyllie (William Lionel, 1851-1931). Santa Maria della Salute, Venice, drypoint etching on pale cream wove paper, from the edition of 150 impressions, signed in pencil, plate size 175 x 227mm (6.9 x 9ins), with margins, framed and glazed, with early printed label of Doig, Wilson & Wheatley, 90 George Street, Edinburgh, to verso, together with: A Light Air from the South East, drypoint etching, published in a sole edition of 150 impressions, signed in pencil, plate size 125 x 169mm (4.9 x 6.6ins), with margins, framed and glazed, with early Frost & Reed labels to verso (2)

Lot 565

Lot 566

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

172

£300 - £400

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20TH CENTURY ART

567* Renoir (Pierre-Auguste, 1841-1919). La Danseuse Rosita Mauri, heliogravure facsimile reproduction on cream laid paper, with watermark, published by Marées-Gesellschaft, Munich, with publisher's blindstamp to lower right, sheet size 470 x 305mm (18.5 x 12ins), window-mounted, together with: Vignerot (Rougeron, 19th century). Family Group, after Pierre Puvis de Chavannes, lithograph on brown paper, after a drawing by Puvis de Chavannes (1824-1898), laid down on card, sheet size 368 x 295mm (14.5 x 11.6ins), window-mounted, plus other various prints, including G. Greux after Jean Francois Millet, Les Premiers Pas, Joseph Pennell, St. Paul's Wharf, Charles Waltner after J.E. Millais, Forbidden Fruit, William Strang after Correggio, Venus with Mercury and Cupid, etching, 1888, signed by Strang in pencil (7)

568* Toulouse-Lautrec (Henri de, 1864-1901). Eros Vanné, 1894, lithographed music cover, as published by Paul Dupont, Paris, 1894, some minor marks to sheet edges, laid down on modern plain card, sheet size 270 x 175mm (10.6 x 6.9ins), window-mounted Wittrock 56. (1)

£150 - £200

173

£200 - £300

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Lot 570

569* Toulouse-Lautrec (Henri de, 1864-1901). Divan Japonais, 1893, colour lithograph poster on wove paper, printed by Edward Ancourt, Paris, some overall toning, minor fraying to extreme sheet edges, image size 815 x 605mm (32 x 24.25ins), sheet size 855 x 650mm (33.75 x 25.7ins) Adriani 8; Delteil 341. The advertising poster for the Parisian café-concert Divan Japonais run by Edouard Fournier, depicting the dancer Jane Avril and critic Edward Dujardin in the foreground, and singer Yvette Guilbert on stage. (1) £700 - £1,000

570* List (Wilhelm, 1864-1918). Aphrodite Androphonos, published in Ver Sacrum #6, 1900, colour print, image 20 x 15cm (8 x 6ins), framed and glazed (1)

£100 - £150

571* Nevinson (Christoper Richard Wynne, 1889-1946). Lilies, circa 1930s, colour reproduction print, published by Soho Publishing Co. Ltd., 18 Soho Square, London, image size 51 x 40.5 cm (20 x 16 ins), with margins, framed and glazed (1)

£300 - £500

Lot 571

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

174

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572AR* Ayrton (Michael, 1921-1975). Narcissus, 1971, etching from the published edition of 75 impressions, numbered 15/75, but here unsigned, plate size 17 x 20cm (6.75 x 8ins), framed and glazed (1)

£100 - £150

574* Manzaroli (Peter, b. 1938). Velvet, mixed media collage, signed at foot, 27.5 x 14cm (10.75 x 5.5 in), framed and glazed

573AR* Cockrill (Maurice, 1936-2013). Fête Champêtre, 1984, drypoint etching, from the published edition of only 20 impressions, signed and dated, and numbered 2/20, plate size 13.5 x 16cm (5.25 x 6.25ins), framed and glazed (1)

Provenance: Chas. H. West, gallery and exhibition agent, Swiss Cottage, London, old label and Andelli Art, Somerset, modern label to verso. (1) £100 - £150

£150 - £200

175

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575* Moser (Koloman, 1868-1918). Mobelstoff Mondblume, Meauquettes Weberei (from Die Quelle), Vienna, Verlag Gerlach & Schenk, 1901, colour lithograph, image size 225 x 275mm (8.9 x 10.8ins), with margins, framed and glazed, with P. & D. Colnaghi & Co. Ltd. label to verso (unexamined out of frame) Exhibited: The Vienna Secession, P. & D. Colnaghi, 19th December-20th January 1978, Number 81. Issued in the portfolio of 30 designs entitled Die Quelle: Flachen Schmuck (The Source: Ornament for Flat Surfaces), edited by Martin Gerlach. (1) £100 - £150

577AR* Schöffer (Nicolas, 1912-1992). Entretiens avec Nicolas Schöffer, by Jean-Louis Ferrier, Paris: Denoël, 1975, 3 colour screenprints, each signed and numbered by the artist (some offsetting to opposite text leaves), aluminium and plexiglass multiple screenprint frontispiece, loosely contained in original cloth solander box with metalic design to upper lid, some fading and stains, edges rubbed, 4to, 45.5 x 35cm (17.75 x 13.75 in) Limited edition 94/125 (Zero)

576* Roberts (John, 20th c.). Floral Heads, 1982, mixed media, captioned, signed & dated in pencil to lower margin, image size 30.5 x 49.5cm (12 x 19.5ins), framed & glazed, together with Take a Card, 1983, uncoloured lithograph of male ﬁgure holding an ace of spades playing card, captioned, signed & dated in pencil to lower margin, image size 41.5 x 24cm (16.5 x 9.5ins), framed & glazed, (limited edition 15/50), together with Brangwyn (Frank, 1867-1956). Busy street scene before an Abbey, lithograph, heightened with watercolour, apparently unsigned, 41 x 31cm (16 x 12.25ins), framed and glazed, plus Sorel (Agathe, 1935-). Rochers, colour etching, 1960, signed, titled and numbered 22/30, plate size 45.5 x 35.5cm (18 x 14ins), framed and glazed, and Howerd (Geoffrey, 20th c.). Chelsea Pensioners, mounted colour lithograph, signed and dated in pencil to lower margin, 35 x 25cm (13.75 x 9.75ins), framed and glazed, plus four other framed and glazed prints by various artists including Peter Godfrey Coker and Hubert Andrew Freeth (9)

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

£200 - £300

578AR* Trevelyan (Julian, 1910-1988). Camden Lock, 1975, colour lithograph on thick handmade paper, printed by the Curwen Studio, and published by Curwen Press, London, with their blindstamp, signed and numbered 46/100 in pencil, image size 382 x 513mm (15 x 20.2ins), sheet size 505 x 653mm (19.9 x 25.75ins), framed and glazed (1)

£100 - £200

176

£300 - £500

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Lot 579 579 American Artists. The Poems by John Ashbery, Prints by Joan Mitchell, Salute by James Schuyler, Prints by Grace Hartigan, Permanently by Kenneth Koch, Prints by Alfred Leslie, & Odes by Frank O'Hara, Prints by Michael Goldberg, 4 volumes, New York, Tiber Press, 1960, each volume with three full-page colour screenprints, colour screenprint title page and front cover by Joan Mitchell, Grace Hartigan, Alfred Leslie, and Michael Goldberg respectively, original cloth-backed boards, a few minor marks to rear covers of 3 volumes, original acetate dust wrappers, all contained in original publisher's cloth slipcase, with original cardboard packaging (marked with limitation number), folio (sheet size 445 x 355mm, 17.6 x 14ins) Limited edition, numbered 127 of 200 copies, each signed by author and artist. Important set of post-war American artist's books, featuring collaborations between four of the most inﬂuential American poets of the second half of the twentieth century, and four second-generation New York School painters. The collaborators all "lived in New York City where they knew one another well for a number of years and followed one another's work with involved interest. Tiber Press left the choice of partners in this project to the individuals themselves, and, in collaborating, the poet and painter were acknowledging awareness of some real relationship between their work" (from the prospectus). (4) £2,000 - £3,000

580AR* Villon (Jacques, 1875-1963). L’Italienne, after Amedeo Modigliani, 1926-27, colour aquatint on heavy wove paper, an unnumbered impression, aside from the published numbered edition of 200 impressions, some light overall toning, plate size 495 x 308mm (19.5 x 12.1ins), sheet size 560 x 380mm (22 x 15ins) Ginestet-Pouillon E 650. (1)

£300 - £400

Lot 580

177

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582 Arikha (Avigdor, 1929-2010). Au Loin un Oiseau, by Samuel Beckett, The Double Elephant Press, New York, 1973, 5 etched plates, each signed by the artist, loosely contained in original wrappers, original buckram solander box, 4to, 45 x 38.5cm (17.75 x 15.25 in) Limited edition 24/90. (1)

£800 - £1,200

581AR* Casson (Hugh, 1910-1999). Covent Garden, colour print, 91/100, signed lower right, 29 x 21.5cm (11.5 x 8.5 in) mount aperture, framed and glazed, Highgate Gallery label to verso (1)

£70 - £100

583* Katz (Alex, 1927-). Alex Katz, Timothy Taylor Gallery, June 2004, colour reproduction poster for the exhibition at Timothy Taylor Gallery, London, signed and inscribed by the artist lower left ‘For Craigie. Alex Katz’, several horizontal creases, sheet size 200 x 70cm (78.75 x 27.5ins) Inscribed to fellow artist Craigie Aitchison (1926-2009). (1)

Lot 582

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

178

£100 - £150

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586* Liddell (Mary, 20th Century). The Rape of Europa, 1982, etching with aquatint on pale cream wove paper, from the edition of 6 impressions only, signed and dated in pencil in lower right margin, numbered 1/6 in pencil in lower left margin, a few light spots and creases, margins with 2 closed tears, plate size 29.5 x 44.5cm (11.75 x 17.5 ins), with margins, framed and glazed, together with Four Horses and Chariot, 1982, etching on pale cream wove paper, from the edition of 20 impressions only, signed and dated in pencil in lower right margin, numbered 2/20 in pencil in lower left margin, a few light spots and creases, 2 closed tears to blank margins (1 repaired), plate size 35 x 49cm (13.75 x 19.25ins), with margins, framed and glazed

584AR* McDonnell (Hector, b. 1947). Fischers, etching, one of 250, this an Artist’s Proof signed lower right, image 21.5 x 22.5cm (8.5 x 8.75), framed and glazed (1)

£70 - £100

(2)

587 Skiöld (Birgit, 1923-1982). Zen Gardens. Poems by James Kirkup, Circle Press Publications, 1973, 7 colour photo-etchings and relief prints by Birgit Skiöld, loosely contained in original solander box, 4to, limited edition, this copy one of 10 artist’s proofs, from a total edition of 100, signed by artist and poet, together with Skiõld (Birgit, 1923-1982). The Tao of Water. Poem by James Kirkup, Circle Press, 1979, 8 lithographed and etched prints, loosely contained in original solander box, 4to, limited signed edition 18/200, with 8 others including The 17 Horse Songs of Frank Mitchell Nos X-XIII, by Jerome Rothenberg, Tetrad Press, 1969, with plates by Ian Tyson, limited signed edition 1/50 from a total edition of 250, Lament for Ignacio Sanchez Mejias, by Frederico Garcia Lorca, woodcuts by Sandy Sykes, W S A P Editions, 1987, limited signed edition 3/40, 10, by Kenneth Koch, linocuts by Dale Devereux Barker, 1995, limited signed edition 10/22 and The Iron Siege of Pavia, etchings by Deanna Petherbridge, Camberwell School of Arts and Crafts, 1975, limited edition 12/20

585* Hilton (Matthew, 1948-). Untitled, 1988, colour linocut on laid paper, signed, dated, and numbered 3/4 V, image size 455 x 385mm (18 x 15ins), sheet size 520 x 420mm (20.5 x 16.5ins), together with: Ackroyd (Norman, 1938-). Skellig Rain, 1998, aquatint on heavy handmade paper, signed, dated, titled and numbered 75/90 in pencil, plate size 196 x 260mm (7.75 x 10.2ins), sheet size 255 x 330mm (10 x 13ins), plus four other prints by contemporary British artists: Alison Heath, City, signed, titled and numbered 2/15 in pencil, Richard McEvoy, ‘Tooo’, 1987, signed, dated, titled and numbered 1/6 to verso, Caroline Macey, Self Portrait, 1983, wood engraving on wove paper, signed, dated, titled and marked A/P, and a proof aquatint entitled Directing Trafﬁc, signed ‘Piper’, and dated 86 (6)

£100 - £150

£100 - £200

(10)

179

£200 - £300

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589* Beaumont (Frederick Samuel, 1861-1954). Young Woman and winged angel, gouache, watercolour and black chalk on laid paper, mounted on board, signed in pencil lower left, image size 270 x 270mm (10.6 x 10.6ins), with card mount (1)

588* Ariff (Abdullah, 1904-1962). Malaysian farmer and ox in a rice ﬁeld, circa 1930s, watercolour and pencil on pale cream wove paper, heightened with gouache, signed lower right, additionally inscribed with the artist’s name and address: 92, Kedah Road, Penang, S.S., sheet size 410 x 310mm (16.1 x 12.2ins), with card mount (mount aperture 285 x 210mm (11.2 x 8.2ins) (1)

£150 - £200

590* British School. Street Scene at Night, London, circa 194045, pen, black ink, grey wash and gouache on paper, unsigned, 49.5 x 35cm (19.5 x 13.75ins), framed and glazed (1)

£150 - £200

£2,000 - £3,000

591* Buckle (Claude, 1905-1973). River scene with boat, watercolour, depicting a young man standing in a small boat on a river against a backdrop of buildings, 26.5 x 36.5cm (10.5 x 14.5ins), together with another watercolour by the same artist, depicting a small boy with a wooden stick playing in a shallow river or pond, 32.2 x 27.8cm (11.75 x 11ins), both signed lower left, each mounted, matching frames, glazed (2)

Lot 589 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

180

£200 - £300

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592AR* Casson (Hugh, 1910-1999). Large sailing vessel and tug, watercolour, showing part of a large shipping craft anchored, with a small vessel beside, 7.9 x 10.9cm (3 x 4.25ins), mounted, framed and glazed, together with correspondence on Glyndebourne Festival Opera headed paper dated 1978, relating to exhibition and sale of the painting there (1)

594* Cusa (Noel William, 1909-1990). Pack Donkey, 1967, watercolour with traces of pencil, heightened with bodycolour, on textured paper, depicting a donkey with empty panniers on its back, signed and dated lower left, 37.2 x 49cm (14.5 x 19.25ins), mounted, framed and glazed

£100 - £150

(1)

593 Album of drawings and watercolours, circa 1905-1921, 22 original drawings and watercolours, mostly signed or initialled, and dated variously 1905-1921, some portraits, topographical views, cartoons, etc., including Wang Zhen Hai, of Shanghai, Three Chinese ladies with porcelain vases, signed in Chinese script in black ink above artist's red ink stamp, sheet size 16 x 20cm (6.25 x 8ins), a watercolour by Alfred Egerton Cooper (1883-1974), titled 'Ready for Chelsea Arts Ball', circa 1920, watercolour full length portrait of a seated young woman wearing a long skirt split to the thigh, cropped top, bead anklet and dangling earrings holding an ostrich feather fan, titled and signed, a pen, ink, and wash female head study by Arthur Waller, a pen & ink drawing of a semi-nude female on a rock titled '"The Fallen Angel'" by J.G. Manley, a pencil drawing of Miss Gladys Cooper by F. Bahr, and a double-page watercolour cartoon of ﬁgures engaged in various activities on a beach by Walt Kuhn, some light spotting and marks, sheet size (for all leaves)16 x 20cm (6.25 x 8ins), marbled endpapers, contemporary inscription on verso of front free endpaper: 'To wish you many happy returns of the day To Nellie from Peter. Shanghai: 22. October 1905', rear hinge split, all edges gilt, page-block becoming loose in original black padded morocco, rubbed, oblong 4to (1)

£150 - £250

595* Dodd (Francis H.,1874-1949). Portrait of a man in a trilby, 1915, charcoal head and shoulders study proﬁle to left of a bespectabled man wearing a trilby hat, an overcoat, and a bow tie, signed and dated in pencil lower right, 27.8 x 22.8cm (11 x 9ins), mounted, framed and glazed (1)

£400 - £600

181

£150 - £200

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596* Donaldson (Andrew Brown, circa 1840-1919). Gatehouse of Fleet, Kirkcudbright, watercolour on paper, 22 x 29cm (8.75 x 11.5 in) mount aperture, framed and glazed (1)

£100 - £150

Lot 598

597* unoyer de Segonzac (André, 1884-1974). Landscape with trees, black ink & watercolour on paper, signed lower left, 25.5 x 32cm (10 x 12.5ins) mount aperture, framed and glazed, framers label ‘Edouard Hautecoeur, 35 Avenue de l’Opera, Paris’, and label of ‘Le Garde Meuble Public, 17 Rue Monsigny, Bedel & Cie’ on backboard (1)

£200 - £400

598* Emanuel (Frank Lewis, 1866-1948). Barmouth, Wales, pencil on off-white wove paper, signed and titled to upper right margin, 230 x 135mm (9 x 5.25ins), framed and glazed, together with Study of Horses being prepared for a croquet match, pencil on off white wove paper, signed lower left, 145 x 125mm (5.7 x 5ins), framed and glazed, plus two other pencil studies signed May, and dated 1893 and 1894, depicting 'Old Porteous', and a seated lady, each signed with monogram and surname May, and dated, 275 x 175mm (10.8 x 6.9ins) mount aperture, or similar, both framed and glazed, and a hand-coloured lithograph by Thomas Shotter-Boys (1803-1874) titled Givet and Charlemont on the Meuse (from Sketches on the Moselle, the Rhine & the Meuse, 1838), framed and glazed (5)

599AR* Graham (Rigby, 1931-2015). Robinson’s Yard, Haworth, 1974, watercolour with pen & black ink on paper, signed titled and dated to lower margin, 87 x 17.7cm (11 x 7ins), framed and glazed, together with another smaller watercolour with black ink by the same artist, a view of cottages at Great Blasket Island, Ireland, signed titled and dated 1974, 8 x 14.8cm (3.2 x 5.8ins), framed and glazed (by Soden of Leicester)

£200 - £300

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182

£200 - £300

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600* Guida (John, 1896-1965). Fashion design for a blue and white day dress, circa 1930, c. 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant model in a chequered dress with hat and gloves, signed ‘John’ in black charcoal by the artist lower right with numerals ‘931’ a few minor marks, sheet size 70 x 50cm (27.5 x 19.75ins) (1)

£200 - £300

602* Guida (John, 1896-1965). Fashion design for a plaid suit, circa 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model in a chequered green and black suit with white blouse, one arm akimbo, signed ‘John’ in black charcoal by the artist lower right with numerals ‘931’, a few minor marks, sheet size 70 x 50cm (27.5 x 19.75ins) (1)

£200 - £300

604* Guida (John, 1896-1965). Fashion design for a frilled two-piece, circa 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model in an aubergine belted twopiece with both arm akimbo, signed ‘John’ in black charcoal by the artist lower right with numerals ‘931’, pencil title ‘Corinthe’ to lower margin, some minor marks including brown splashes to left margin, sheet size 70 x 50cm (27.5 x 19.75ins) (1)

601* Guida (John, 1896-1965). Fashion design for a pink day dress, circa 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model in a pink dress and jacket with matching hat and grey gloves, signed ‘John’ in black charcoal by the artist lower right with the numerals ‘930’, a few minor marks, sheet size 70 x 50cm (27.5 x 19.75ins)

603* Guida (John, 1896-1965). Fashion design for a plaid two-piece, circa 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model in a red and green chequered two-piece with white collar and cuffs, both arms akimbo, signed ‘John’ in black charcoal by the artist lower right with numerals ‘931’, a few minor marks, sheet size 70 x 50cm (27.5 x 19.75ins)

(1)

£200 - £300

183

£200 - £300

605* Guida (John, 1896-1965). Fashion design for a black suit, circa 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model in proﬁle, wearing a black suit with spotted blouse, and matching hat with spotted chiffon trim, title ‘Don Jose’ upper left, signed ‘John’ in black charcoal by the artist lower right with numerals ‘931’, a few minor marks, sheet size 70 x 50cm (27.5 x 19.75ins) (1)

£200 - £300

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Lot 606

Lot 607

606* Guida (John, 1896-1965). Fashion design for a pleated dress and jacket, circa 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model wearing a cream and pale blue pleated dress and jacket, with both arms akimbo, signed ‘John’ in black charcoal by the artist lower right with numerals ‘928’, a few minor marks and slight soiling to upper right corner, sheet size 70 x 50cm (27.5 x 19.75ins) (1)

£200 - £300

607* Guida (John, 1896-1965). Fashion design for a long coat, circa 1930, watercolour, coloured pastels and pencil on thick wove paper, depicting an elegant female model wearing a white coat over a yellow dress, a white hat, and black gloves, with one arm akimbo, signed ‘John’ in black charcoal by the artist lower right with numerals ‘931’, a few minor marks, sheet size 70 x 50cm (27.5 x 19.75ins) (1)

608AR* Hilder (Rowland, 1905-1993). Kentish Sheep Farm in Winter, coloured inks on paper, laid down on card, signed upper left, 197 x 242mm (7.75 x 9.5ins), framed and glazed

Lot 608

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

£200 - £300

184

£300 - £500

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609* Hurd (Margaret, 20th Century). Beech tree in winter atop moorland (in the Longshaw/Burbage area of the Peak District?), watercolour on paper, lightly spotted, 33.5 x 51cm (13.25 x 20ins), framed and glazed (1)

£80 - £120

610* Hynes (Edward Sylvester, 1897-1982). “It certainly looks as if the Major gets around quite a bit.”, circa 1940, pen, black ink, watercolour and gouache on paper, signed lower left, with original caption in pencil by the artist to lower blank margin, image size 352 x 230mm (13.8 x 9ins), sheet size 410 x 305mm (16 x 12ins), framed and glazed The Irish cartoonist Hynes is best known for his caricature cover designs for Men Only between 1937 and 1956, although he also contributed to Lilliput, the Evening News, the Strand Magazine, Sunday Express, Bystander, Night & Day and elsewhere. A volume of his cartoons entitled Cocktail Calvacade was published in 1937. (1) £100 - £150

Lot 610

611* John (Augustus Edwin, 1878-1961). Strolling Musicians, circa 1920, pencil on cream wove paper, signed lower right, a variation of the composition used for Augustus John’s lithograph Strolling Musicians (West Coast of Ireland), or Irish Gypsy Musicians, dated to circa 1921 by the British Museum, sheet size 355 x 435mm (14 x 17.2ins), framed and glazed Provenance: Private Collection, Gloucestershire, UK. (1) £700 - £1,000

Lot 611

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Lot 612 612AR* Kyfﬁn Williams (1918-2006). Farm Cottages and Trees, North Wales, pen, black ink, black and grey wash on pale grey laid paper, signed with initials K.W. lower right, sheet size 305 x 455mm (12 x 18ins), framed and glazed (1)

£2,000 - £3,000

613* Lambert (George Washington, 1873-1930). Portrait of a young woman, 1902, pencil on paper laid on card, head and shoulders portrait half-proﬁle to left, of an Edwardian lady gazing into the distance, wearing a high-necked blouse and with her hair swept up, signed and dated lower right and with placename of London, toned and some light spotting, a little worn at edges, sheet size 23.7 x 18.9cm (9.5 x 7.5ins) Provenance: Believed to have been given to the owner’s grandmother’s family by the artist, and thence by descent. The owner’s grandmother worked at the Royal Academy of Music and subsequently the Admiralty; her father, Sven Didericksen, was head chef at The Rembrandt Hotel in Knightsbridge, London, and her uncle was the proprietor of an antiquarian book and print shop in London. The family moved in artistic circles, and Australian painter George Lambert, who lived for a time in London, is known to have been a friend. It has been suggested that the subject is the artist Thea Proctor (1879-1966), an Australian painter, known as a prominent arbiter of taste, who was also a printmaker, designer and teacher. Although Proctor didn’t travel to London until 1903, she and Lambert met at art school in Sydney, and this portrait does appear to bear a strong resemblance to her. Beautiful and elegant, she was tutored privately by Lambert, sat regularly for him and was a frequent visitor to his London home. On her part she found Lambert intellectually stimulating and was apparently devoted to him. Their exact relationship is unknown but he became her mentor and their friendship was lifelong. (1) £100 - £200

Lot 613

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

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614AR* Lyne (Michael, 1912-1989). Landscape in Oxfordshire with the Heythrop Hunt, circa 1935, gouache on paper, signed lower right, 30.5 x 48cm (12 x 19ins) mount aperture, framed and glazed

616* Morley (Harry, 1881-1943). Cockle Boats, Wells-next-theSea, watercolour, signed lower right, 205 x 300mm (8 x 11.75ins), framed and glazed, together with another watercolour by Harry Morley of houses in a landscape, signed, a watercolour by Martin Hardie (1875-1952), titled The Barge, Lower Halstow, Kent, 1946, signed (some toning and light spotting), Fry Gallery label to verso, a watercolour by Leslie L. Hardie Moore, titled Drainage Mill, Norfolk, a panoramic watercolour landscape with shipping in the distance by T. Strethill Smith, signed and dated 1897, etc., all framed and glazed

Provenance: Captain D.A. Gale (1902-1984), Andoversford, Gloucestershire. Subsequently Master of the Sinnington from 1938 to 1940 while living at Nawton near York. He was called up during the Second World War and commissioned into the Irish Guards, serving as ADC to General Lumsden. After the war Gale bred horses in Limerick, and his son Johnny Gale became a well-known amateur jockey during the 1950s. (1) £200 - £300

(1)

£200 - £400

615AR* Maze (Paul Lucien, 1887-1979). Interior scene with ﬁreplace, gouache on pale brown paper, depicting a ﬁre ablaze in a hearth, with bellows and coal scuttle, a picture hanging on the wall above a crowded mantelpiece, and to one side a standard lamp, bureau, chair, and stone bust, 39 x 54cm (15.25 x 21.25ins), mounted, framed and glazed, frame with attribution label Possibly depicting the artist’s own house. (1)

£150 - £200

617* Attributed to William Rothenstein (1872-1945). Portrait of the poet Robert Bridges (1844-1930), pencil on cream wove paper, unsigned, 305 x 210mm (12 x 8.25ins) mount aperture, framed and glazed (1)

187

£150 - £200

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Lot 620

618* Rushbury (Henry George, 1889-1968). The Dial of Dundas, 1950, pen, brown ink and watercolour on paper, depicting an ornate fountain surmounted by a sundial, in the grounds of Dundas Castle, near Edinburgh, titled to lower left, signed and dated to lower right, 39 x 41cm (15.25 x 16ins) mount aperture, framed and glazed, with contemporary label of Chapman Brothers (Chelsea) Limited to verso (1)

£150 - £200

619 No lot 620* Shreeve, Colin, 20th century. Evening Flight, acrylic on board, artist’s manuscript label to verso, 29 x 38cm (11.5 x 15ins), framed, together with: Robjent, Richard, 1937- Indian Shikra hawk, 1984, watercolour, signed and dated lower right, 255 x 345mm, mounted, framed and glazed, Rickman, Philip, 1891-1982. Study of a Kestrel, 1929, pencil sketch, signed and dated by artist below image, 345 x 210mm, together with: Ward (Richard), Studies of a Kestrel, 1978, sanguine chalk, signed, titled and dated by artist below image, 340 x 290mm, both mounted, framed and glazed (4)

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

621AR* Smith (Matthew, 1879-1959). Reclining Woman, pencil on cream laid paper, signed with initials lower right, and additionally inscribed À Thomas Good, a few minor marks to sheet edges, torn without loss towards upper right corner, some light surface marks, 195 x 270mm (7.6 x 10.65ins), laid down on modern backing card, gilt frame, glazed (cracked)

£200 - £300

Provenance: Thomas Alfred Good (1901-1970), English poet, who spent a good part of his life in Europe, including spells in Aix-en-Provence in the late 1930s, and from 1946 to 1950, where he became friends with both Augustus John and Matthew Smith, a fellow francophile, who made three portraits of the writer. Michael Hamburger (1924-2007), poet and critic; Claire Hamburger, daughter. (1) £300 - £500

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Lot 622 622AR* Tunnicliffe (Charles Frederick, 1901-1979). Red deer watering at the foot of a waterfall, watercolour on paper, signed to lower right, some spotting, 45 x 56.5cm (17.75 x 22.25ins) mount aperture, framed and glazed Provenance: David R. Wilson (1926-2020), Herefordshire, UK. (1) £400 - £600

623AR* Weight (Carel, 1901-1997). Efﬁe, circa 1940s, pen and brown ink on pale cream wove paper, titled and signed lower left, with arched top, laid down on black card, 450 x 224mm (17.75 x 8.75ins) (1)

£200 - £300

Lot 623 189

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624* Weissenborn (Hellmut, 1898-1982). River Landscape in Asturias, North West Spain, coloured chalks, and black ink on brown paper, signed lower right, 355 x 535mm (14 x 21ins) mount aperture, framed and glazed, together with: Poole (Monica, 1921-2003). Winter Wood, 1956, wood engraving on ivory paper, from the published edition of 25 impressions, signed, titled and numbered 15/25 in pencil, image size 204 x 167mm (8 x 6.6ins) with margins, framed and glazed, plus: Topolski (Feliks, 1907-1989). The Nizam’s Garden Party, colour lithograph, unsigned, 45.5 x 61cm (18 x 24ins), framed and glazed

626AR* Winsten (Clare, 1894-1989). Portrait, pencil on paper, a few pale spots, 38 x 27cm (15 x 10.75 in)

Provenance (for the ﬁrst work): Private Collection, Gloucestershire, UK; purchased at the Harrington Road Gallery, London, SW7, circa 1970. (3) £150 - £200

Formerly known as Clara Birnberg before marrying artist Stephen Weinstein (and changing their surname to ‘Winsten’), Clare Winsten was the only female member of the “Whitechapel Boys”, a group of Anglo-Jewish artists and writers in the early 20th Century, the group (named later in the 20th Century) also included David Bomberg, Stephen Winsten, John Rodker, Isaac Rosenberg, Jacob Kramer and Mark Gertler among others. (1) £100 - £150

625AR* Wesson (Edward, 1910-1983). Winter Light, Gomshall, Surrey, watercolour on thick wove paper, signed lower left, 32.5 x 50cm (12.75 x 19.7ins) mount aperture, framed and glazed, with Royal Institute of Painters in Water Colours exhibition label to verso, giving the title of the work, and the artist’s name and address of Leaside, Gomshall A view taken near the artist’s home in Gomshall, near Guildford in Surrey. (1) £200 - £400

627* Reynolds (Daphne, 1918-2002) . Mangrove Swamps, New Zealand, watercolour on paper, depicting a sunset landscape with hills, initialled lower right, artist’s name and title on old typed label to verso (with more recent manuscript label beneath), 12.5 x 16cm (5 x 6.25ins), framed, together with: Rainy Day in Tokyo, mixed method etching on thick wove paper, signed, titled, and numbered 5/30 in pencil to lower margin beneath image, plate size 24.7 x 20.2cm (9.75 x 8ins), sheet size 49.5 x 37cm (19.5 x 14.5ins), mounted (2)

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

190

£100 - £150

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630 Colbert (Anthony, 1934-2007). Young girl in Vietnamese orphanage, 1967, mixed media on paper, signed lower right, 33.5 x 45.5cm (13.25 x 17.75ins) mount aperture, framed and glazed, together with Child receiving blood transfusion on hospital ﬂoor Saigon, 1967, mixed media on paper, signed lower left, some spotting, 34.5 x 38cm (13.5 x 15ins) mount aperture, framed and glazed, plus Young Vietnamese Girl in Hospital Cot, 1967, mixed media on paper, signed lower right, 53 x 39.5cm (20.75 x 15.5ins) mount aperture, framed and glazed

628* Olerenshaw (Bridget, 20th century). Portrait of dogs, gouache on paper, showing ‘Jane’ and ‘Gina’, signed lower right, 32 x 37.5cm, mount aperture, framed and glazed Bridget Olerenshaw began specialising in canine portraits in 1958, she is better know for her paintings of Pyreneans as this was her and her husbands favourite breed. She was commissioned by Country Life to paint front covers for several Crufts editions of their magazine as well as many other commissions. (1) £200 - £300

(3)

£150 - £200

629* Prentice (David, 1936-2014). Malvern Priory from St. Ann’s Well, 1999, reed pen, ink and watercolour on paper, signed and dated lower right, 53 x 84cm (21 x 33ins) mount aperture, wood frame, glazed, with artist’s label to verso, giving title, medium, size and date Provenance: Private Collection, Gloucestershire. (1)

631AR* Worth (Leslie Charles, 1923-2009). Rocky landscape with a boy and his dog, watercolour on paper, laid down on card, depicting a mountainous rocky outcrop under a wide expanse of cloudy sky, the tiny ﬁgure of a boy with staff and his dog visible in the centre of the rocks, a bird in ﬂight overhead, signed lower right, sheet size 26.4 x 31.5cm (10.5 x 12.25ins), mounted, framed and glazed, with artist’s printed address label on backboard

£300 - £500

(1)

191

£100 - £150

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634* Fumiciello (Vincenzo, 1905-circa 1955). Lake Garda, oil on canvas, signed and titled Garda See lower right, some surface discolouration, and small puncture, without loss, to sky area upper left, 70 x 100cm (27.5 x 39.5ins), framed, together with another mid20th century oil on canvas of ancient Italian buildings with ﬁgures, indistinctly signed Y. Lom Ma lower right, 61 x 91.5cm (24 x 36ins), framed

632AR* Barnes (Archibald George, 1887-1972). Huntsman and Hounds on a Veranda, circa 1920s, oil on canvas, signed Barnes lower left, 61.5 x 77cm (24.25 x 30.25ins), period gilt frame Provenance: Estate of David Geider, Baydon, Wiltshire. Archibald George Barnes was born in London and studied at the Royal Academy for 5 years, becoming a society artist, best known for his portraits and ﬁgures set in picturesque landscapes. He settled in Toronto, Ontario from around 1930 onwards. He was elected a member of the Royal Society of Portrait Painters in 1923, and the Royal Institute of Oil Painters in 1925. In an article in Colour Magazine of June 1919 he stated that the work of John Singer Sargent and Charles Sims had been more signﬁcant for him than all his formal art education. (1) £200 - £400

(2)

633* Batsford (Brian Caldwell Cook, 1910-1991). Country Church, oil on canvas, depicting an old stone church with square tower, viewed through tall trees, signed in red lower right, 41 x 51cm (16 x 20ins), framed

635* Rambaut (Vera, early 20th century). Self-portrait, oil on canvas, half-length portrait of a dark-haired young woman seated, wearing a horizontally-striped v-necked sweater and a bead necklace, with a bowl of oranges to her left and a painting on the wall behind, some surface ﬂaking (mainly to her hair), 50.8 x 40.6cm (20 x 16ins), stretcher inscribed in pencil ‘Portrait of the artist, Vera Rambaut, painted when she was 23/24 yrs old’

English painter Brian Batsford is perhaps best-known as the designer and illustrator of the dust jackets of the highly collectible Batsford books from the 1930s to the 1950s. In 1928 he began working for the production department of the publishing ﬁrm of B.T. Batsford, of which his uncle, Harry Batsford, was chairman. After his uncle’s death he became chairman of the ﬁrm from 1952 until 1974. (1) £150 - £200

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

£200 - £300

(1)

192

£150 - £200

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Lot 636

636* Houston (George, 1869-1947). Scottish summer landscape with sheep grazing, oil on canvas, signed lower right, 45 x 61.5cm (17.75 x 24ins), period moulded gilt frame (1)

£500 - £700

637* Blake (John Edwin, 20th century). Maplehurst, 1957, oil on canvas, period handwritten label to verso giving the artist’s name, 51 x 76cm (20 x 30ins), stained wood frame, glazed, with title, date and artist’s name supplied in red felt tip pen to frame verso (1)

£150 - £200

Lot 637

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Lot 638

638* Freedman (Barnett, 1901-1958). Corfe Castle, 1929, oil on canvas, signed and dated “29” lower left, image size 67 x 54.5cm (26.5 x 21.5 in), framed Provenance: Purchased by Doreen Montgomery-Baird (née Dawkin), a Slade Art Scholar during the second world war, sometime in the 1970s; thence by descent. (1) £700 - £1,000

639AR* Hitchens (Ivon Sydney, 1893-1979). Portrait of a young woman, oil on canvas, head and shoulders portrait half-proﬁle to right of a young woman with short auburn hair, wearing a pink shirt, signed lower left, 37 x 31cm (14.5 x 12.25ins), period painted wood frame with patterned decoration, glazed, overall size including frame 59 x 53cm (23.25 x 21ins) Provenance: From the estate of the late Michael Sutherland, recently removed from Ettington, Warwickshire. It is believed that this portrait depicts the maternal grandmother of Michael Sutherland as a young woman, from the early 1920s. Ivon Hitchens’ style was already modernist in character by the mid 1920s, and became increasingly abstract by the mid 1930s. (1) £200 - £300

Lot 639 Each lot is subject to a Buyer’s Premium of 20% (Lots marked * 24% inclusive of VAT @ 20%)

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640AR* Bourne (Bob, 1931-). House in a landscape, oil on board, unsigned, 61.5 x 76.5cm (24.25 x 30ins), framed

642* Dearden (Harold, 1888-1962). Calves on Downland, oil on canvas, depicting a group of young cows resting on the North Wessex Downs, signed lower right, 38 x 46cm (15 x 18ins), framed, with artist’s handwritten label, giving his name and address, attached to verso

Bob Bourne was born in Exmouth, Devon and moved to Cornwall in 1960. After working in Cornwall for some years, he moved to London brieﬂy in the 1970s before living in Western Australia and then France, returning to Cornwall in 1976 and has since exhibited around Cornwall, in London, and further aﬁeld. (1) £200 - £300

(1)

641* Cobbett (Hilary Dulcie, 1885-1976). Fishing Boats in the Harbour, Brittany, circa 1930s, oil on canvas, signed lower right, some surface discolouration (probably caused by smoke), with additional oil portrait to verso of a girl, and remains of label for the Royal Society of Portrait Painters to frame verso, 51 x 61cm (20 x 24ins), framed (1)

£200 - £400

643* Duguid (John, 1906-1961). Chrysanthemums in a Vase, oil on canvas, 40.5 x 50.5cm (16 x 20 in) Provenance: Gift to Aubrey Williams (1926-1990, Guyanese artist & winner of the 1964 Commonwealth Prize for Painting). Note by Eve Williams, formerly Eve Lafargue, wife of Aubrey, manuscript notes to verso. (1) £200 - £300

£300 - £500

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645AR* Emanuel (John, 1930-). Seated female figure, pen & black ink and watercolour wash with scratch-technique detail, on beige paper, edges strengthened with brown paper, unsigned, sheet size 55 x 38cm (21.75 x 15ins), mounted Since the early 1980s John has lived in St. Ives, working from one of the famous Porthmeor Studios. His natural creativity has developed into a consistent style. Well known for his studies of the female nude, John’s paintings in oil and mixed media often places the female form within a landscape that is simplified but recognisable. His drawings exhibit a clear, classical form and a simplicity of line. John works in a variety of media: charcoal, gouache, oils and, more recently mixed media and lino-types, a method he learned from John Wells. Over the course of his long and successful career John has had his work shown in many solo and mixed exhibitions throughout Europe. He now exhibits his work regularly in St. Ives and further afield. (1) £150 - £200

644AR* Emanuel (John, 1930- ). Figure I, mixed media on heavy stock paper, mounted on card, depicting a reclining female nude, sheet size 28.5 x 39cm (11.25 x 15.25ins), mounted, framed and glazed, title label on verso (1)

£100 - £150

646AR* Emanuel (John, 1930-). Seated girl in red and blue, pen, black ink and watercolour, on cream paper, signed in pencil to lower left, sheet size 55 x 37.5cm (21.5 x 14.75ins), mounted See lot 645 for note on the artist. (1)

Lot 645

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

196

£150 - £200

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647AR* Emanuel (John, 1930-). Standing female nude, colour pastel and gouache, on white paper, unsigned, sheet size 59 x 42cm (23.25 x 16.5ins), mounted

648AR* Emanuel (John, 1930-). Two seated semi-nude females, watercolour, pastel and pencil, on off-white paper, signed in pencil to lower right, sheet size 50.5 x 35.5cm (20 x 14ins), mounted

See lot 645 for note on the artist. (1)

£150 - £200

197

£150 - £200

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649* Broido (Michael, 1927-2013). Composition, 2001?, gouache on thick card, initialled and dated in pencil to lower left, overall size 39.5 x 26cm (15.5 x 10.25ins), framed and glazed Michael Broido was born in London but moved to South Africa as a baby, returning to Britain twenty years later. Around 1956 he became a part-time gardener for the artist Patrick Heron at Eagle’s Nest, near St.Ives, and for a couple of years worked in a studio there, inﬂuenced and mentored by Patrick Heron. Broido also worked for the sculptor Barbara Hepworth in St. Ives until 1962 and taught art at Truro Art School for twenty years. He exhibited both in Cornwall and elsewhere in the world. (1) £100 - £150

650* Broido (Michael, 1927-2013). Composition, Oct. 2012, collage of brown paper and blue printed lined card, with added pencil, mounted on cream paper (lightly spotted), signed and dated in pencil to lower left, overall size 37 x 28cm (14.5 x 11ins), framed and glazed See lot 649 for note on the artist. (1)

£100 - £150

Lot 649

651AR* Bellany (John, 1942-2013). Two Girls on the Beach, oil on paper, 42 x 54cm (16.5 x 21.25 in), framed and glazed Provenance: Drian Galleries, Marble Arch, London, label to verso. (1) £200 - £300

Lot 650

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

198

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652* Littlejohns (John, 1874-1955). Girls on a Cliff, 1922, oil on canvas board, signed and dated in pencil towards lower left, 57.5 x 72cms (22.7 x 28.3ins), period wood frame Littlejohns, (John 1874-1955) was born at Orchard Hill, Biddeford in Devon. He married fellow artist Idalia Blanche Littlejohns (1893-1968) in 1916, and for a number of years’ they lived in Polperro in Cornwall. He was the author of a number of books on art including An Introduction into the Study of Colour (1928), and The Training of Taste in the Arts and Crafts (1933). (1) £400 - £600

653* Roche (Marcel, 1890-1959). Orléans, 1917, oil on thick card, signed, titled and dated 12-8-17 to lower right, 26.5 x 21cm (10.5 x 8.3ins), together with: Van de Stadt (Guurtje, 1854-1936). Landscape in Holland, with ﬁgure and boat on a waterway, and windmill, oil on canvas, mounted on wood panel, signed lower right, 18 x 23.5cm (7 x 9.25ins) Guurtje van de Stadt met the painter Claude Monet in 1871 during his stay in Zaandam, at which time he also painted the portrait of the 17 year old Guurtje. (2) £200 - £300

654AR* Trickett (John, 1952-). Black Labrador in a landscape, oil on canvas, signed, lower left, 76 x 101.5cm (30 x 40ins), framed, with label of William Sissons Gallery, 23 Market Place, Helmsley, York to verso (1)

199

£700 - £1,000

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655* Whittall (John, 1947- ). Richmond Park, 1975, oil on board, depicting a lake surrounded by trees in summer, signed lower right, 20.5 x 28.7 cm (8 x 11.25 ins), framed, artist’s name, title, and date on verso, and additional note in ink (rubbed) ‘Colln. Brinsley Ford’

657* Selley (Lyndsey, 20th-21st century). Escaping from the Heat, 2000, gouache on paper, depicting a tiger in a river, signed and dated lower right, 42 x 53cm (16.5 x 21ins), mounted, framed and glazed

According to the inscription on the verso of the frame, this oil is from the collection of Sir Richard Brinsley Ford (1908-1999). (1) £150 - £200

(1)

£300 - £500

656AR* Wilcox (Leslie Arthur, 1904-1982). Safe Harbour, oil on board, depicting a large sailing boat at anchor, a smaller vessel and 2 ﬁgures beside, against a picturesque coastal village with hills behind, signed lower left, 49 x 59cm (19.25 x 23.25ins), framed and glazed (1)

£400 - £600

658* White (Ken, 1943- ). Commuters at Dawn, 2007, oil and acrylic on canvas, depicting men in raincoats and some wearing caps, walking through a cityscape, one pushing a bicycle, the scene bathed in golden light, signed and dated lower right, 60 x 50cm (23.5 x 19.5ins), framed (1)

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

200

£300 - £500

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MILITARY & AVIATION HISTORY, MEDALS & MILITARIA COLLECTIONS OF BARNES WALLIS & WINSTON CHURCHILL THURSDAY 12 NOVEMBER 2020

The Field Officers’ Gold Medal Posthumously Awarded to Lt-Col Charles Donellan, 48th (Northamptonshire) Foot, Killed in Action at the Battle of Talavera 1809. Estimate £15,000-20,000

The Indian Mutiny Medal awarded to Major Herbert Mackworth Clogstoun V.C., 19th Madras Native Infantry. Estimate £3,000-5,000

For further information please contact Henry Meadows:

An Exceptionally Fine and Rare American Officers’ 1796 Pattern Light Cavalry Sword circa 1817.

henry@dominicwinter.co.uk 01285 860006

Estimate £5,000-7,000 201

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

METHODS OF PAYMENT Cheque: Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear before purchases can be collected or posted. Cash: Payments can be made at the Cashier’s Office, either during or after the sale. Debit Card: There is no additional charge for purchases made with debit cards in the UK. 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 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.

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

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Libraries & Archives Nathan Winter & Chris Albury Paintings & Prints Nathan Winter Antiques & Furniture Henry Meadows Medals & Militaria Henry Meadows Aviation & Transport Collections Chris Albury & Henry Meadows Atlases, Maps & Prints John Trevers Antiquarian Books Colin Meays Modern First Editions Paul Rasti Children's Books, Toys & Games Susanna Winters Sports Books & Memorabilia Paul Rasti Taxidermy, Fossils & Field Sports John Trevers Vintage Photography & Cinema Chris Albury Manuscripts, Autographs & Ephemera Chris Albury Travel & Exploration, Antiquarian Literature Dominic Somerville-Brown

For free valuations without obligation, please contact any of the above specialists for further advice. Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ 01285 860006 / ďŹ rstname or info@dominicwinter.co.uk

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

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

MODERN LITERATURE, FIRST EDITIONS & AUTOGRAPHS CHILDREN’S, PRIVATE PRESS & ILLUSTRATED LITERATURE THURSDAY 17 DECEMBER 2020

Ian Fleming, Casino Royale, 1st edition, 1st issue, 1953.

Ian Fleming, On Her Majesty’s Secret Service, limited signed issue, 1963.

Estimate £10,000-£15,000

Estimate £5,000-£7,000

Ian Fleming, The Man With The Golden Gun, 1965, 1st issue binding with the Golden Gun design stamped to the front cover.

Ian Fleming, Moonraker, 1st edition, 1955.

Estimate £3,000-£5,000

Estimate £2,000-£3,000

For further information or to consign please contact: Paul Rasti paul@dominicwinter.co.uk Susanna Winters susanna@dominicwinter.co.uk 01285 860006