Fine Art, Antiques & Photography 6 OCTOBER 2016
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FINE ART, ANTIQUES & PHOTOGRAPHY 6 October 2016
Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ T: +44 (0) 1285 860006 F: +44 (0) 1285 862461 E: info@dominicwinter.co.uk www.dominicwinter.co.uk
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AUCTION DETAILS COMMENCING
10.00 am
VIEWING
Tuesday 4 October - 9.00am-7.00pm Wednesday 5 October from 9.00am Morning of sale from 9.00am
SPECIALIST STAFF
Furniture, Silver, Ceramics & Collectables Henry Meadows BA Hons, MRICS Matthew Farren BA Hons, FRAS Paul Rasti Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Susanna Winters MA (History of Art) Colin Meays BA Hons (Conservation) Tel: 01285 860006 info@dominicwinter.co.uk
All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and 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 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with an asterisk, in which case the buyer’s premium is 19.5%. 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 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.
Catalogue Produced by Jamm Design – 020 7424 7830 info@jammdesign.co.uk
Photography by Ben Cavanna – 07968 342013 - bencavanna@gmail.com Marc Tielemans - 07710 974000 - marc@tielemans.co.uk
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CONTENTS Ceramics & Glassware
1-47
Silver & Jewellery
48-66
Collectables
67-110
Oriental Works of Art
111-128
Tribal Art
129-145
Textiles
146-161
The Archive of The Ladies’ Work Society
162-193
Furniture
194-210
Photography 1850-2000
211-277
17th-19th Century Paintings & Watercolours
278-348
Old Master Prints & Drawings
349-369
Oriental Works of Art on Paper
370-386
Modern Paintings & Watercolours
387-432
Reginald J. Lloyd
433-449
Modern Prints
450-480
20th Century Etchings from a Private Collection
481-492
19th & 20th Century Etchings, Lithographs & Woodcuts
493-537
Cover illustrations: Front cover: lot 458 Inside front cover: lot 255 Inside back cover: lot 172 Back cover: lot 117
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Edward Donovan (1768-1837). A collection of 26 original watercolours of butterflies and other insects of Van Diemen’s Land, China and Great Britain. Four lots, various estimates.
FORTHCOMING SALES IN 2016 Wednesday 5 October
Printed Books, Maps & Documents Natural History & Taxidermy, Fishing & Fossils Science & Medicine
Thursday 6 October
Fine Art & Antiques Old Master & Modern Prints Photography 1850 – 2000
Wednesday 9 November
Printed Books, Maps & Documents Travel & Exploration, Archaeology Bookbinding Equipment & Accessories
Thursday 10 November
Motoring, Cycling, Maritime & Railway History Motoring Collectables & Literature, Bicycles & Models [in association with Transport Collector Auctions]
Friday 11 November
Military, Aviation & Naval History, Medals, Arms & Armour Stamps, Coins & Trade Tokens WWI Original Art
Wednesday 14 December
Printed Books, Maps & Documents
Thursday 15 December
Children’s & Illustrated Books Modern Literature & First Editions
Entries are invited for the above sales: please contact one of our specialist staff for further advice
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CERAMICS & GLASSWARE To commence at 10am
1* Bideford. A Bideford (East-the-Water) armorial pottery charger, circa 1895, finely sgraffito decorated with a large coat of arms within repeating foliate border, incised ‘East-in-Water B-D’, 32.5cm diameter, chip to underside of rim Fairbairns lists this crest of the Drew (Drewe) family, Wiltshire, Devon and Herefordshire. (1) £1500-2000
5
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4* Bideford. A Bideford pottery pedestal bowl by George Fishley circa 1890, modelled with acorns, fruit and North American Indian heads, impressed ‘G. Fishley, Fremington’ around the edge of foot, 16cm high
2* Bideford. A Bideford pottery jug by Edwin Beer Fishley, circa 1890, yellow and green glaze incised with motto ‘When he was single His heart was light, And he would sing from morn until night, When he was wed and his babe was born He’d got to sing From night to morn’, incised ‘E.B. Fishley Fremington’, 16cm high (1)
(1)
3* Bideford. A Bideford pottery jug by Edwin Beer Fishley, circa 1890, yellow glaze incised with wheat and motto ‘For every evil under the sun, There is a remedy or there is none, If there be one try and find it, If there be none never mind it’, incised ‘E.B. Fishley, Fremington’, 15cm high (1)
£600-800
£300-500
5* Bideford. A Bideford pottery pedestal bowl by George Fishley, circa 1890, modelled with acorns, fruit and North American Indian heads, impressed ‘G. Fishley, Fremington’ around the edge of foot, 14.5cm high (1)
£300-500
6
£600-800
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6* Bideford. An Bideford pottery loving cup, incised ‘Whenever you are thirsty As often times you are, Then fill me and remember the Colyton Bazaar, Aug 1903’ (1)
£200-300
7* Bottle Stand. An early 19th-century silver-plated bottle stand, holding three cut glass bottles each with stopper, the stand reeded with loop handle on ball feet, 28.5cm high, together with an unusual double ended bottle, circa 1900, of ovoid form with cut glass decoration and silver-plated cover plus other glassware (5)
£70-10
8* Clarice Cliff. A Vanessa Bell ‘Bloomsbury’ pattern part dinner service produced for Clarice Cliff, Wilkinson Ltd, circa 1930s, comprising: pair of tureens, covers and stands, a smaller tureen and cover plus ladle, six soup bowls and covers, sauce-boat, two oval platters, five dinner plates, six dessert plates, five side plates (some damage) Vanessa Bell (1879-1961) was an English painter and interior designer plus a member of the Bloomsbury Group and the sister of Virginia Woolf. (36) £500-800
Lot 6
Lot 8
7
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Lot 9
Lot 10
9* Clarice Cliff. An Art Deco pottery Lynton form ’Rhodanthe’ patten sugar caster, black printed marks to base with original stopper, 12.5cm high together with three plates plus dessert bowl, various patterns and sizes
12* Lalique (Rene, 1860-1945). “Calendal”, second perfume bottle for Milinard, circa 1937, frosted glass with moulded decoration, original stopper, etched mark “Molinard, Made in France, Lalique” to base, 11/5cm (4.5ins) high (including stopper)
(5)
(1)
£70-100
10* Doulton Lambeth. A pair of Victorian Doulton Slater’s Patent stoneware jugs, each in the form of a black jack, for “The Landlords Caution”, silver rim by Cornelius Saunders and Frank Shepherd, London 1870, impressed marks to base, 22cm high (2)
£100-150
11* Lalique (Rene, 1860-1945). Coq nain, after 1978, clear and frosted glass with moulded relief decoration, etched mark “Lalique R, France” to base, 21cm (8.25ins) high, small chip to third tail feather
£400-600
13* Ravilious (Eric, 1903-1942). An Eric Ravilious for Wedgwood Boat Race bowl, circa 1938, Wedgwood urbanware bowl, the interior decorated with a scene of Piccadilly Circus at night, the sides with three successive scenes from the Oxford and Cambridge Boat Race, and a mermaid with oars as a smaller design, height 13.5cm (5.3ins), diameter 31cm (12ins) (1)
£1500-2000
14* Richards (Timothy). A pair of plaster bookends modelled as Baden Baden theatre & Opera House, with label to rear ‘Timothy Richards Commissions’, 17cm high Timothy Richards is an architectural model maker from Bath. (2) £50-80
15* Richards (Timothy). A pair of plaster bookends modelled as Lichfield House, London, each with label to the rear, 17cm high Lichfield House was designed by James “Athenian” Stuart (1713-88). (2) £50-80
16* Richards (Timothy). A plaster model of Jane Austen’s house in Bath, 18.5cm high together with a larger model of Chew Magna Doorway 1762, 21cm high, each with a label to the rear (2)
Model nuber 1135. Originally designed as a car mascot, circa 1928. (1) £100-150
£50-80
17* Richards (Timothy). A plaster model of the Glasgow School of Art, signed by the sculptor and dated December 1996, 21cm high together with another of Rutland Square, Edinburgh, 18cm high (2)
£50-80
18* Studio Pottery. A pair of Winchcombe pottery lidded jars by Ray Finch (19142012), each with domed lid, and two handles, impressed seal mark to base, 14cm high, together with a two bowls, two vases and a pair of small plant pots all in the Winchcombe style, plus an Ashby Guild pottery vase with a light brown glaze and streaks of darker brown, the base incised ‘Ashby’, 20cm high plus a twin division slipware dish with white scroll decoration on a brown ground (9)
Lot 11
Lot 12
8
£70-100
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Lot 13
9
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19* Bowl. A George III Irish glass circular bowl, circa 1800, finely cut with stars and wavy rim, star cut base, 29.5cm diameter (1)
£150-200
Lot 25 23 Butter dish. A George III Irish glass butter dish and tray, circa 1800, part pressed, moulded and cut, the oval dish 18.5cm long, the oval stand 23cm long 20* Bowl. A George III glass circular bowl, possibly Irish, circa 1800, with herringbone design, 28.5cm diameter (1)
£150-200
(2)
£60-80
26* Decanters. A pair of George III Irish glass decanters, circa 1820, mallet form with diamond cut decoration, triple ring neck and mushroom stopper, 27cm high and 26cm high (2)
24* Decanters. A mixed collection of Georgian glass decanters, including triple neck decanters (three with target stopper and one with mushroom stopper), approximately 27cm high (four lacking stopper) (10)
£150-200
27* Decanters. A pair of George III glass decanters, circa 1820, mallet form with diamond cut decoration, triple ring neck and mushroom stopper, 26cm and 25.5cm high (2)
£150-200
£100-150
25* Decanters. A set of four George III glass decanters, each of mallet form with slice cut decoration, approximately 26cm high (with replacement stoppers) (4)
28* Decanters. A mixed collection of seventeen Georgian and later glass decanters, various forms and styles, some lacking stoppers (17)
£200-300
£200-300
21* Bowl. A George III circular glass bowl, circa 1810, cut with a repeating spray design, shaped rim and star cut base, 26cm diameter (1)
£100-150
22* Bowl. A George III circular glass bowl, circa 1790, cut with snowflake design and shallow Van Dyke cut rim, 27cm diameter (1)
£100-150
Lot 26
Lot 27
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29* Dish. A large George III glass dish, possibly for an epergne, the body cut with strawberry diamonds within a band of diamonds, with fan cut rim, circa 1820, 33.5cm long (1)
Lot 32
£150-200
30* Dish. A large George III glass dish, possibly Irish, circa 1820, with heavy cut and a good colour, 30cm long (1)
£100-150
Lot 33
31* Dish. A large George III glass dish, circa 1820, the body cut with falling swags, fan cut rim and star cut base, 32cm long (1)
£100-150
32* Dishes. A George III hexagonal cut glass dish, circa 1800, with diamond cut panels and star cut base, 26.5cm long, together with an oval cut glass dish, circa 1820, the body cut all over with diamonds, wavy rim and star cut base, 24.5cm long (2)
£100-150
33* Dishes. A set of four George III small epergné dishes, circa 1800, the body cut with a band of diamonds, Van Dyke rim and star cut base, 20cm long (4)
£150-200
34* Dishes. A mixed collection of Georgian glass, comprising eight various epergné dishes, including an octagonal pair and rectangular pair, both with heavy diamond cut decoration, approximately 12.5cm long, two circular ice plates, circa 1820, with fan cut rims, 15.5cm diameter, plus four sweetmeat dishes, circa 1765-75, 10.5cm long (approx. 14)
£50-80
Lot 40 35* Glasses. A mixed collection of Georgian drinking glasses, various forms and styles
38* Glasses. A mixed collection of Georgian drinking glasses, various forms and styles
(10)
(10)
£100-150
£100-150
36* Glasses. A mixed collection of Georgian drinking glasses, various forms and styles
39* Glasses. A mixed collection of Georgian drinking glasses, various forms and styles
(10)
(10)
£100-150
37* Glasses. A mixed collection of Georgian drinking glasses, various forms and styles (10)
£100-150
£100-150
40* Glasses. A matched set of six George III wrythen moudled ale glasses, circa 1810, with swirl decoration and conical foot, 13cm high (6)
£150-200
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Lot 41
41* Glasses. A matched set of eight George III plain fluted wine glasses, each on folded foot, 13cm high (8)
45* Plates. A set of twelve George III glass ice plates, circa 1820, finely cut all over with strawberry diamonds and fan cut rims, 16cm diameter
£150-200
(12)
£100-150
42* Glasses. A mixed collection of eight Georgian wine glasses, various forms and sizes (8)
£100-150
43* Glasses. A mixed collection of six Georgian drinking glasses, various forms and sizes (6)
£150-200
44* Glasses. A mixed collection of six Georgian drinking glasses, various forms and sizes (6)
£150-200
46* Rummer. A mixed collection of eight Georgian glass rummers, various sizes, each with knopped stem and conical foot, largest 15cm high, smallest 12.5cm high (8)
£100-150
47* Stand. A George III glass stand, circa 1770, with elliptical cutting and wavy rim, 22.5cm diameter, together with a similar stand, circa 1765-75, 25cm diameter (2)
Lot 45
12
£60-80
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SILVER & JEWELLERY 48* Art Nouveau. A pair of silver napkin rings by William Hassler, Birmingham 1905, with finely enamelled decoration in Liberty mottled green colours, engraved with initials and with beaded edges, 5.5cm diameter, total weight, 3oz, in a fitted dome top case (1)
£300-500
Lot 48
49* Brooches. A 9ct gold Scottie dog bar brooch, by J.G. & Sons, 5cm long, 2.8g together with a Victorian 9ct gold brooch in the form of a dagger, inset with seed pearls and central turquoise, 6.5cm long, total weight 3.8g, both in a leather box (2)
51* Claret jug. A Victorian silver mounted claret jug, by Robert Harper, London 1871, the mount embossed with grotesque masks and fruit decoration, heraldic lion thumbpiece with shield engraved with family crest, scroll handle with vine decoration, the glass finely cut with stars and star cut base, 27.5cm high (1)
£300-500
£100-150
54* Mixed silver. Three long glass vases, each cut with floral decoration on sterling silver ‘Duchin’ bases, 25cm high, together with eight glass coasters, each with white metal rim, 9.5cm diameter, a sterling silver table lighter and other items
50* Cigarette Case. An Art Deco heavy gauge silver cigarette case by Thomas William Lack, London 1937, 12.5 x 8.5cm, 5.2oz together with another cigarette case plus a walking stick handle, total weight approx. 10oz (3)
(12)
£100-150
£80-120
52* Judaica. A pair of sterling silver ‘Sabbath’ candlesticks, circa 1920s, each of hexagonal form with detachable sconce, the base engraved with Hebrew, 30cm high, approx. 12 oz (2)
£200-300
53* Mixed silver. A circular glass hors d’oeuvres dish with white metal rim, 21cm diameter, together with a similar dish, eight glass coasters with white metal rims, 10cm diameter, plus a sterling silver table lighter (10)
£100-150
Lot 51
13
55* Mixed silver. A sterling silver comport, of plain form stamped ‘Gorham sterling 270’, 17.5cm diameter, together with a small circular sterling silver photograph frame, 10cm diameter, plus various glass and white metal dishes (10)
£80-120
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56* Mixed silver. A sterling silver miniature hand bell, with a brown composite handle, 12cm high, together with a glass with sterling silver decoration, white metal miniature bottle, 11cm high, glass comport with wavy rim and sterling silver base, 17cm diameter and other items (8)
£80-120
Lot 62 59* Mixed silver. A silver christening cup by William Suckling Ltd, Birmingham, 1952, 8cm high, 3oz, together with three cased sets of six tea and coffee spoons, three napkin rings, pierced bon-bon dish, silver jewellery etc, combined weight approx. 7oz (a small box)
£100-150
57* Mixed silver. A cut glass bowl with central division, sterling silver rim stamped ‘International Sterling’, 15.5cm diameter, together with six glass coasters with white metal rims, comport and other bowls (14)
£100-150
60* Ring box. A silver and tortoiseshell ring box, by Frederick Courthope, London 1906, of shaped form the cover finely inlaid with silver swags on four cabriole supports, 5cm high x 10.5cm wide (1)
£150-200
58* Mixed silver. A large electroplated cocktail shaker, in the form of a hand bell with reeded decoration and mahogany handle, stamped ‘Patent Pending’, 29cm high, together with six sterling silver decanter labels for Port, Whiskey, Vodka, Gin and Bourbon, large Victorian saltglaze stoneware barrel for ‘Ginger’ with Royal Coat of Arms and brass tap, 26cm high and other items (13)
61* Scent bottle. A 19th-century Continental silver top scent bottle, the square glass bottle with an overall cut design with floral sprays and lattice decoration, the spherical cover with cscroll decoration, with stopper, 19cm high (1)
£100-150
62* Serving spoons. Seventeen George III King’s pattern silver serving spoons, various makers including William Eley & William Fern, Hester Bateman etc, London hallmarks, circa 1815-20, 22.5cm, approx 53oz (17)
£100-200
14
£400-600
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63* Soufflé dish. An Edwardian silver plated soufflé dish and liner by William Sissons, Sheffield, of circular form with scallop handles and four scroll feet, engraved with the crest of the Dixie family, 26cm wide
65* Tiffany & Co. A Victorian electroplated sauce tureen and cover with beaded decoration, on three cabriole supports with lion’s paw feet, stamped ‘Tiffany & Co.’, ‘Cate’, ‘Tiffany Young & Ellis’, ‘550 Broadway’, ‘641’, 18cm diameter
Dixie family first recorded in Leicestershire. (1)
(1)
64* Sugar caster. A Victorian silver sugar caster by Robert Stewart, London 1880, with a bayonet fitted cover, finely decorated with birds and scrolls engraved with family crest, 15cm high, 6.2oz (1)
£100-150
£100-150
66* Trophy. A mid-20th century wooden trophy shield for the London to Brighton Walk, with large circular plaque finely engraved with a participant walking, hallmarks for Robert Edgar Stone, London 1951, with ten silver shields engraved with the winners dating from 1938-1952, with a further presentation plaque inscribed ‘Presented to the Polytechnic Harriers as a Perpetual Trophy to be Awarded to the First Member to Finish (inside standard time) in the Annual London to Brighton Walk’, reverse of shield with plaque stamped ‘Made from the oak timbers taken from the roof of the Guildhall London after its destruction by Enemy Action 29th December 1940’, 60.5 x 44cm
£100-150
(1)
15
£200-300
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COLLECTABLES 69* Bronze. A modern French bronze after E.H. Dumaige, Paris 1888, modelled as a Napoleonic drummer in full dress uniform with back pack and sabre, signed and dated on a marble base, 70cm high Etienne Henry Dumaige (1830-88). (1)
£100-150
70* Cane. A 19th-century marine ivory walking stick, with horn segments to the handle, 80.5cm long (1)
£200-300
67* Art Nouveau. An American electroplated dish finely cast with two maidens with oustretched robes, stamped ‘James W. Tufts, Boston, 4374’, 32cm long, together with an Osiris electroplated bowl of lozenge form with organic decoration, 35.5cm long, plus a copper and brass frame with a beaten finish inset with a green pottery cabachon (possibly Ruskin), 27.5 x 22cm, and other items (9)
73* Cartier. A 1920s Cartier travelling clock, the rectangular dial with Arabic numerals, stamped ‘Cartier, Huit Jours’, in a brown leather case, 11cm long (1)
£100-150
74* Clock cabinet. A Victorian mahogany clock cabinet, the hinged door with arched decoration (possibly for a lantern clock), 37cm long, together with an oak clock bracket, a mahogany candle box with fret cut decoration, 58cm high, plus one other (1)
£100-150
£70-100
68* Brassware. A collection of nine graduated brass pans, circa 1900, each with cylindrical steel handle, largest 27cm diameter, smallest 11.5cm, together with a ladle and two dish rings plus brass cutlery (a carton)
£50-80
71* Card case. A Victorian tortoiseshell card case, inlaid with foliate mother of pearl decoration, 10.5 x 7.5cm (1)
£100-150
75* Clock Garniture. An Art Deco marble clock garniture set, the clock with circular brass dial, black roman numerals, within a multi-stone case, 60cm wide x 21cm high, with supporting pieces (1)
72* Carriage clock. An Edwardian brass timepiece, with circular white enamel dial, black roman numerals, blued steel hands, platform escapement and folding handle, 10.5cm high in its leather carrying case (1)
£100-150
76* Clock garniture. An Art Deco marble clock garniture set, the clock with circular silvered dial, Arabic numerals within an arched multi-stone case, 27.5cm high x 51.5cm wide, together with supporting urns (1)
Lot 69
16
£80-120
£80-120
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Lot 82
77* Clock. A French brass mantel clock, c.1850, the brass case with circular white enamel dial, black Arabic numerals within classical columns and copper fret cut panels, on a block plinth, the brass movement with pendulum and key, 36cm high x 25cm wide Believed to be by the French clockmaker Vincenti and recently overhauled. (1) £200-300
78* Clock. A Victorian black slate mantel clock, the architectural case inset with malachite roundels, the circular dial with roman numerals and mercury pendulum, 47.5cm high x 38cm wide (lacking brass backplate) (1)
79* Coalbrookdale. A Victorian cast iron stick/umbrella stand, designed by Dr Christopher Dresser for Coalbrookdale, with stylised leaf decoration and animal feet, stamped Coalbrookdale No 472, 81cm high
81* Jugendstil. A copper coffee pot by Jan Eisenloeffel, of tall cylindrical form embossed with fruit on a beaten ground, with stylised monogram to the rear, with an old monogram label to the base, 40.5cm high
Illustrated in the 1876 Furniture Gazette. (1) £300-500
Jan Eisenloeffel (1876-1957) was a Dutch jeweller and interior designer. (1) £500-700
80* Cold painted bronze. A 19th-century Austrian cold painted bronze daschund, 6cm long, together with two bronze rabbits, approx. 5cm long (3)
£50-80
82* Liberty & Co. A Tudric pewter tray designed by Archibald Knox for Liberty, circa 1900, with stylised handles and heart shape motifs, the base stamped ‘Tudric 042’, 47.5cm long (1)
£300-500
£80-120
83* Liberty & Co. A Tudric pewter biscuit barrel designed by Archibald Knox for Liberty & Co, of organic form with two handles and cover with raised knop, stamped ‘Tudric 059’, 18cm high (1)
Lot 81
84* Mixed Collectables. A collection of items including a silver Dupont fountain pen plus a Parker and Sheaffer, 9ct gold Yard of Lead pencil, a silver dish 10.5cm diameter, desk seal, Indian brass figures, etc. (a small carton)
Lot 79
17
£200-300
£70-100
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Lot 89
85* North America. A Native American cow’s skull embellished with turquoise stones, 52cm horn to horn, together with a leather saddle with fittings, cowboy leather chaps by Lichtenberger Ferguson Co., Los Angeles, and a bearskin sleeping bag (4)
86* Oil lamp. A Victorian oil lamp, with globular acid etched shade and chimney on a brass columnar base with cranberry reservoir, 74cm high (1)
£100-150
£80-120
88* Piano lamp. An Art Nouveau patinated spelter piano lamp, modelled as female kneeling whilst leaning on a lyre, hinged lamp bracket, mounted on a marble base, 18cm high x 32cm long (1)
£100-150
89* Prisoner of War. A Napoleonic bone prisoner of war work gun carriage, the two-wheel field gun with carriage to the rear, 89cm long in a modern perspex display case (1)
87* Photograph frame. A late 19thcentury French gilt metal photograph frame, with oval pink enamel finely decorated with guilloche decoration, ribbon spandrels on foliate scroll ground and crown pediment, with easel stand, stamped ‘France’, 23 x 16cm (some damage to the enamel) Lot 86
(1)
£100-150
18
£700-1000
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90* Roman Coffin. A museum quality Roman lead tapering coffin lid, probably 4th century, wet sand-cast lead with cast decoration comprising bead and reel borders dividing into three sections, central section with scroll pattern, end sections divided with saltire cross of bead and reel, three of the quadrants filled with scallop shell (pecten), the last with a circle, sometime broken into three sections, 119 x 34cm (47 x 13ins) Rare. Purchased by the present owner from metal detectorist Alan Pickering who discovered the piece together with another similar in Suffolk in the 1970s. In 1977 Toller recorded just 243 Roman lead coffins in Britain and only a handful more have been discovered since. (1) ÂŁ1000-1500
19
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91* Scrimshaw. A 19th-century whale’s tooth with later decoration, engraved with a ship entitled “Heather Bell” Hobart Town to London, 13.5cm long, together with another with later decoration engraved with a whaling scene, ‘South Whales 9 Oct 1851’, 15.5cm long (2)
£100-200
92* Shipwreck Artefacts. A pair of 18thcentury brass Navigational dividers, recovered from the wreck of HMS Association, 1707, finely crafted with bulbous hinged head, 12cm long, with certificate of authenticity, together with three small shoe buckles also recovered from the same wreck in pewter and brass, together with a silver cufflink or cloak clasp engraved with ‘Tudor Rose’ In 1707 a fleet of 20 ships commanded by Sir Cloudisley Shovell were led into treacherous waters off the Isle of Scilly, 4 of the fleet were wrecked in the howling gale and treacherous rocks, 1800 men were lost including 800 from HMS Association which was the flagship which Shovell commanded. His body was washed up on St Mary’s Island. (5) £100-150
93* Shipwreck Artefacts. A piece-of-eight (8 Reales), obverse, bust of Charles III (Spanish King), facing right dated 1783, reverse, Spanish Coat of Arms and mint mark of Mexico, with certificate of authenticity Recovered from the wreck of El Cazador. On 11 January 1784 the ship sailed from Vera Cruz, Mexico for New Orleans carrying 450,000 pesos of minted coins, but disappeared without a trace. The cargo had been intended to redeem nearly worthless Spanish paper currency in circulation in Spanish-owned Louisiana, instead the Spanish had to sell Louisiana and America was instantly doubled! (1) £80-120
94* Shipwreck Artefacts. Two Slave Tokens of Manilla recovered from the English schooner ‘Duoro’ sunk off Scilly in 1843, both bronze, approximately 6cm wide, together with a large copper nail recovered from the Spanish Galleon La Consolacion, 15cm long with certificate of authenticity
95* Snuff boxes. A collection of Victorian snuff boxes, including a cow’s hoof box with hinged pewter cover, 14cm long, a rectangular horn box, 6cm long, together with a small treen box, the lid engraved ‘1625 HF’, with sliding brass catch enclosing fitted interior (probably for scales and weights), plus a page turner with plated multi caricature faces, 36.5cm long (6)
£70-100
Lot 91
96* Surveying Instruments. A Victorian brass surveyor’s cross, with circular silvered dial engraved with scales, in an octagonal brass case with handle, 14cm long in a mahogany box, together with an early 19th-century wooden pocket compass with printed paper dial (lacking needle), 7.5cm square, plus a Victorian printing die engraved with heraldic crest believed to be John Pearson and so inscribed on the base, contained in a treen case, 3.5cm high, plus a circular treen box containing a wax seal, 5cm diameter (4)
Lot 92
£70-100
97* Table cabinet. A late 19th-century Continental table cabinet in the Renaissance style, of architectural form inset with seventeen enamel panels to the exterior finely painted with classical scenes, four enamel columns each with brass putto with grapes or playing the cymbal’s, the two doors enclosing inner enamel panels plus three drawers each inset with an enamel panel, 23cm high x 20cm wide x 18cm deep (would benefit from restoration) (1)
£300-500
Lot 93
98* Vanity box. A Victorian rosewood box by Fisher - 18 Strand, inlaid with brass, the hinged lid enclosing divisions and part set of containers with silver plated tops, two perfume bottles, lift out tray and secret compartment, 18cm high x 30cm wide x 22.5cm deep (1)
£70-100
Lot 95
The schooner Duoro was built in 1839 in Sunderland, she was wrecked in thick fog on the Western Rocks of Isles of Scilly, 28 January 1843, the cargo was described as ‘armoury, and brass stops’, in fact she was a slaver bound for South Africa. The Santa Marie de la Consolacion was a large Spanish Galleon. In April 1681 she left the port of Lima, Peru for Panama. Onboard was a large shipment of gold and silver. She was wrecked whilst being pursued by English pirates, who beheaded all the surviving crew members. (3) £50-80
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Lot 97
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99* Walking Cane. A 19th century walking stick, with substantial spiral carved whalebone shaft with scrimshaw whales tooth handle engraved with mermaid and a whale, the root end with silver cap, the shaft pierced with cord loop, the base with iron ferrule, 99cm long (1)
103* Walking Cane. An Edwardian walking stick carved from a single piece of rosewood, the handle carved as a boot with detailed laces, 97cm long
(1)
(1)
£200-300
£80-120
£300-500
100* Walking Cane. A 19th century Folk Art carved crooked wood cane, intricately carved from a single piece of wood, the handle carved with two grotesque heads with exaggerated noses, one with hoof beard, the shaft with another well-defined head with long pointed nose, further heads including an animal, 91cm long (1)
101* Walking Cane. A 19th century walking stick with carved ivory dog’s head handle, silver collar engraved “Duke” and Malacca shaft and solid brass ferrule, 92.5cm long
102* Walking Cane. A Victorian novelty “Gamer’s” walking stick, the unusual silver wirework ball handle inset with small Victorian silver coin, unscrewing to reveal a compartment for dice, with an ivory cylindrical collar and black ebony shaft and ferrule, 95cm long (1)
£250-300
£150-200
104* Walking Cane. A 19th century “Flick” stick, the Malacca shaft with gilt metal collar, the blade with scroll engraving, with horn ferrule, 91cm long (1)
105* Walking Cane. An early 20th century snakeskin covered walking stick, with horn handle and brass ferrule, 90cm long (1)
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£200-300
£70-100
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Lot 106
Lot 107
Lot 108
106* Walking Cane. A 19th century walking stick, with finely carved ivory skull on an ebony shaft with silver collar and horn ferrule, 92cm long
108* Walking Cane. A 19th century walking stick, the snakewood shaft with steel handle engraved in running script ‘Admiral Duff to Rev. J.D. Hull, 1844’, 90.5cm long
(1)
(1)
110* Ravilious (Eric, 1903-1942). A pair of Wedgwood plates designed by Eric Ravilious for his Travel series, each with black printed sailing boats within repeating border, printed and impressed marks to base, 25cm diameter, together with two 1953 Coronation oversized mugs plus two Nursery bowls (some damage)
£150-200
107* Walking Cane. A 19th century Folk Art Anti-Slavery walking stick, the handle carved with an African head inset with glass eyes on a natural wood shaft retaining nodules with fitted with alpine spike, 91cm long
£50-80
109* Weights. A collection of weights including five sets of brass cup weights, to include 224 pounds set containing six weights each stamped with relevant weight, 6.6cm high, various bell weights etc. (20)
(6)
£100-150
£70-100
These canes were made in support of the AntiSlavery Movement as a statement of solidarity towards the abolition of slavery. (1) £80-120
Lot 109
Lot 110
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ORIENTAL WORKS OF ART
111* Bronze. An impressive Chinese bronze seated figure of a Bodhisattva, Qing Dynasty, probably late 17th century, seated in dhyansana on a double lotus base, holding a bowl of herbs with both hands, the figure wears layered monk’s robes that fall in crisp folds around the body, the face finely cast with a serene expression, the hair dressed in tight curls, some traces of original gilt and pigment retained, 301mm (11.8ins) high Provenance: Sold at Phillips, London, 1991. (1)
ÂŁ2000-3000
23
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114* Chinese Textiles, Buzi, rank badge, or Mandarin square of the 6th rank, 19th century, heavily embroidered silk, with metalic threads and red couching, verticle centre seam (for robe opening), depicting lishui or deep water with foaming waves, the sky filled with auspicious symbols and the sun worked with applied beads, appliqué embroidered egret to centre, 296 x 311mm (11.5 x 12ins), mounted Blank badges were produced on a relatively large scale, with the rank birds sold separately so they could easily be changed as the wearer climbed the social scale. (1) £150-200
112* Censer. A Chinese bronze censer, circa 1900, of rectangular form with two mythical beast handles and key design on four scroll supports, 12.5cm high x 50cm wide x 24.5cm deep (1)
£200-300
113* Chinese Textiles. Buzi, rank badge, or Mandarin square of the second order, Qing dynasty, 18th century, heavily embroidered silk rank badge depicting a golden crane perched on a rock emerging from crashing waves, with auspicious bats and clouds filling the sky, the sun in the upper left corner is embroidered with the Chinese character yuè ‘moon’, silk brocade border, slightly worn (especially to borders), 281 x 288mm (11 x 11.3ins), framed and glazed Provenance: Private collection, Gloucestershire. (1)
£200-300
115* Indo-Persian Compass. An early 20th century Qibla indicator, with low folding gnomon and steel cruciform compass, the brass case engraved with geometric decoration, 12cm long Qibla is the direction that should be faced when a Muslim prays during salat. (1) £1000-1500
116* Indo-Persian. A 19th-century Persian copper ovoid pot, finely decorated with a repeating arabesque design, 18cm high, together with a French prisoner of war work box of rectangular form the lid inlaid with a basket of flowers, the front panel with dummy drawers and single drawer beneath, the lid enclosing two covers each with flags, 11cm high x 26.5cm wide x 18cm deep (2)
Lot 114
24
£70-100
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Provenance: Purchased by the current owner circa 1981 from a Kent antiques dealer who reputedly acquired it from the estate of a local naval family.
117* Jade Carving. A large and impressive jade carving of a horse, probably Chongzhen period, 17th century, carved pale-grey nephrite jade with black mottling and ochre rivering, modelled as a recumbent horse with its forelegs and hind legs elegantly tucked under its body, the tail sweeps to the right side and head, alert with ears pricked, turned back, a semi-circular forelock, neatly incised, gives way to a centrally parted short mane which falls in carved and incised locks over the neck, 172 x 242mm, together with a slightly later carved hardwood base with inlaid silver wirework, circa 1780-1810, slight chip to front right hoof
Much about the posture and detail of the present work is reminiscent of the famous Atterbury Jade Buffalo (see Bonhams, New Bond Street 12 May 2016, lot 158), which is now securely dated to the 17th century. The new confidence of the Qing dynasty is prominent in the present work, and it is tempting to suggest that the alert pose of the horse reflects the fears of the later Ming governments under pressure from the Manchus. The heavily mottled “cloud jadeâ€? from which this horse is carved reflects the scarcity of good quality jade during the period. Already by the 17th century large pieces of high grade jade were no longer to be found in central and north western China, having been heavily mined during the Archaic period. Access to new supplies would not be possible until the Xinjiang region was brought under firm control in 1759. These large scale animal sculptures are often assumed to be commissions for imperial clients, and whilst the rarest, purest material may have been reserved for the Emperor, other large scale pieces in slightly lesser material could have been commissioned by other members of the imperial family or the highest ranking court officials. Literature: See J.C.S.Lin, The Immortal Stone: Chinese jades from the Neolithic period to the twentieth century, Cambridge, 2009 and Jessica Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, 1995 for a more detailed account of jade carvings. Please contact the auction office to establish a credit history prior to bidding. (1) ÂŁ7000-10000
25
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125* Oriental Ornaments. A collection of Chinese soapstone carvings, including a bird of prey perched on a naturalistic base, 12cm high, a blank seal with figural carving of Immortals, 16.5cm long, a Chinese sandalwood cribbage board, intricately carved with ivory panels, plus five miniature Chinese and Japanese bronze vases, some cast with an Imperial dragon, 9cm and smaller
118-123 NO LOTS
(12)
£70-100
126* Persian Tiles. A pair of 16th-century Iznik blue and white pottery tiles, of rectangular form finely decorated with interwoven arabesque floral scrolls in blue and turquoise on a white ground, 18 x 27cm overall, presented in a ebonised wood frame (some damage to the tiles) (1)
Lot 126
127* Blanc de Chine. A Chinese porcelain figure of Guanyin, late 19th or early 20th century, moulded porcelain figure with applied decoration, all-over blanc de chine white glaze, poseable hand glued, 41cm (16ins) high (1)
124* Japanese Lamp. A Japanese bronze table lamp in the Meiji style, cast with panels of exotic birds, peacocks and pine trees, with pierced shade, decorated with dragons, 67cm high, together with a lacquered lamp stand, 79cm high (2)
£200-300
£100-150
128* Tek Sing Cargo. Three 19th-century Chinese blue and white porcelain dishes recovered from the wreck of the Tek Sing, each painted with foliage, 15.5cm diameter, with stickers to base ‘Nagel Auctions, Tek Sing Treasures’
£300-500
The Tek Sing (True Star) was a large threemasted Chinese junk which sank on 6 February 1822 in the South China Sea, 200 crew and 1600 passengers were lost and it is often referred to as the “Titanic of the East”. The wreck was discovered in 1999, and 350,000 piece of ship’s cargo was raised. An auction of the recovered cargo was held in Stuttgart, Germany in November 2000. (3) £70-100
Lot 125
Lot 127
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TRIBAL ART
Lot 129
Lot 132
Lot 136
129* Doll. An Akuba tribe carved wood doll from Ghana, embellished with glass beads, 33.5cm high
133* Figure. A Baule maternity figure from the Ivory Coast, carved as a mother with infant on her back, 63cm high
(1)
(1)
£80-120
130* Drinking vessel. A Dyak drinking vessel from Indonesia, the bowl carved with a zoomorphic head handle, 53cm long (1)
£150-200
134* Figure. A Benin bronze figure modelled as a seated tribesman weaving, 22.5cm high (1)
£80-120
£100-150
131* Figure. An Ashanti tribe carved wood figure, carved as a female resting on a seat, 44cm high (1)
135* Figures. A Pre Colombian style terracotta figural group modelled as a couple in ceremonial dress, 16.5cm high (1)
£80-120
£80-120
132* Figure. A Fang tribe religious figure carved as a squatting tribesman standing in woven bowl, 35cm high
136* Figures. A pair of Yoruba tribe “Offering” figures carved as a female and infant holding a chicken which is a lidded box, 48cm high
(1)
(2)
£80-120
Lot 133
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£500-700
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Lot 138
Lot 137
Lot 141
137* Head. A Fang tribe carved wood head from Gabon, carved with elongated face, 32cm high (1)
£80-120
138* Mask. A Lega tribe mask from the Congo, retaining white pigment, 26.5cm long (1)
£80-120
140* Mola. A collection of five mola, panels, early 20th Century, five cotton panels with reverse applique and applique decoration, most with signs of use including fragments of larger garments attached, 49 x 43cm (19 x 17ins) and smaller, together with Kapp’s Mola Art, 1972 Mola textiles are predominately worked by women of the Kuna people in Panama. (6) £150-200
141* Nigeria. American missionaries, circa 1969, a pair of finely carved wooden busts, depicting the American missionaries Dr Paul Carson and Joseph W. Tucker, larger 31cm (12ins) high, smaller 28cm (11ins) 139* Melanesia. A Sepik River wooden figure, carved as a fully standing man with a lizard running up his chest, 61cm high together with two further figures from the same region, 37.5cm high the other 25.5cm
Provenance: Collected by J. C. Matthews, 1971, when working for Mobil Oil, Qua Iboe. (2) £200-400
142* Shield. An early 20th century Tutsi tribal shield from Rwanda, of oval form with brown pigment to the geometric carving, with handle, 67cm long (1)
£150-200
143* Spoon. A Dan tribe carved wood spoon from Liberia, the terminal carved with a head, 44cm long (1)
£60-80
144* Sword. A Barotse tribe sword from Northern Rhodesia, the 40cm double edge shaped blade with carved wood handle, 53.5cm long overall, in its hide covered scabbard, together with a similar sword in its scabbard (2)
£150-200
145* Zulu headrest. A carved wood ‘Isigqixi’ block headrest, with ‘Amazumpa’ carved decoration, 31.5cm long, together with another similar Collected by the present owner whilst on various trips to Zululand in 2001 & 2003. (1) £50-80
The Sepik River is the so-called “Nile of New Guinea” measuring 700 miles with many cultural groups. The river is essentially split into three regions, the Lower, Middle and Upper Sepik. Provenance: Vivienne Rae-Ellis (author). (3) £80-120
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TEXTILES
147* Clothing. A late Victorian cream chiffon bodice, hand-stitched, shortsleeved, high-necked boned bodice of tucked muslin, with lace inserts, embroidered neckline, and ruched satin waist, metal hook and eye closures, some toning and one or two stains, bust approximately 84cm (33ins), length 48cm (19ins), together with a late Victorian black ribbon tapework bodice, with high chiffon neckline and long tucked chiffon sleeves, metal hook and eye closures, bust approximately 92cm (36ins), length 51cm (20ins), plus a Judith Ann Creations black silk dress with short sleeves and side split, 1980s, heavily beaded all over with black and silver bugle beads, bust approximately 96cm (38ins), plus eighteen other items of vintage clothing, including a late Victorian white muslin dress with lace inserts and green satin sash, a 1920s brown satin dress with cream lace neckline, a 1930s green satin evening gown with flower detail on the back, an early 20th century handmade white cotton blouse, with drawn threadwork and crochet inserts and trim, a black velvet fitted jacket by D.H. Brigham & Company, Springfield, Massachusetts, and two early 20th century long black velvet gowns, one with decorative diamante clasps on bodice and lace trim to neck and sleeves, various sizes and condition (21)
146* Chinese. A Chinese embroidered silk robe, late 19th century, blue figured silk robe, hand-embroidered with floral sprays and urns filled with flowers, some minor wear, length 122cm (48ins), together with a 20th century black-embroidered cream satin Chinese robe, and a 20th century reversible haori, with tsuba design and circular sakura motif on one side, and mountain and tree design on the other side (3)
Lot 148
£150-250
148* Clothing. A collection of nine heavy linen garments, Continental, 19th century, natural linen, comprising two smock shirts and seven nightgowns (five with sleeves, and two sleeveless), most with embroidered monogram or initals (some in red), some with lace trimmings, various sizes, generally in very good condition (9)
£150-200
149* Clothing. A collection of ten heavy linen garments, Continental, 19th century, natural linen, comprising one smock shirt, a skirt, and eight nightgowns (five with sleeves, and three sleeveless), most with embroidered monogram or initials (some in red or blue), some with lace trimmings, various sizes, generally in very good condition (10)
£200-300
29
£150-200
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153* Embroidered binding. An embroidered crimson velvet binding cover, 17th century, red velvet sidings from a binding sometime made into a folder for correspondence, worked in high relief in gold and silver metal threads, incorporating spangles, with a design of bunches of grapes, vine leaves and tendrils, and stems of wheat, generally rubbed and threadbare in places, with one or two early repairs, 30 x 49cm (11.75 x 19.25ins), mounted in a box frame, glazed A sumptuous binding which would have been worked for an ecclesiastical book, most likely a Bible. The imagery of grape vine and wheat are obvious allusions to Biblical symbolism. Christ refers to himself as ‘the true vine’, and the Church variously as ‘vine branches’ or ‘the vineyard’; wheat represents believers as opposed to weeds which symbolise unbelievers, and Christ referred to himself as ‘the bread of life’. (1) £700-1000
150* Clothing. A collection of vintage clothing and accessories, including a gold damask blouse, several hats and bonnets, a long lace-trimmed cream taffeta petticoat, a tapestry dolly bag, a moiré silk-lined crocodile-skin handbag with matching purse and mirror, initialled in gold letters 'EFAC', four pairs of leather children's shoes with ankle straps, a black satin evening gown with beaded straps, seven pairs of kid gloves, some elbow-length, and a pair of fur gloves, and a number of fur stoles, various sizes and condition (2 cartons)
£100-150
151* Curtains. Two pairs of matching heavy damask curtains, late 20th century, gold damask weighted curtains, interlined, and with cream cotton lining, drop 251.5cm (99ins), width 227cm (89.25ins), together with four large gold tassell tie-backs (8)
£70-100
152* Dougill (Patricia, 20th century). An archive of original drawings and textile art, including a number of large textile pictures and panels, some framed, and a large number of smaller pieces, several portfolios of sketches, project books containing sketches, cuttings, and fragments of textile design, loose samples of patchwork, collage, knitting, etc., together with a large quantity of artist materials, including gold and coloured threads, beads and sequins, pens and pigments, brushes, wools, wooden weaving and spinning tools, trimmings, curtain accessories, and zippers, plus a number of original typescripts, plus a large portfolio of original artwork by Frederick Goudie, and some related books of photographs and ephemera, plus a boxfile of ephemera relating to Kenneth Goudie, including autograph letters signed from Michael Cole and Tim Sebastian Kenneth Goudie (1926-2013), described as a colossus in the BBC’s radio newsroom at Broadcasting House, was editor of the ‘Today’ programme and ‘The World Tonight’. He married artist Patricia Dougill, whose father with the architect and town planner Wesley Dougill. Kenneth and Patricia had two children, Lucy and Fred. (-) £200-300
30
154* King George IV. A crimson velvet ceremonial bag carried by Lord Charles Cavendish-Bentinck at the coronation of George IV, circa 1821, large red velvet bag edged with gold metal looped fringing, large buttonholes along top edge threaded with red and gold braid terminating in a tassell at each end, matching tassells to lower corners of bag, lined with red silk (slightly worn), dimensions excluding tassells 53 x 39cm (21 x 15.25ins), with manuscript label in the hand of Lady Ottoline Morrell ‘This bag was the bag that Lord Charles Bentinck my grandfather carried as Treasurer of the Household’ Provenance: From the collection of Lady Ottoline Morrell, thence by descent. Lord Charles Cavendish-Bentinck (1780-1826) was notorious for the scandal of his elopement with Anne, Lady Abdy, a niece of the Duke of Wellington, in 1815. Lord Bentinck was Treasurer of the Household between 1812 and 1826, and this bag was carried by him at the coronation of King George IV in 1821. His part in the procession was recorded thus: ‘Treasurer of his Majesty’s Household, bearing the crimson bag with the medals’. (1) £300-500
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Lot 153
155* Morrell (Harriette Anne, 1843-1924). A cream satin cap for an infant, 1906, cream satin, embroidered with roses in pink and green silks and silver metal thread, embellished with tiny pearls and silver and gold galon, matching tie ribbons and rosette at nape, some minor wear
156* Morrell (Harriette Anne, 1843-1924). A cream silk embroidered letter pocket, cream silk correspondence envelope with two double pockets, quilted with a lattice pattern, with border of fine braidwork, edged with gold metal thread, opening to reveal two embroidered and sequinned cartouches, lettered in gold chain stitch ‘Homage pour’ and ‘Sa Mad la Pr.Caroline de Saxe C S’, lined with green silk, some minor wear and discolouration, dimensions when open 16.5 x 20.5cm (6.5 x 8ins)
Provenance: From the collection of Lady Ottoline Morrell, thence by descent. Exhibited: Memorial exhibition at Black Hall, St. Giles, Oxford, 2nd14th February, 1925. Made by Harriette for her granddaughter, Julian, daughter of Philip and Ottoline, who was born 18th May 1906. Recorded in her workbook under 1906, and listed on p.16 of the memorial exhibition catalogue published by Basil Blackwell in 1925: “May or June. A hood for Julian embroidered with silk and pearls on cream satin made up with silver and gold galon. The pearls were bought in Florence near the old Bridge’. (1) £200-300
Provenance: From the collection of Lady Ottoline Morrell, thence by descent. (1) £150-200
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157* Morrell (Harriette Anne, 1843-1924). A blank notebook with embroidered cover, 1914, inscribed in pencil on flyleaf ‘To Dear Ottoline from H.A.M. July. 1914.’, black and white patterned endpapers, yellow edges, original cloth with linen covering worked all over with a floral and foliate pattern in black silks, 16 x 11cm (6.25 x 4.25ins)
159* Morrell (Harriette Anne, 1843-1924). A large original watercolour design, 1875, watercolour on five joined sheets of waxed linen, depicting swags of fruit and foliage with birds, monogrammed ‘AM’ and dated 1875 to lower margin below image, approximately 338 x 58.5cm (133 x 23ins), together with sixteen other needlework designs on paper or card by Harriette Morrell, various media (pencil, pen and ink, watercolour), depicting flowers, birds, fruit, swags, etc., various sizes, some creasing and edge-fraying
Provenance: From the collection of Lady Ottoline Morrell, thence by descent. (1) £100-150
Provenance: From the collection of Lady Ottoline Morrell, thence by descent. (17) £150-200
160* Ravilious (Eric, 1903-1942). A pair of Garden Implements curtains, [1957], two fine cotton chintz curtains, printed by Edinburgh Weavers with Garden Implements design in pink by Eric Ravilious (EW monogram visible on turn-in), machine-stitched and with rufflette heading tape, lined, some minor marks and discolouration, and one very small hole, each curtain drop 98cm (38.5ins), width 105.5cm (41.5ins) Shortly before his death Eric Ravilious designed a number of ceramic patterns for Wedgwood. Several motifs from his Garden Implements series, originally created for a lemonade set in 1939, were later used on this rollerprinted fabric produced by Edinburgh Weavers under the name 'Harvest'. This fabric, featuring minutely detailed vignettes of garden paraphernalia, including a beehive, sunflowers, a wheelbarrow, a cloche, rhubarb, and a barrel of garden tools, is extremely rare; even small samples and offcuts seldom appear on the market. The V&A has a single curtain in its collections, with the same design printed in black. (Alastair Morton & The Edinburgh Weavers, The Scottish National Gallery of Modern Art, 1978) (2) £1000-1500
158* Morrell (Harriette Anne, 1843-1924). A blank notebook with embroidered cover, 1914, red and green patterned endpapers, yellow edges, original boards with hand-sewn cream silk cover worked all over with a floral panel and scrolling border to each side, and decorative motifs in compartments on spine, in brightly coloured silks and silver and gold metal threads, spine with ‘HM’ amd ‘1914’ worked in green silk at head and foot respectively, 24 x 17.5cm (9.5 x 7ins), with Harriette’s visiting card attached with thread to the cover
161* Table linen. A collection of assorted table linen, haberdashery, and needlework items, mostly early to mid 20th century, including table cloths, napkins, handkerchiefs, doilies and mats, an early 20th century patchwork quilt, lace trimmings, embroidery silks, etc., with examples of damask, whitework, drawn threadwork, lace and crochet, embroidery, monograms, etc., various sizes and condition
Provenance: From the collection of Lady Ottoline Morrell, thence by descent. Exhibited: Memorial exhibition at Black Hall, St. Giles, Oxford, 2nd14th February, 1925. Listed on pp.21/22 of the exhibition catalogue printed by Basil Blackwell in 1925: ‘Designed and completed a book cover of very bright colours on cream satin. Worked it almost entirely while I was in Rome. No pearls. This is at Black Hall, not yet given away. (The terrible war began this autumn, and for months I only knitted socks for the soldiers in the trenches.)’ (1) £200-300
(2 cartons)
£70-100
Right: Lot 160 32
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TEXTILES, TOOLS & DESIGNS: THE ARCHIVE OF THE LADIES’ WORK SOCIETY The Ladies’ Work Society was an off-shoot of the Royal School of Needlework begun by Princess Louise, Duchess of Argyll in 1875. The Society was one of a number of Work Societies which were formed to provide assistance to impoverished gentlewomen who, though force of circumstance, were left in middle life with little or no income. Such women came from a social class where few occupations were open to those who were single, with the exception of companion or governess, and many unmarried or widowed ladies were left with no means of support. An occupation in needlework provided a solution for many, as it was a genteel way to make a living and required only some augmentation of the average lady’s childhood skills in order to reach a professional standard. The Society was based at 31 Sloane Street in London, and distributed to seamstresses who worked in their own homes. Under the influence of Princess Louise, a skilled artist and sculptress herself, a reputation for high standards of work was gained, and many important commissions were undertaken, such as the gold threadwork on Queen Alexandra’s coronation robes. Shortly before the end of WWII Lady Alison Delabere Carleton and Miss Dorothy A. Thorold became involved with the firm, and they turned it into a limited company. The pair had set up a business in London’s Wigmore Street in the 1920s, making finely sewn and embroidered evening bags for high-class clientele. Lady Alison was a skilled artist, particularly of miniature portraits, as well as of embroidery designs, and is thought to have trained in Italy. She was involved in espionage during WWI, is believed to have flown aircraft during the war, and was awarded the Croix de Guerre. After the war The Ladies’ Work Society occupied huge premises in the Brompton Road neighbouring a number of high-class antique dealers who sold or hired props to the film industry. The Society began to follow suit, building up a collection of Victorian textiles for hire to set dressers. The rent of £1500 a month for the premises was covered solely by this income. In 1969, the business moved to Moreton-in-Marsh in Gloucestershire, where it continued producing top quality hand-made furnishings to customers all over the world until closing in the 1980s, after more than a century of output.
162 Berlin charts. A collection of designs for Berlin woolwork, 19th century, approximately 180 handcoloured lithographed woolwork patterns, depicting flowers and birds, decorative borders, figures and animals, etc., pattern makers include Carl F.W. Wicht, A. Todt, L.W. Wittich, F.W. Neie, Hertz & Wegener, Grinthal's Verlag, Mme. Figuier, C. Francke & Siecke, P. Trube, Heinrich Kuehn, some worn, 53 x 38cm (21 x 15ins) and smaller, together with a small quantity of printed charts, contained in a large portfolio (broken)
163* Berlin charts. A collection of designs for Berlin woolwork, 19th century, approximately 80+ handcoloured lithographed woolwork patterns, depicting flowers and birds, decorative borders, figures and animals, etc., pattern makers include Carl F.W. Wicht, A. Todt, H.F. Muller, L.W. Wittich, F.W. Neie, Hertz & Wegener, Grinthal's Verlag, some worn, 47 x 40.5cm (18.5 x 16ins) and smaller, together with approximately 200+ counted thread charts, later 20th century, coloured felt-tip on graph paper, many taken from original Berlin charts (and numbered), others taken from 19th century periodicals, e.g. The Englishwoman's Domestic Magazine, The Young Ladies' Journal, The Lady's Newspaper & Pictorial Times, The Queen, Lady's Newspaper Court Chronicle, Journal de Demoiselles, mostly depicting floral designs and decorative borders, but also armorials, animals, birds, etc., some annotated with name of client, e.g. 'Lady Stewart artwork', mostly in good condition, various sizes, plus a quantity of other design materials and ephemera relating to The Ladies' Work Society, including an autograph letter signed on headed paper from Dulcie Gray to Mr. Duller, colour-printed Berlin charts, manuscript notebooks, several printed booklets relating to needlework designs, a large quantity of postcards, coloured plates and engravings, and approximately 70 decorative china saucers used as a resource for patterns and designs
Berlin woolwork, or embroidery on canvas by means of copying a coloured chart, became very popular in the 19th century. Prior to the introduction of Berlin patterns it was very rare to find needlework designs with any indication of colour choices or threads. Berlin patterns were always coloured by hand at first, until the emergence of industrial printing techniques. (a folder) £200-300
(-)
Lot 163
34
£200-300
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166* Delabere Carleton (Lady Alison, 1894-1955). An original embroidery design for a chair, pencil and watercolour on paper, showing an 18th century-style design for a chair, depicting an exotic bird in the centre framed by volutes, flowers, and foliage, lightly faded, framed and glazed, 61 x 67cm (24 x 26.5ins), together with an unframed detail of the bird, pencil and watercolour, with pencilled marginalia giving instructions for working in silk, pin holes at corners, 22.5 x 20cm (9 x 7.75ins), plus An original design for a kneeler, by Harris-Jones, pencil and watercolour on paper (latter slightly toned), depicting a scrolling volute design incorporating dragons, birds, flowers, and foliage, 36 x 56cm (14.25 x 22ins), framed and glazed, plus An original embroidery design, pencil and watercolour on paper, depicting a vase of flowers, the flowers flanked by birds, with volute cornerpieces on each side to lower edge, some damage and closed tears, 45 x 55cm (17.75 x 21.5ins), framed and glazed
164* Chair. A Victorian bedroom chair, light mahogany, fluted legs with brass castors, circular back and seat embroidered in wool with a wreath of blue flowers on a cream ground, bordered with blue velvet, height 75cm (29.5ins), together with a Hepplewhitestyle mahogany dining chair, circa 1800, seat embroidered in Berlin wool, with a circular stylised tulip design, in shades of pink, green, and brown, on a mustard yellow ground, height 93cm (36.5ins), and a Victorian cane-seated walnut dining chair with a turned back rail, additional upholstered seat worked in wool in cross-stitch, with a striped floral pattern, in shades of blue, pink, and green, on a cream ground, height 83cm (32.75ins), plus a small box ottoman with lid worked in coloured wools (4)
(4)
£150-200
165* Delabere Carleton (Lady Alison, 1894-1955). An original embroidery design for a stool, pencil and watercolour on cream paper, showing an 18th century-style design for a stool, depicting a dragon and mythical birds amongst exotic flowers on scrolling stems with foliage, monogrammed lower right, 44.5 x 98.5cm (17.5 x 38.75ins), framed and glazed, together with An original design copied from a fragment of 18th century fabric, pencil and watercolour on paper, depicting a frieze of pink roses amongst scallop shell and volutes, within a frame of green scrolling foliate ribbon and berries, generally creased and dusty, 43.5 x 101.5cm (17 x 40ins), framed and glazed, with manuscript label on backboard ‘This is not an original design but was drawn out by Lady Alison from some fragments of 18th century French brocade’ (2)
£150-200
167* Delabere Carleton (Lady Alison, 1894-1955). A collection of original watercolour designs for needlework, together thirteen large pencil and watercolour designs for needlework, on thick paper or card, depicting flowers, fruit, and birds, for seat covers, clerical vestments, etc., most signed or monogrammed, a number with the address ‘91 Wigmore Street’, some with calligraphic titles and pencilled marginalia giving details of client and date, some creasing, tears, and repairs, sheet size approximately 51 x 68cm (20 x 26.75ins), together with twenty similar large designs by Lady Alison, two with pencilled colouring, and the remainder monochrome designs in black ink for seat covers, most monogrammed, generally frayed, plus fourteen smaller designs, five monochrome and the remainder watercolour, including a pattern for a tea cosy, borders for a chess board, and designs for a set of six dinner mats, various condition and sizes
£200-300
(47)
35
£200-300
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169* Embroidery designs. The Royal Unicorn, mid 20th century, pencil and oil on waxed linen, showing a prancing unicorn with a gold coronet round its neck attached to a trailing gold chain, within a wide border of gold volutes with fleur-de-lys cornerpieces, slightly wrinkled, 55 x 58cm (21.75 x 22.75ins), framed and glazed, together with An original embroidery design of exotic birds, mid 20th century, watercolour on paper, paper toned, showing eight birds with brightly coloured plumage in various attitudes, each with a number in pencil below, sheet size 44 x 60cm (17.5 x 23.5ins), framed and glazed, plus An original embroidery design, late 20th century, three watercolours, each a frieze depicting winged lions and a phoenix, amidst scrolling volutes, flowers, and foliage, each 40 x 6cm (15.75 x 2.5ins), mounted and framed together, glazed, plus another original embroidery design of pheasants and other game birds in oil, framed and glazed (4)
ÂŁ150-200
168* Embroidery designs. A set of place mat designs for The Shaven Crown, Shipton-under-Wychwood, Oxfordshire, late 1940s, together eight pencil and watercolour designs on paper, in a 17th century naive style, each depicting a variety of figures, country houses, flora and fauna, etc., including hunting wild boar, river fishing, children playing, musicians performing, falconry, and pastoral scenes, such as milking cows, two toned, each 20 x 20cm (7.75 x 7.75ins), together with pen & ink drawings replicating three of the designs An amusing set of designs were which commissioned by the publican of The Shaven Crown, and from them a set of place mats were worked in floss silk on satin. (11) ÂŁ100-150
170* Embroidery. An unused matching set of embroideries for an Adam-style armchair, late Victorian, seat, back and arm covers, worked in coloured wools on canvas, with a striped design of ribbon-tied posies and entwining tentrils, in shades of pink, blue, green, and brown, on a cream ground, stitched area of seat 64 x 71cm (25 x 28ins), together with a Victorian circular crewel work embroidery of flowers, diameter 35cm (13.75ins), plus a set of four matching squab chair seat covers, late 20th century, wool on canvas, each with a slightly differing waterlily design, in shades of green, blue, pink, and yellow, on a dark green ground, stitched area 49.5 x 52cm (19.5 x 20.5ins), together with a skein of dark green Appletons wool, plus an embroidered stool top worked in wool on canvas, in a variety of colours and stitches, with circular centre of flowers taken from a Berlin chart, stitched area 40.5 x 43cm (16 x 17ins), plus another wool embroidery on canvas, worked from a floral Berlin chart, stitched area 46.5 x 48cm (18.25 x 19ins), and two identical door stop covers, wool on canvas, with a design of flowers and butterflies, 26 x 36cm (10.25 x 14.25ins), plus a quantity of needlework cushions, and ten tapestry church kneelers, including a set of four depicting the symbols of the evangelists, and some ephemera relating to kneelers, including the manuscript designs and charts for the four evangelists set (-)
Lot 169
36
ÂŁ200-300
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172* Embroidery. Embroidered mirror frame, English, circa 1640, embroidery and stumpwork on silk satin, elaborately worked with Biblical scenes and symbolic motifs on a theme of deception, incorporating figures, animals, insects, a castle, flowers and trees, an hour glass, an angel, etc., worn and fragile in places (some strengthening on verso), 60 x 52cm (23.5 x 20.5ins) A remarkable rare survival depicting the following Biblical characters: David and Bathsheba, Jezebel, Samson and Delilah, Tamar, Aaron, Eve, Laban, and Isaac. Although mirrors existed before, it wasn’t until the sixteenth century that the Venetians perfected the production of clear plate glass. Mirrors made during this early period were extremely costly and highly prized, and so the frames that surrounded them were frequently elaborate and beautifully made. In this case the frame is more than just a thing of beauty; it also conveys a message through its stories and symbols. The theme of deception was seen as a very appropriate one for a mirror frame; the allegorical complexities of the mirror have been used time and again in art and literature, most obviously the mirror being the means of distorting an image, or conversely, being a means of robbing the viewer of selfdeception. A number of symbolic images convey further instructive messages, for example a snail denotes sloth and sin, the hare lust and fecundity, the squirrel avarice and greed, an hour glass the passage of time, an iris the power of light and hope, a stag piety and religious aspiration, and so on. (1) £700-1000
171* Embroidery pictures. A pair of oval embroidery pictures of ladies, late 18th century, finely worked in coloured embroidery silks on cream silk, with painted faces and hair, one depicting a bonneted young lady carrying a basket, with a rake over her shoulder, in a landscape with a windmill, short closed tear in right hand edge, the other depicting a lady in a garden, standing beside a short stone pillar beneath a tree, both a little dusty and wrinkled, each sometime pinned to thick paper at top corners, image size 20 x 15cm (8 x 6ins), fabric size approximately 22 x 17cm (8.5 x 6.75ins), together with seven Victorian Berlin counted designs finely worked from charts on silk gauze, all depicting flowers, and one incorporating a pheasant, some spotted, stitched area 11 x 11cm (4.25 x 4.25ins) and smaller (9)
£100-150
173* Evening bag. A tambour work evening bag, circa 1920s, pale green satin gusseted pochette, with matching carrying strap on reverse, embellished with all-over fine cream tabour work, consisting of floral sprays, volutes, drawer handles, and other decorative motifs, flap with additional floral border in tabour work in shades of pink, green, and blue, front a little faded and with one or two minor marks, interior lined with cream satin, and with gathered pocket, brass press stud fastener, 13 x 24cm (5.25 x 9.5ins) A beautiful example of one of the exquisitely worked evening bags which were made and sold by Lady Alison Delabere Carleton and Miss Thorold in their exclusive bag shop in Wigmore Street, London. (1) £200-300
Lot 172
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174* Gilmer (Valerie, 20th/21st century). Malvern’s Gothic Architecture, textile picture, composed of white fabric cut-outs, with matching stitched detail, on a white damask ground, housed in original perspex case, overall size 62 x 46 x 7.5cm (24.5 x 18.25 x 3ins) Exhibited: ‘Lost and Found’, Foyle Gallery, Birmingham, 8th January-27th February, where the item was purchased by the current owner. The work of textile artist Valerie Gilmer shows an interest in pattern and form and the effect of light and shade. More specifically, the work exhibited at the above exhibition “is derived from dress-making techniques no longer in common use, 18th century domestic stoneware and Victorian Gothic architecture.” She frequently uses white paper and old tablecloths in her work: “The whiteness of both these materials emphasises the sculptural quality of the work which, in turn, allows for interesting shadows, and the damask incorporates a sense of time and memory within each piece.” (1) £100-150
175* Jones (Winifred Harris, late 19th/early 20th century). Spring; Summer, circa 1950s, a pair of pencil and watercolour designs on vellum, each showing an urn filled with a tall profusion of garden flowers (narcissi, roses, delphiniums, lilies, clematis, honeysuckle, bluebells, wisteria, tulips, chrysanthemums, japanese anemones, morning glory, etc.), Summer incorporating a dragonfly, some minor creasing, Spring a little toned, each 90 x 39cm (35.5 x 15.25ins), in matching mounts and wooden frames, glazed
Lot 174
With attribution label attached. (2)
£200-300
176* Jones (Winifred Harris, late 19th/early 20th century). Advertising poster for a demonstration by Yoshijiro Urushibara, gouache on paper, showing three Japanese ladies in flowing garments and holding fans, lettered to upper margin ‘Japanese Prints How They Are Made. Six Demonstrations at the Brassey Institute, Hastings’, and to left margin ‘by Y. Urushibara’, 43 x 31.5cm (17 x 12.5ins), mounted, framed and glazed (1)
Lot 175
38
£100-150
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178* Needlework designs. A collection of early 19th century manuscript designs for lace and embroidery, approximately thirty-five manuscript patterns, borders, and decorative motifs, mostly in pen & ink on paper, some in pencil, a few on tracing paper, a number signed ‘F. Sprot’ or ‘Fanny’, or initialled ‘F.S.’, variously dated 1823-1832, sheet size 40 x 45cm (15.75 x 17.75ins) and smaller, together with a collection of approximately 70+ designs for needlework, mostly monochrome designs on tracing paper, but some coloured, for a variety of commissions, e.g. mirror frames, church kneelers, carpets and rugs (including the Fitzalan Howard rug), chair seats, bedspreads, card tables, etc., depicting birds, flowers, William Morris designs, Chinese motifs, 18th centurystyle designs, dragons, shells, fruit, alphabets, etc., all rolled, various sizes, including some large scale An important archive of original designs, which together make up a valuable resource. (-) £200-300
177* Lang (Louis, b.1915). An original textile design, ink, watercolour, and gouache on paper, showing a floral and foliate pattern, 18 x 15.5cm (7 x 6ins), mounted, framed and glazed French artist Louis Lang produced fabric patterns between 1935-1970. He lived and worked all his life in Paris as a freelance designer, offering his work to the various fabric houses there. His designs are striking in their boldness of colour and form. We don’t know whether this particular pattern was ever used. (1) £70-100
179* Needlework frame. A wooden embroidery floor stand, circa 1900, a large adjustable wooden stand with metal clamps, designed exclusively for The Ladies’ Work Society, 31 x 66.5cm (79 x 26.25ins) together with a pair of wooden tressels for holding heavy duty embroidery, 34 x 80cm (86.5 x 31.5ins) and slightly smaller, plus a Windsor & Newton wooden folding easel, a couple of small embroidery frames, three drawing boards (one with small folding metal stand), and a quantity of assorted rolls of paper, including two large rolls of cartridge paper (-)
£100-200
180* Needlework frame. A large wooden slate frame, a large frame for heavy duty embroidery, length approximately 225cm (88.5ins), together with several others similar, of varying sizes Lot 178
(5)
39
£100-200
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181* Needlework. A very large partly-worked crewelwork panel, early-mid 20th century, an unfinished panel, inked design worked in Appleton wools on linen, with a pattern of interlacing foliage and flowers, incorporating exotic birds, above a border of undulating ground, with a Chinese pavilion and a dog, design size 174 x 147cm (68.5 x 58ins), worked area approximately 69 x 147cm (27 x 58ins), together with another large partlyworked embroidery entitled ‘The Firing of London Dock. The Afternoon of September 7th 1940’, inked design, showing a panoramic view of the City of London during the Blitz, including St. Paul’s and Tower Bridge, worked in Appleton wools on linen twill, 183 x 200cm (72 x 78.75ins), worked area approximately 40 x 118cm (15.75 x46.5ins), plus a quantity of other textile items, including thirteen small sample pieces of floral glazed chintz, early 20th century, some with printed and manuscript labels attached, a few irregularly cut, 33 x 38cm (13 x 15ins) and smaller, a quantity of samplers and small unfinished embroideries, some with instructions/charts and wool/silks, several in the form of kits, some examples of ribbon embroidery, drawn threadwork, and beading, two sample books of canvases and other fabrics, and several thread charts The design of the decorative embroidery is an adaptation of a late 17th century crewelwork panel in the V & A (museum number 1390-1904). The Ladies’ Work Society used to hire this out for film sets in the 1950s and 1960s. ‘The Firing of London Dock’ was designed by Lady Alison Delabere Carleton, and it was the view from a top floor flat in Hereford House in London. Lady Alison and Miss Thorold had been loaned the flat by Lady Jane Lindsay after they had closed their bag shop in Wigmore at the outbreak of the war in 1939, and taken on the management of The Ladies’ Work Society. There was a full-size watercolour cartoon of the design which was left behind at 148 Brompton Road when The Ladies’ Work Society moved down the road to 138 Brompton Road, which may still be in existence. (-) £200-300
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182* Needlework designs. A collection of original designs for The Ladies’ Work Society, early to mid 20th century, mostly watercolour, although some monochrome or pencil designs, in a variety of hands, some possibly by Lady Alison Delabere Carleton, for chair covers, carpets, ecclesiastical uses, etc., various themes and motifs, including birds and flowers, decorative borders, theatre-related, armorials, 18th century-style, etc., often with pencil annotations, including the name of the client, plus a small quantity of pencilled patterns on tracing paper, various sizes and condition, including four large-scale designs on waxed paper, rolled (approx. 70)
184* Plan chest. An early 19th century plan chest, mahogany, straight front with four drawers, on a block base, top with some superficial scratch marks, 73 x 114 x 54cm (28.75 x 45 x 25.5ins) (1)
£200-300
£150-200
183* Page (Phyllis, mid 20th century). An original embroidery design of flowers, 1951, pencil and watercolour on paper, showing a large posy of flowers tied with a blue bow, including roses, tulips, lilies, columbines, irises, etc., slightly faded, 74.5 x 54cm (29.25 x 21.25ins), framed and glazed, dated manuscript note on backboard, together with a smaller oval embroidery design of a posy of roses and morning glory, pencil and watercolour, 32 x 21.5cm (12.5 x 8.5ins), mounted, framed and glazed
185* Princess Louise (Duchess of Argyll, 1848-1939). A fine lawn handkerchief, lace-trimmed lawn handerchief finely stitched with wide whitework border of putti, grape vines, floral swags, and volutes, one corner with Princess Louise’s cypher, one or two minor marks and faint toning, approximately 48 x 48cm (19 x 19ins), sometime carefully stitch-mounted to a piece of blue tissue paper Lady Louise was the sixth child of Queen Victoria and Prince Albert, and their fourth daughter. She was an accomplished artist and sculptor, receiving tuition from sculptors Mary Thorneycroft and Joseph Edgar Boehm and enrolling, in 1863, at the National Art Training School in Kensington. During the 1870s and 1880s Princess Louise exhibited at the Royal Academy, the Society of Painters in Watercolour, and the Grosvenor Gallery, and it was during this time that she formed The Ladies’ Work Society. The Society was a reflection of both Louise’s interest in the decorative arts, and her passion for the education and rights of women. (1) £100-150
According to the manuscript label this is an original design commissioned by English actress and producer Ann Todd (1909-1993) for an embroidery picture which was worked in filoselle on satin by Miss Page. Ann Todd did not have the embroidery in the end, and it was sold to Keith Mason, AC, QC (born 1947), former President of the Court of Appeal of New South Wales, Australia, who paid for both the embroidery and the design, and gave the embroidery to a friend in Australia. The design was left in the possession of the Ladies’ Work Society on the condition that it was never reproduced. (2) £150-200
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Lot 187
186* Sampler. A sampler by Ann Payne, early 19th century, worked in red cotton cross-stitch on linen, with alphabets and numerals in various scripts, incorporating patterns (flowers, stars, Greek key border, volute cornerpieces, etc.) and a coronet at foot, some very faint toning, 31 x 25cm (12 x 10ins), framed and glazed, together with four other framed needlework pictures, including a Victorian embroidered felt collage of a wreath of flowers, and a large embroidery on canvas of two parrots amongst volutes and floral sprays, plus an unworked printed canvas in a gilt moulded frame depicting ‘Flowers in a Vase’ by Van Huysum, plus a watercolour of an elderly lady in a gilt moulded frame, and five other framed items Most probably a Bristol Orphanage sampler, which were typically worked in red and with many of the decorative motifs seen here; all such samplers worked by children at George Müller’s Bristol orphan houses have a similar format and style, indicating that the teachers had templates and standard patterns which the girls could copy, although the variation amongst samplers shows that pupils had an element of choice in what to include on their samplers. (12) £150-200
187* Sampler. A long sampler, by E.I. Melville Hanley, 1844, a sampler worked in wool on linen, mostly cross-stitch, with various motifs in a variety of colours, including alphabets, a witch, flower patterns, an ensign, geometric patterns, etc., 124.5 x 20cm (49 x 7.75ins), together with another similar, 147 x 14.5cm (57.75 x 5.75ins), plus a later sampler worked by Bertha C. Pring, dated July [19]08, comprising a number of motifs and patterns, including flowers, worked in a variety of coloured silks and gold thread, on glazed linen, 39 x 46cm (15 x 18ins) (3)
188 Samplers. A large quantity of embroidery samplers, circa 1920s-1970s, approximately 100 samples of embroidery patterns, worked in wool on pieces of square or oblong canvas, some with one pattern to a piece of fabric, others with a number of designs, mostly floral and geometric patterns, but also some animals and insects, some lettered in pencil on the canvas ‘The Ladies Work Soc Ltd’, fabric size 59 x 56cm (23 x 22ins) and smaller An archive of sample patterns used as instruction templates. It took between one and five hours to work one pattern repeat, depending on the nature of the design. Many have manuscript labels attached giving details of the time taken to complete. (1) £100-150
£100-150
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191* Sewing materials. Two boxes of sewing materials, late 19th-mid 20th century, including a quantity of metallic threads, in varying colours and thicknesses, both on reels and in skeins (some unused), wooden lace-making bobbins, lace and trimmings, small circular cardboard boxes of sequins, and an envelope of iridescent beetle wings
189* Sewing & artist materials. Two wooden boxes of Flora Macdonald Needles, Redditch: Abel Morrall Ltd., early-mid 20th century, each with slotted compartment containing 134 and 98 packets of varying sized needles respectively, mostly Flora Macdonald, but also The Castle Brand, J. Pearsall, H. Milward, Dryad, etc., each box with printed label mounted inside hinged lid, 18.5 x 36.5 x 6cm (7.25 x 14.5 x 2.25ins), together with another (empty) Flora Macdonald box, and a quantity of other artistic materials and ephemera, including sewing and embroidery threads, hat pins, a needlecase, a wooden palette, a box of dip pens, inks and pigments, a boxed Ebor Darner, a pinchbeck handbag mount, five agate moulding tools contained in a silk-lined wooden box, a small circular ribbon-embroidered silk pin holder, and three pairs of old sewing scissors (2 cartons)
(2 boxes)
£100-200
£100-200
192* Trinket boxes. A continental porcelain trinket box, early 20th century, tall oval-shaped porcelain trinket box, hand-painted with design of pink roses bordered by green and blue quatrefoils with purple swags, on a white ground, gilt metal mount and hinge, with clasp in the form of a monkey beating a drum, 7 x 5cm (2.75 x 2ins), together with four others similar, varying shapes, including one in the shape of a shell with musical trophy painted on domed lid (5)
190* Sewing clamps. An ormolu sewing clamp with pincushion, probably French, early 19th century, sewing clamp with circular blue velvet pincushion set into mount and supported by acanthus leaves, a little rubbed and velvet worn, length 12cm (4.75ins), together with two late 19th century turned rosewood sewing clamps, both with spindle reel, one with a cup top, the other with a finial, length 14.5cm (5.75ins) and 13.5cm (5.25ins) respectively, and another 19th century sewing clamp, ivory, with pincushion stitched to top, clamp with a couple of splits and fabric worn, length 9.5cm (3.75ins) (4)
£70-100
193* Easel. A folding pale hardwood artist’s easel, mid 20th century, with adjustable brackets, approximately 155cm high (61ins) This item is from another vendor (1)
£100-150
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£100-150
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FURNITURE
Lot 200
Lot 201
194* Armchairs. A pair of Victorian spoon back armchairs, each with mahogany show frame, floral upholstery on cabriole supports, 104cm high (2)
£100-150
195* Breakfast Table. A Regency rosewood breakfast table, the circular top inlaid with brass on an acanthus pedestal base with splayed supports and brass castors, 71cm high x 125cm diameter (1)
197* Campaign chest. A Victorian style mahogany chest of two short and two long drawers, each with brass recessed handles, 79cm high x 115cm wide x 45cm deep (1)
£100-150
(1)
£50-80
200* Chairs. A pair of late 19th-century armchairs in the style of Georges Jacob, fully upholstered with carved dolphin head and tail show frames, 95cm high
£300-500
196* Breakfast table. A Victorian mahogany table, the circular top over octagonal pedestal on trefoil base with brass castors, 74cm high x 117cm diameter (1)
199* Chair. A Victorian mahogany frame spoon-back bedroom chair, with scroll carved open frame, button upholstery over turned supports with ceramic castors, 53cm high
Purchased from the Sitting Room Gallery, Hay on Wye. Georges Jacob (1739-1814), was one of the most prominent Parisian masters in the Neo Classical style associated with Louis XVI. (2) £300-500
£80-120
198* Campaign desk. A Victorian style mahogany twin pedestal desk, the leather inset top above three frieze drawers with three drawers to each pedestal, each with recessed brass handles, 77cm high x 122cm wide x 61cm deep
201* Chandelier. A large modern Venetian glass chandelier, with six upturned branches each with coloured glass drops and three upturned branches each with domed cover, supported on a large bulbous stem with open twist drop beneath, approx. 100cm high x 107cm diameter
(1)
(1)
£150-200
44
£600-800
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Lot 203
209* Monk’s bench. An antique oak monk’s bench, the hinged back carved with initials ‘A.B’, with carved arms and turned uprights, solid seat with carved panels beneath, on four turned supports united by stretchers, 120cm high
202* Chandelier. A small modern Venetian glass chandelier, with twelve branches including nine of petals in blue and pink supported on a pink glass stem with wavy decoration, 46cm high x 33cm diameter (1)
(1)
£150-200
£200-300
203* Chandelier. A modern Cenedese glass chandelier with four upturned branches in turquoise, blue, yellow and red, supported on a green glass stem with a multi coloured knop, 57cm high x 100cm diameter (1)
£300-500
204* Chest of drawers. A George III mahogany chest of four long drawers, the top two drawers fitted with divisions for cutlery, each with brass swan-neck handles and back-plates, on bracket supports, 91cm high x 78cm wide x 45cm deep (1)
£100-150
205* Dining Table. A late Victorian mahogany dining table, the top with rounded corners, three additional leaves, brass catches on turned supports with brass and ceramic castors, 76cm high x 220.5cm fully extended (1)
£150-200
206* Mirror. A modern Louis XVI style wall mirror, the elaborate rectangular frame veneered in kingwood and inset with porcelain foliate printed roundels, the top and bottom panels with gilt metal mounts, 89 x 76cm (1)
207* Mirror. A Victorian oval giltwood carved mirror, heavily carved in the Rococo style with exotic birds and scrolls, with replacement glass, 107cm high x 82cm wide (1)
£300-500
208* Mirror. A late 18th-century walnut dressing table mirror with brass vase finial, the rectangular glass on a single drawer base, 57cm high together with an Edwardian pottery mantel clock, with circular white enamel dial, black roman numerals steel hands, 26cm high (2)
£100-150
210* Stand. A Victorian ebonised jardiniere stand, with brass mounts, and undertier shelf on splayed supports, 85.5cm high (1)
£70-100
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£80-120
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PHOTOGRAPHY 1850-2000 211* Marcus Adams, Bertram Park & Gilbert Adams. A large quantity of mostly portrait photography of men, women and children, circa 1920s/1960s, mostly gelatin silver prints, mounted and loose, including some signed by the photographer to mounts, various sizes including large format and 6 framed and glazed (a large carton)
£150-200
214* Australia. An album containing approximately 200 photographs of Australian towns and scenery, circa 1900, mostly gelatin silver prints, but including some collotypes and some real photo postcards, mounted as multiples to both sides of 28 stiff card leaves, some scattered captions, original cloth, rubbed and damp marked, oblong folio (1)
215AR* Beaton (Cecil, 1904-1980). Portrait of Lady Ottoline Morrell, 1927, vintage bromoil gelatin silver print, three-quarter length in evening dress, arms akimbo and against a decorative plume print tapestry backdrop, 355 x 260mm (14 x 10.5ins), on original thick paper mount and backing sheet, mount signed by the photographer (‘Beaton’) in thick white acrylic lower right
212* Africa. A group of 30 mostly albumen prints of North and Sub-Saharan Africa, circa 1880s, including some images of Zanzibar, mostly postcard-size and similar but including a few larger format, mostly loose but several mounted to two album leaves (30)
Provenance: From the collection of Lady Ottoline Morrell by descent. (1) £700-1000
£150-200
216AR* Beaton (Cecil, 1904-1980). Portrait of Lady Ottoline Morrell, 1927, vintage bromoil gelatin silver print, full length in evening dress, holding a fan in her lap and against a neutral backdrop, 336 x 242mm (13.25 x 9.5ins), on contemporary paper mount, trimmed to photograph margins and with adhesive remains to verso
213* Australia & New Zealand. A group of 9 albumen prints of Australia and New Zealand views, circa 1880s, including Auckland, Adelaide and one view of King George’s Sound, Albany, Western Australia, mostly 15.5 x 20.5cm and similar, 5 loose and 4 mounted to recto and verso of a contemporary album leaf with ink captions beneath (9)
£150-200
Provenance: From the collection of Lady Ottoline Morrell by descent. Accompanying the lot is a sample cutting (24.5 x 11.5 cm) of the material used for the sumptuous dress worn by the sitter. The dress, of vivid yellow silk with purple embroidered floral designs, is now in the collections of the Museum of Fashion, Bath. (2) £700-1000
£100-150
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Lot 215
Lot 216
217* Brittany. A group of 10 albumen prints of Brittany peasants, circa 1885, a few annotated in pencil to versos and two initialled A.C.H., each 16 x 10cm and similar, all unmounted (10)
£100-150
218 Cartes de visite. A group of 12 cartes-de-visite albums containing over 300 cartes-de-visite portraits of unidentified men, women and children from life, plus topographical cartes de visite, cabinet cards, etc., mostly incomplete and somewhat distressed, various bindings, somewhat worn, 4to/small 4to (a carton)
£150-200
219 Cartes de visite. A group of 4 cartes-de-visite albums, circa 1860s/1870s, containing over 200 window-mounted albumen print carte-de-visite portraits, plus approximately 20 cabinet card portraits, various bindings, some wear, 4to/small 4to (4)
£100-150
220* Chilean & Bolivian Railway. A collection of 51 albumen prints by R. Boock, Antofagasta, circa 1890, showing a wide variety of scenes along the railway, each 16 x 22cm, original thick card mounts with decorative borders, printed captions and photo credits, versos blank (51)
Lot 220
£150-200
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221 Coburn (Alvin Langdon, 1882-1966). New York, with a Foreword by H.G. Wells, London & New York, [1910], 20 tipped-in hand-pulled photogravures, various sizes up to 20 x 14.9cm (7 7/8 x 5 7/8ins), a little spotting and soiling to preliminary leaves before plates, original calf-backed boards, gilt-titled to upper cover, some scuffing and marks, spine faded and damaged at head and foot, original dust jacket retained, stained, soiled and frayed with loss, folio Imagining Paradise, p. 226: Truthful Lens 36. (1)
48
ÂŁ3000-4000
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222* Daguerreotypes. A quarter-plate hand-tinted daugerreotype of a middle-aged man, 1840s, oval mat, original hinged morocco case with clasps and gilt stamp of Beard’s Photographic Institutions to base, together with a sixth-plate hand-tinted daguerreotype of a middle-aged man, oval mat, original blind-stamped morocco case with clasp (2)
£100-150
223* Early Photography. A group of 12 albumen and salt prints, circa 1850s/1870s, including portraits, British and European views, 21 x 28cm and smaller (12)
£150-200
224* Eliot (Vivienne ‘Vivien’, nee Haigh-Wood, 1888-1947). Studio portrait by Vandyk, circa 1932, vintage gelatin silver print, threequarter length in fur coat, looking downwards and cradling a Shih Tzu dog with her left hand, 167 x 115mm (6.5 x 4.5ins), original paper and card desk mount, photographer’s pencil signature to paper mount lower left, inscribed by the sitter in ink diagonally across paper mount and image lower right, ‘To Ottoline Morrell, from her friend Vivienne Haigh Eliot, May 29/32’, old light water stain to desk mount upper border just touching image
Lot 223
Provenance: From the collection of Lady Ottoline Morrell and then by descent. Vivienne Haigh Wood Eliot was an English writer, who became known for her marriage in 1915 to the American poet T.S. Eliot. Though they remained married until her death in 1947, the relationship was stormy and Eliot arranged for a formal separation in February 1933. Thereafter he shunned her entirely, instructing his friends, including members of the Bloomsbury Group, not to tell her where he was. She was committed to an asylum by her brother in 1938, dying there nine years later. The National Portrait Gallery, London, hold a number of snapshots featuring Vivien taken by Lady Ottoline Morrell and dating between 1920 and 1931. (1) £400-600
225* Exhibition Prints. A group of 18 vintage bromoil vintage gelatin silver prints by Murray Barford, circa late 1920s, including landscapes and architectural interest, various sizes including large format, many on exhibition card mounts with labels and details to versos, plus a gelatin silver portrait of an unidentified man, possibly Murray Barford, indistinctly signed and dated 1932 to mount beneath (19)
£150-200
Lot 224 226* Greece & Italy. A group of 27 albumen prints of buildings, locations and ruins in Italy and Greece, circa 1860s/1880s, many large format and mostly loose or mounted one to an album mount (27)
49
£150-200
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Lot 227
Lot 228
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227* Erwitt (Elliott, born 1928). New York City, 1974, gelatin silver print, printed later, signed in black ink to lower margin right, [inscribed with title and dated to verso], 27.5 x 35cm (11 x 14ins), framed and glazed, Beetles & Huxley exhibition label to frame verso (1)
£3000-4000
228* Erwitt (Elliott, born 1928). Paris, 1989, gelatin silver print, printed later, signed by the photographer in black in to lower margin right, [inscribed with title and dated on reverse], 27.5 x 35cm (11 x 14ins), framed and glazed, Beetles & Huxley exhibition label to frame verso (1)
£3000-4000
Lot 230
229* Haggard (Henry Rider, 1856-1925). Portrait by Emil Otto Hoppé (1878-1972), circa 1911, bromide print photograph, halflength in part profile writing at his desk, 20 x 13.5cm, pencil signed by the photographer on paper mount at foot, tipped on to a contemporary card mount and boldly and clearly signed by the sitter ‘To Ella from H. Rider Haggard, Ditchingham 1911’, a few spots and minor marks, framed and glazed
231 Hubbard (Gilbert Ernest). Temples of the Western Hills, published by La Librarie Francaise, Peking & Tiensin, 1923, 13 plates (as listed) including 10 real photographs of which 1 is mounted to the upper wrapper, folding map and 4 pages publisher’s adverts at rear, ‘First Thousand copies’ printed to title verso, author’s presentation inscription to half-title, ‘Miss [Kathleen] Fenton, with the author’s best wishes, May 19 1923’, original linen-backed wrappers with mounted photograph to upper wrapper, some soiling and slight wear, spine frayed with a little loss at head and foot, 8vo (18.5 x 14.5cm)
The dedicatee is likely Haggard’s older sister, Ella Doveton Haggard (18451921). (1) £200-300
230* Haskins (Sam, 1926-2009). Yeux, 1972, Bromoil gelatin silver print, numbered 15 from the edition of 25, signed, dated and numbered in pencil to lower margin, image size 395 x 435mm (15.5 x 17.2ins), framed and glazed, with original artist’s label to verso, with handwritten title and number (1)
The nine photographs in the book have printed credits for Messrs Hartung of Peking (5), Mr J. Patterson (2), Mr M.E. Weatherall, and Mrs Calhoun. (1) £200-300
£400-600
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232* India & Ceylon. A group of over 30 albumen prints of India and Ceylon, circa 1860-1880, including topographical and ethnographic interest, some loose and some on contemporary album leaves, various sizes (approx. 30)
£150-200
233 Italy - Nemi. Photographs of Excavations at Nemi (the Artemision of Strabo) undertaken by H.E. Sir J. Savile Lumley, GCB in 1885, [so titled on upper cover], a portfolio of fifty-nine albumen prints mounted on fifty-eight thick card leaves, including views, excavations, friezes, sculptures and other archaeological artefacts, scattered worming affecting several mounts and images, mostly approx. 18 x 25cm (7 x 10ins) and similar, loosely contained without letterpress or contents in original broken cloth portfolio (1)
235 Koppitz (Rudolf, and others). Pictures from the Tyng Collection, London: The Royal Photographic Society, June 1931, portfolio of six photogravures tipped on to card at left margins, tissue-guards present, printed information sheet loosely inserted (marginal closed tear), original printed wrappers with duplicated smaller format photogravure (11.5 x 15cm) mounted to upper wrapper, glassine dust jacket (frayed and torn with some loss), tall folio
£150-200
This portfolio was the first published by The Royal Photographic Society in June 1931. It was produced in honour of the Stephen H. Tyng Foundation and was available for purchase by The Society’s members. The first photogravure is Bewegungs Studie (Study of Movement) by Prof. Rudolf Koppitz (25.5 x 19 cm), one of the most iconic and widely reproduced Austrian photographs of the early part of the twentieth century. Koppitz (1884-1936), who was actually of Czech origins but is more often credited as Austrian, originally created this masterful photograph in 1925. The nude dancer, credited to be the Russian Claudia Issatschenko, (but is more likely, her daughter, the ballet dancer and choreographer Tatyana Issatschenko Gsovsky b. 1901), is photographed with her head thrown dramatically back and flanked by three dark-robed women, portrayed by dancers from the Vienna State Opera. The other five photogravures in the collection are: St Malo by Arthur W. Burgess (20.5 x 25.5 cm); A Russian Boy by Alexander Leventon (20.5 x 25.5 cm); Mrs. Violet Gordon Woodhouse at the Harpsichord by Herbert Lambert (19 x 25.5 cm); Groote Kerke Veere by John H. Anderson (19 x 25.5 cm); and Muriel Evans by Arthur F. Kales (25.5 x 20.5 cm). (1) £1500-2000
234* Japan. A group of 27 hand-coloured albumen prints of Japanese scenes and people, circa 1880s, including many loose images, approx. 20 x 25cm (27)
£100-150
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Lot 236
236* Korda (Alberto, 1928-2001). Guerillero Heroico (full frame), 1960, gelatin silver print, [printed 1989], photographer’s embossed studio stamp lower left, signed and inscribed in black ink by the photographer to lower margin, 40 x 50cm (16 x 20ins), framed and glazed The inscription by Korda reads: ‘Foto tomada en un acto de despedida a las visitimas de un sabotage 5 de marzo de 1960’. Accompanying the lot is a certificate of authenticity signed by Korda’s son Dante Diaz Korda, and noting that it is from an open edition. (1) £4000-6000
237* Korda (Alberto, 1928-2001). Che Guerrillero Heroico, 1960, gelatin silver print, printed later, titled and signed by the photographer in black ink to lower margin in photographer’s embossed studio stamp, numbered 49/50 beneath, 50 x 40cm (20 x 16ins), framed and glazed The two Korda photographs offered here are in matching exhibition quality black frames. (1) £3000-5000
Lot 237
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240* Macpherson (Robert, 1811-1872). View of the Valley and Town of Narni, circa 1856, oval albumen print, 245 x 325mm, together with Forum Romanum - General view from the Clivus Capitolinus, circa 1856, 300 x 400mm, plus The Castle and Bridge of St. Angelo, with the Vatican in the distance, circa 1856, 200 x 383mm, all with pencil numbers (140, 16 and 34) within photographer’s embossed stamp to lower original mount, plus 4 others by Macpherson from the same period, all on original mounts, numbers 33, 58, 101 and 123 (last two oval format), all with some degree of fading, some soiling and fraying to mounts not affecting images (7)
241* Malta. A two-part albumen print panorama of harbour walls, 1881, showing the ships Alexandria, Invincible, Superb and Thunderer at sea, 17.5 x 48.5cm (7 x 19ins), modern mount, together with two framed items, a triptych of three platinum prints of Huancayo, Peru, showing a street scene and two mountain scenes, each 14 x 25cm (5.5 x 10ins), plus a colour photgraphic panorama of Jerusalem, mid-20th century, 20 x 57cm (8 x 22.5ins), all framed and glazed
238* Macpherson (Robert, 1811-1872). Falls of Terni, Rome, circa 1856, oval albumen print, 275 x 375mm, numbered 139 in pencil within embossed stamp on the original mount, a little soiled and frayed at extremities A very fine condition print. (1)
£300-400
(3)
£100-150
£400-600
239* Macpherson (Robert, 1811-1872). The Coliseum on a smaller scale, with distant Latin and Alban mountains, and Church of St. John Lateran, circa 1856, oval albumen print, 220 x 385mm, numbered 32 in pencil within photographer’s embossed stamp to lower original mount (1)
£300-500
Lot 240
Lot 242
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242 Mennie (Donald, 1875-1941). The Pageant of Peking, Comprising Sixty-Six Vandyck Photogravures of Peking and Environs..., with an Introduction by Putnam Weale, 1st edition, A.S. Watson & Co., Shanghai, 1920, 66 tipped-in photogravures within printed borders, images approximately 19.5 x 25.5cm and similar sizes, a little spotting at front and rear, original blue moire silk covers over boards, gilt-titled to upper cover and with blue Chinese cyphers as decorations, some soiling and wear, frayed at extremities and on joints, folio
249 Miscellaneous photography, mostly early 20th century, a group of 24 albums containing snapshots and some larger photographs, including British holiday scenes, skiing, family portraits, etc., mostly contemporary cloth, various sizes (a carton)
£70-100
Limited edition, 388/1000 copies, with printed name of W.A. Morling. Auer p. 114; Parr & Lundgren, The Chinese Photobook, pp. 38-39. (1) £400-600
243* Miscellaneous photography, mostly late 19th century, mounted and loose albumen prints of various subjects and sizes, including views, buildings, etc., plus some early 20th-century gelatin silver print snapshots, etc. (a carton)
£150-200
244 Miscellaneous photography, 19th century, a group of 7 Victorian photograph albums, containing hundreds of mounted albumen prints, mainly British and European topography, various bindings, some wear, folio and similar sizes (7)
£150-200
245 Miscellaneous photography, mostly 19th century, a group of 7 Victorian photograph albums with hundreds of mounted albumen prints, mostly British and European topography, with one album of India interest, various bindings and sizes (7)
£150-200
246 Miscellaneous photography, mostly 19th century, a group of 7 Victorian photograph albums, comprising hundreds of mounted albumen prints, etc., mostly British and European topography, various bindings including several disbound, some wear, large folio/folio (7)
250* The Monarch of the Moon. A group of 8 mammoth vintage gelatin silver print photographs of Lunar Orbiter V Photographs of the Crater Copernicus, [Hampton, NASA, Langley Research Centre, 1967], each 510 x 430mm (20 x 17ins)
£150-200
247 Miscellaneous photography, early 20th century, a pair of photographic scrap albums containing photographs, snapshots and printed ephemera including much material on horse jumping and hunting plus related country life pursuits, some military ephemera, etc., plus a third profusely illustrated photograph album, upper cover gilt-titled 'Lloyd's Reference Prints, San Francisco, 1959', various bindings, folio/oblong folio, plus an archive of over 400 gelatin silver prints taken by a member of the Newcomen Society in the 1960s, documenting visits to coal mines (all now closed), Tower Bridge, Mills Docks, etc., ink captions to versos, approximately 12 x 19cm (approx. 400)
These are some of the first photographs taken from lunar orbit. The Lunar Orbiter programme was a series of five unmanned lunar orbiter missions launched by the United States from 1966 through 1967, intended to help select Apollo landing sites by mapping the Moon’s surface. The spacecraft carried 70mm photographic film which was developed automatically in lunar orbit aboard the spacecraft. The developed film was then scanned with a light beam and this modulated the signal which was sent back to Earth. Each image was then archived on analog data tape and printed out as photographs for use by the Lunar Orbiter analysis team. The crater Copernicus, named after the astronomer Nicolaus Copernicus, is 93 kilometres in diameter, and one of the most prominent features on the Moon’s near side. (8) £500-800
£100-150
248* Miscellaneous photography, mostly 19th century, a large and assorted collection of albumen prints, etc., including topographical views and portraits, including Japan, Middle East, Italy, etc., plus a collection of black and white and colour postcard-size railway photos, mostly with photographer credits to versos (a carton)
£200-300
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252* Philippines & Java. A group of 9 albumen prints of the Philippines, circa 1870, including 6 by Albert Honiss, mostly rural views, approximately 23 x 28cm and similar, all on individual mounts, plus a four-part panorama of Java, 106 x 20cm (9)
£150-200
253 Phipps (Captain Ramsay Weston, R.A.). A complete album of 120 window-mounted albumen cartes de visite, some later pencil captions throughout and with a note indicating that these relate to Phipps’s time in Canada, circa 1865-66, including shipping and railway scenes, timber clearing, waterfalls and views (some by Notman), scenes in Montreal, Kingston, Toronto, Ottawa, etc., and including 12 hand-coloured photos (3 of Native North American figures), some spotting and soiling to mounts throughout, contemporary morocco, worn, spine damaged and clasps defective, 4to, together with a related album containing 26 mounted albumen prints, early 1860s, mostly English houses and Royal Artillery scenes, carte-de-visite sizes and larger, interspersed with pen and ink or pencil drawings, some copied from Art Journal, etc. and several initialled by Phipps, contemporary morocco, covers detached and spine deficient, folio
251 Motorway Construction. An album of 48 vintage gelatin silver print photographs, circa June 1963 to December 1964, all oblique aerial views of the construction of the M4 motorway (Junctions 15), 20 x 25cm or the reverse, pasted back to back on 24 thick paper album leaves with tissue-guards, a few detached and showing credits and some captions and dates to versos, 10 photographs with typed captions attached to lower part of images with old sellotape, now partly peeling away with no obvious damage to photographs, contemporary black synthetic boards with spine tie, oblong folio The captions visible include: Sipson Road looking East, showing first complete area of carriageway in foreground; County Bridge looking West with new County Road in left middle distance; Colnesbrook Culvert looking West and Staines Railway and Thorney Pit; Old Slade Lane looking East to Colnesbrook Culvert; Richings Park looking West showing construction of hardcore access road; Sutton Lane looking East to Richings Park; Sutton Lane looking West to Langley roundabout; Langley roundabout looking East to Sutton Lane & Richings Park (all 9 September 1963); Langley roundabout view looking West, Junction with existing Slough bypass (4 December 1964). This early section of the M4 was opened in 1965, the English section of the motorway being completed on 22 December 1971. (1) £150-200
(2)
£200-300
254* Rejlander (Oscar Gustave, 1813-1875). Self-portrait, circa 1850s, watercolour and chalk, three-quarter length, the sitter with a divider held in his right hand over a piece of paper, signed in a blank strip lower left in blue chalk, ‘O.G. Rejlander’, 395 x 318mm (15.5 x 12.5ins), laid on card with a full-length albumen print portrait by Rejlander of The Countess of Tankerville pasted to mount verso, [1866], 19.5 x 15cm (7.75 x 6ins), mount browned to left margin of verso with some spotting and fading to left and lower margins of photograph Rejlander started out as a painter and portrait miniaturist in Wolverhamton, probably around 1846. Around 1850 he learned the wet-collodion and waxed-paper processes and then changed his business to that of photographer. The portrait here shows him bearded and with a full head of hair (unlike the more kempt and clean-shaven watercolour self-portrait from the Roy Davids collection sold by Bonhams, London, 3 October 2005, lot 208), while most of the photographic self-portraits from the 1860s show him with wilder hair and beard and no hair on top. The Harry Ransom Center’s photography collection at the University of Texas at Austin has a portrait of the Countess of Tankerville clearly taken by Rejlander at the same sitting. In an online article about the portrait by Marlene Renz on the University’s website it is claimed that this is ‘the only known print of a portrait of Olivia Bennet, The Countess of Tankerville, by distinguished 19th-century photographer Oscar Gustave Rejlander’. This second portrait gives further weight to the attribution. (1) £1500-2000
Lot 252
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Lot 254
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256* Russia. A group of 18 albumen prints and collotypes of Russian topography, circa 1885, including views of Moscow, large format and smaller sizes, mounted on rectos and versos of 9 contemporary album leaves (18) £150-200
255AR* Riboud (Marc, 1923-2016). Man painting the Eiffel Tower, Paris, 1953, gelatin silver print, printed later, signed and dated (1953) by the photographer in black ink to lower margin, [photographer’s address ink stamp to verso], 35 x 24cm (14.25 x 9.5ins), framed and glazed, Beetles & Huxley exhibition label to frame verso (1)
£3000-4000
58
257* South Africa. A group of 18 mostly albumen prints of Zulu warriors and women, late 19th and early 20th century, some with photographer George Washington Wilson or Barnett identified in the negative, various sizes, 12 individually framed and glazed and 6 mounted and framed together, plus 4 matching framed postcard-size photographs including 3 of Hawaiian women (17) £150-200
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258* Spain & Portugal. A group of over 30 albumen prints of Spain and Portugal, circa 1880s, including views of Madrid, Lisbon, etc., many by J. Laurent, plus some of bullfighters, various sizes including large format, both loose and mounted to contemporary album mounts
260* Sutcliffe (Frank Meadow, 1853-1941). The Dock End, Whitby, (from the Railway Station), 1880, contemporary carbon print on card, signed in pencil ‘F.M. Sutcliffe’ lower right, 240 x 290mm
(approx. 30)
(1)
£150-200
259* Spain. A group of 20 large-format brown-toned silver prints by Otto Wunderlich (1886-1975), circa 1930s, including views in Toledo, Segovia, Grenada, Avila, etc., mostly with photographer’s ink name stamp and pencil negative number and title to versos, 29 x 39cm and the reverse (20)
£300-500
261* Sutcliffe (Frank Meadow, 1853-1941). ‘A January Morning’, circa 1880s, carbon print, a waterfront scene with morning sunlight glistening on the sea, a street light in the foreground with two figures and a dog in the background, signed by the photographer in pencil lower right ‘F.M. Sutcliffe’, indistinct negative number lower left, visible image 23 x 28cm, original frame, glazed, F.M. Sutcliffe, Whitby, printed label to verso, inscribed ‘A January morn[ing]. Vandyke Brown’
£100-150
(1)
59
£500-800
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263 Transandine Railway. A pair of photograph albums containing approximately 135 window-monted vintage gelatin silver print photographs relating to the construction of the railway from Buenos Aires on the Atlantic Ocean to Valparaiso on the Pacific Ocean, circa 1905-10, including overground and underground mining scenes, mostly 11 x 15cm, mounts neatly ink captioned in English throughout, contemporary cloth, rubbed and a little frayed, folio/oblong 8vo (2)
£200-300
262 Tamamura (Kozabura). A Japanese photograph album containing 36 hand-coloured albumen print photographs, late 19th century, including temples, views, a street scene (Osaka Street), geishas and tea ceremonies, a street brushes seller, textiles seller, tea pickers and a group of two young children with babies in papooses, many with captions in the negative, each 24 x 19cm, mounted back to back on stiff card leaves with tissue-guards present, album complete, all edges gilt, contemporary Japanese lacquered boards with birds and blossom designs to covers, leather backstrip (rubbed) detached but present, oblong folio and contained in original pictorial cloth book box, rubbed and marked and split on folds (1)
£500-800
264* Twentieth-Century Photography. A group of over 40 20thcentury photographs, subjects include nudes, fashion, industrial, news and colour work, plus a group of 1950s’ prints of Wiltshire towns, various sizes including large format (approx. 40)
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£100-150
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265* USA & Canada. A group of over 50 albumen prints, late 19th century, including views of Saratoga, New York, Washington, Boston, Philadelphia and the Canadian Pacific Railroad, images 24.5 x 18.5cm and smaller, mounted as multiples to both sides of 20 contemporary album leaves (approx. 50)
£150-200
267* Wynfield (David Wilkie, 1837-1887 ). Portrait of William Gale (1823-1909), circa 1864, albumen print, head and shoulders, 21 x 16cm, original card mount with printed facsimile signature mounted beneath, mount spotted and soiled (1)
£200-300
268* Carl Zeiss-Ikon camera. A Zeiss-Ikon Contarex Electronic camera, early 1970s, 35mm SLR black camera body with interchangeable film back, in leather case with Carl Zeiss Planar 50mm f/2 chrome lens, extra Zeiss interchangeable film back in leather case with room for extra lenses, original Zeiss B56 UV filter, Zeiss 20.1634 angle view finder, Voigtlander 93/184 rangefinder and felt base plate protector, camera serial number R55502, very slight paint loss to camera body in places, overall in good condition Untested but was in good working order 2-3 years ago when last used, lens is free from scratches and fungus. The ‘Electronic’ model was a cutting edge design and their last model before manufacture ceased in 1975. Introduced in 1968 and based on the chassis and layout of the ‘Super’, it featured the world’s first electronically governed shutter. Only 3100 were produced. Generally, cutting-edge designs have flaws in their initial designs and the Electronic was no exception. The flaw was that the power for the light meter and shutter were both drawn from the same battery. This was rectified in a running design change with no fanfare by introducing a second battery compartment. This improved version with two power sources ran from serial number R55001 through R57000. The serial number of this camera is R55502, which identifies it as an improved version from the original model. (6) £250-350
266* Wynfield (David Wilkie, 1837-1887 ). Portrait of John Evan Hodgson (1831-1895), 1863, albumen print, head and shoulders, 19 x 15cm, original card mount with printed facsimile signature mounted beneath, some spotting and soiling to mount
269* Carl Zeiss-Ikon. A Zeiss-Ikon Contarex 250mm f4 lens, early 1970s, Sonnar ‘Olympic’ black telephoto lens complete with original front and rear caps, hood and leather case, serial number 3671701, all in good condition
(1)
Untested but was in good working order 2-3 years ago when last used, lens is free from scratches and fungus. (1) £250-350
£200-300
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270* Zeiss Advertising sign. A rare German pre-war 1930s enamel shop sign for Carl Zeiss binoculars, black on yellow with large pair of binoculars, 81 x 75cm (1)
274* Carl Zeiss Monocular. A Carl Zeiss 8x30B prismatic monocular, serial number 637899, complete with leather case, all in excellent condition presenting a clear optical image, length 113mm, width 65mm, depth 48mm
£800-1200
(1)
271* Carl Zeiss-Ikon Contarex 35mm f4 lens. A Carl Zeiss-Ikon Contarex Distagon 35mm f/4 chrome wide angle lens, early 1970s, complete with original front lens cap, leather case and lens hood (with leather case), serial number 3258340, all in good condition, untested but was in good working order 2-3 years ago when last used, optics are free from scratches and fungus (1)
275* Cameras and accessories. An assorted collection of bygone cameras and accessories, etc., including an Olympus OM-1 camera with 35mm lens, a Tamron 70/210mm zoom lens, plus 3 sets of wooden bellows for field cameras, some darkroom equipment, a Selphy CP530 compact photo printer in original box, an Ealing Studio red and green light recording alert box, etc.
£150-250
(3 cartons)
272* Carl Zeiss-Ikon Contarex 85mm f2 lens. A Carl Zeiss-Ikon Contarex Sonnar 85mm f/2 chrome portrait lens, early 1970s, complete with front and rear lens caps and lens hood, serial number 3287273, all in good condition, untested but was in good working order 2-3 years ago when last used, optics are free from scratches and fungus (2)
£100-200
276* Stereoscopic Viewer. A French mahogany cased table-top stereoscopic viewer, circa 1900, of square form and bearing the label 'Le Taxiphote Stereo-Classeur Distributeur Automatique Brevete SGDG', height 27cm, together with a Richard, French mahogany and brass cased Verascope, early 20th century, bears label 'Verascope Richard, rue Halevy, 10 & rue Meyerbeer, 7. Usine: 25, rue Melingue, Paris', both with bygone electric cables, plugs removed, plus a quantity of approximately 1,000 diapositive stereoscopic glass slides, mostly British and European views and scenes, circa 1920s, some titled and dated on the slide, contained in contemporary slide boxes with a small group of approximately 50 stereoscopic negative glass slides
£200-300
273* Carl Zeiss filters. A collection of Carl Zeiss and Zeiss-Ikon optical B56 filters, including Zeiss-Ikon Contapol B56 (x3) circular polarising filter, Zeiss-Ikon B56 (x8) 314 red filter, Zeiss-Ikon B56 (x3) green filter, Carl Zeiss B56 Proxar (f=0.2 m) close-up filter, Carl Zeiss B56 Proxar (f=0.35m) close-up filter, Carl Zeiss B56 Proxar (f=0.5m) close-up filter and Carl Zeiss B56 Proxar (f=1m) close-up filter, all in good condition and stored in plastic protective cases (7)
£80-120
(2 cartons)
£70-100
£200-300
277* Magic Lanterns. A group of 3 brass and japanned metal magic lanterns, circa 1900, two with electrical fittings and one Optimus lantern by Perkens, Son & Rayment, each approximately 40cm length (3)
Lot 270 62
£100-150
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17TH-19TH CENTURY PAINTINGS & WATERCOLOURS
278* Allan (Robert Weir, 1852-1942). The Rectory Garden, watercolour on paper, indistinctly signed lower left, 173 x 242mm (6.75 x 9.5ins) mount aperture, mount with wash ruled border and artist’s name to lower margin, framed and glazed (1)
£150-200
Lot 280
279* Anderson (Will, active 1880-1895). By the Garden Gate, watercolour on paper, signed lower left, Reid Gallery, Surrey label to verso, 16.5 x 25cm (6.5 x 10ins), framed and glazed, together with Rich (Alfred William, 1856-1921), Morecambe Bay, 1897, watercolour on paper, signed, titled and dated lower right, 20 x 29cm (8 x 11.5ins), framed and glazed (2)
£100-150
281* Ayling (Albert William, 1829-1905). Still life of fruit, 1852, watercolour, showing two baskets on a woven reed mat, filled with grapes, peaches, plums, and vine leaves, signed and dated lower right, 45 x 58cm (17.75 x 22.75ins), gilt moulded frame, glazed
280* Anderson (Lillian, early 20th century). A predecessor to Jock, 1904, oil on canvas portrait of a Cairn terrier, hand-written label to verso “By my Aunt Lillian Anderson, a predecessor to her dog Jock, of a similar breed who lived to the great age of 17 and died at Malahide, Co. Dublin, Sept. 1904”, 356 x 304mm (14 x 12ins), framed (1)
Albert William Ayling was brought up on Guernsey where he was a pupil of P.J. Naftel. He lived in London and Chester before moving to Liverpool in about 1883 and Conway in 1886. He exhibited at the Royal Academy (185392), Royal Society of British Artists and New Watercolour Society. (1) £100-150
£100-150
63
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Lot 282
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Lot 282 282* English School. The Annunciation, circa 1890, a pair of large arched oil paintings on canvas depicting the Angel Gabriel and the Virgin Mary (facing each other), canvas stamped G. Rowley & Co., London, to verso, some marks and surface scratches, each 182 x 122cm (71.75 x 48ins), unframed Provenance: Prinknash Abbey, Gloucestershire. A pair of large-scale church paintings in the Arts & Crafts or Gothic Revival style. (2) ÂŁ1000-1500
65
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Lot 283
Lot 284 66
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Lot 285
283* Constant (Jean Joseph Benjamin, 1845-1902). Brittany peasants, watercolour and bodycolour on pale blue paper, 286 x 431mm (11.25 x 17ins), framed and glazed, with label of Seiferheld and Co., 158 East 64 Street, New York to verso (1)
£200-300
284* Creswick (Thomas, 1811-1869). Falls on the Tummel River, Perthshire, fine oval oil on board, signed with monogram, inscribed with title to verso, 23 x 16.5cm (9 x 6.5ins), framed, original printed label of Charles Roberson, Artists’ Colour Makers and remains of early exhibition label to verso The scene depicts the falls of the River Tummel, near Pitlochry in Scotland. A larger version on canvas of the same subject is held at the Victoria & Albert Museum, London, and was exhibited at the Royal Academy in 1844. (1) £200-300
285* Dandie (Mary, 19th century). Scottish landscape with castle, 1863, large-scale watercolour, showing a group of cattle and two figures (one on horseback), on the banks of a loch, with a fortress and mountains behind, signed and dated lower left, 66.5 x 98cm (26.25 x 38.5ins). framed and glazed (1)
£300-500
67
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Lot 286 286* De Morgan (Evelyn, 1855-1919). Preparatory study of a female head, for The Captives, coloured chalks and pastel on buff paper, head and shoulders portrait in profile turned to the left, of a maiden clutching her head and gazing downward, visible sheet size 30 x 22cm (11.75 x 8.75ins), image size 18 x 19cm (7 x 7.5ins), mounted, framed and glazed Provenance: English private collection formed circa 1950-1970, thence by descent. The present work is a study for the right hand figure in ‘The Captives’, held by The De Morgan Foundation, which shows five classically draped female figures in attitudes of fear amongst writhing dragons. The painting seems to give a message of worldly danger, both physical and spiritual, particularly for women, and the need to resist. This study is a typical example of Evelyn’s careful preparatory work, showing an accurate delineation of limbs and attitude, and exquisitely drawn features. (1) £2000-3000
68
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Lot 287 287* De Morgan (Evelyn, 1855-1919). Preparatory study of a male head, for Saint Christina Giving her Father’s Jewels to the Poor, Florence, 1904, coloured chalks and pastel on buff paper, head portrait in profile turned to the right, of an elderly blind man with a grey beard and long hair, his face turned heavenward, visible sheet size 30 x 20cm (11.75 x 8ins), image size 18.5 x 17.5cm (7.25 x 7ins), mounted, framed and glazed Provenance: English private collection formed circa 1950-1970, thence by descent. The present work is a study for the supplicating male figure in the boat on the left of Evelyn de Morgan’s impressive oil painting ‘Saint Christina Giving her Father’s Jewels to the Poor’. The work was painted in Italy, and brought over from Florence shortly before the outbreak of war in 1914. In 1919 it was purchased by her sister and biographer, Mrs. Stirling, from a sale of Evelyn’s paintings held in aid of St. Dunstan’s charity for blinded war veterans. Tragically it was destroyed in October 1991 when a fire raged through Bourlet’s art storage unit in New York where much of the De Morgan Foundation’s art collection was being held. The St. Christina oil is the largest work which Evelyn produced, measuring 77.75 x 120ins, and consequently a large number of studies for it exist. The painting depicts the saint standing on the steps of her pagan father’s Venetian palace distributing to a number of supplicants jewels taken from the idols broken up by attending angels. The format of the work follows in the tradition of large scale Biblical and historical paintings, and its subject - spiritual enlightenment through casting off wealth - was one that particularly interested the artist. The martyred St. Christina not only embodied the virtues of poverty and charity, but also showed herself to be a strong woman in the face of opposition, an attribute which must have appealed to the feminist Evelyn. The detailed life studies produced by Evelyn De Morgan for such works typically show a desire for accuracy, with exquisite detail in drapery and figure studies, and beauty of character in her studies of heads; the artist rarely deviated from her initial concepts in the finished composition. (1) £2000-3000
69
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288* De Simone (Antonio, 1851-1907). British destroyer in heavy seas, 1891, watercolour heightened with bodycolour, signed and dated to lower right, 27.5 x 43cm (10.75 x 17ins), mounted, framed and glazed (1)
£200-300
Lot 290
289* Drouin (Gustave, 1822-1884). A group of four small pencil and watercolour drawings of landscapes with figures, circa 1853, four pencil and watercolour studies of figures in landscapes, including children, and others by the coast, on thick ivory paper with decorated embossed border, each signed in pencil, image size 77 x 108mm (3 x 4.25ins) and smaller (4)
£100-150
290* English School. Near Askrig, Yorkshire; Matlock, Derbyshire, & St. Donat’s, Glamorganshire, early 19th century, three grisaille watercolours of picturesque scenery in pen, grey wash and black wash on paper, each titled in pencil to lower margin, possibly by James Bourne (1773-1854), image size 330 x 255mm (13 x 10ins) with margins, matching gilt frames, glazed (3)
£150-200
291* English School. A portrait of a lady, circa 1820-1830s, oil on canvas, depicting a half-length portrait of a fashionable lady wearing a gown with full lace-trimmed sleeves and dropped-pearl jewelled decorations at sleeves and décolletage, relined, 710 x 600mm (28 x 23.5ins), near contemporary gilt frame, with early framers’ label of Alfred J. Muclow, London to verso of stretcher In need of restoration. (1)
Lot 291
£100-200
70
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294* Flower (John, 1793-1861). Leicestershire windmill, watercolour on paper, signed lower left, one or two brown spots, 340 x 250mm (13.5 x 9.75ins), framed and glazed, together with a collection of various 19th and 20th-century watercolours of windmills, including William Tatton Winter, Victor Wyatt Burnand, Frederick Charles Richards, Frederick William Baldwin, C.W. Dale, David James, Albert Thomas Pyle, an early to mid 17th-century pencil, brown and grey wash drawing of a mill and other buildings in Holland, inscribed upper right ‘Muelen tot Huysson’, including a few etchings, nearly all framed and glazed
292* English School. Friends at the stable door, early 20th century, watercolour on paper, indistinctly signed lower edge, 311 x 239mm (12.25 x 9.3ins) mount aperture, framed and glazed (1)
(34)
£300-500
£200-300
293* English School. Farmyard scene, 1877, oil on board, showing two horned cows, a goat, and a pair of chickens, in a farmyard beside a thatched barn, with a landscape vista, overall craquelure, monogrammed ‘JW’ and dated lower left, 35 x 42cm (12 x 16.5ins), birds-eye maple frame (1)
£200-300
295* French School. Portrait of a boy in Persian dress, 1884, black and white chalks on buff paper, signed and dated lower left F. L. Pacher Xmas /84, 490 x 360mm (19.25 x 14.2ins) mount aperture, period oak frame, glazed (1)
71
£150-200
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Lot 296
296* Haanen (Adriana Johanna, 1814-1895). Roses and chrysanthemums resting on a small rock, oil on wood panel, showing white roses and deep pink chrysanthemums lying on a rock on the forest floor, signed lower left, with early manuscript label on verso ‘Flowers, Adriana Hannen, from Amsterdam Exhibition’, and an early label with large printed number ‘J48’, 25.5 x 36cm (10 x 14.25ins), modern frame Dutch artist Adriana Haanen is best known for still life paintings of flowers and fruit which are characterised by their luminosity and meticulous detail. One of the most prominent painters of her time, her works commanded considerable prices. Paintings by her featured in major collections, including that of King Willem II. In 1845 she was made an honorary member of the Koninklijke Academie in Amsterdam and in 1862 was awarded the gold medallion for her painting ‘Juli Rozen’ at the Amsterdam Exhibition of Living Masters, held biennially, where this painting was also shown. (1) £1500-2000
72
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297 Harden (John, 1772-1847). Old Wool Carding Mill, Ambleside, 1841, watercolour on paper laid down on card, inscribed to verso in ink 'Old Wool Carding Mill, Ambleside, part of Rowld. Suarts and Mr Edwd Partidges concerns in 1804 & afterwards - sketch from Nature - presented by John Harden, Fieldhead, to Miss Harrison, 1st March 1841', 14 x 19cm (5.5 x 7.5ins) Irish-born artist John Harden lived at Brathay Hall, near Windermere, for thirty-one years, and then at Field Head House, near Hawkshead. He showed an early aptitude for painting and drawing, and he moved in artistic circles, entertaining a variety of visitors to the Lake District, including Joseph Farington and John Constable. (1) £200-300
299* Hoyoll (Philipp, 1816-1875). Please ma, may I have one, 1865, oval oil on canvas, old gallery label to verso (worn), 31 x 26cm (12.15 x 10ins), framed and glazed Provenance: Christie’s 12 June 1992, lot 242. Exhibited Royal Society of British Artists, 1865, no 115. (1)
£300-500
298* Holworthy (James, 1781-). Landscape with lime kilns, early 19th century monochrome wash drawing, 226 x 303mm (8.9 x 12ins) mount aperture, framed and glazed (1)
£100-150
300* Hughes (Christopher, 19th century). Still lifes of fruit with butterflies, a pair of watercolours on paper, each signed lower left, each 261 x 356mm (10.25 x 14ins), matching gilt frames, glazed, together with an oil on board depicting a winter scene, signed John Wilson, plus a 19th century watercolour of a coastal scene, framed and glazed (4)
73
£100-150
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301* Ibbetson (Sir John Thomas Selwin, 1787-1869). The Chateau of Count Arco & In the Grounds of Count Arco, near Salzburg, a pair of watercolours on paper, each signed and dated lower corner, depicting the building and grounds of the Anif Palace, each laid onto later mount with manuscript captions, 11.5 x 17cm (4.5 x 6.75ins), framed and glazed (2)
£100-150
304* Linnell (John, 1792-1882). Study of a man, coloured chalks and pencil on grey paper, torn and repaired to upper right, 25.5 x 17cm (10 x 6.75ins) mount aperture, framed and glazed Provenance: Private collection, Gloucestershire. Purchased December 18th-19th 1917 as part of a collection of drawings and studies by John Linnell sold at Redstone Wood, Redhill, Surrey, lots 555-556. Thence by descent (see photocopied manuscript note to verso) (1) £200-400
302* Inchbold (Stanley, 1856-1921). Drying Fishing Nets, Whitby, watercolour on paper, signed lower right, some toning, 267 x 380mm (10.5 x 15ins), period frame, glazed (1)
£70-100
303* India. Ruins at Agra, Uttar Pradesh, India, watercolour on laid paper, apparently by Captain Hissop (or Hislop) according to pencil caption on mount, 210 x 415mm (8.25 x 16.4ins) (1)
305* Attributed to James Thomas Linnell (1820-1905). Study of a woman, charcoal with wash heightened with white chalk, on greengrey paper, 33 x 24.5cm (13 x 9.75ins), framed and glazed
£100-150
(1)
74
£300-400
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306* Marny (Paul, 1829-1914). Continental townscape, panoramic watercolour on paper, 483 x 737mm (19 x 29ins), framed and glazed (1)
ÂŁ200-300
Lot 306
307* McAlpine (William, 19th century). Entrace to Ramsgate Harbour, & A Harbour Scene (possibly Channel Islands), a pair of oils on canvas, 435 x 800mm (17.2 x 31.5ins), matching gilt frames Provenance: Sold Peter Webb Galleries, Auckland, New Zealand, Sale 142, April 1992, lots 346 & 347. Sold Peter Webb Galleries, Auckland, New Zealand, Sale 242, 11-13 December 2001, lots 171 & 172. (2) ÂŁ300-500
308 NO LOT Lot 307 75
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Lot 309 309* Morrell (Harriette Anne, 1843-1924). Painted folding screen, 1911-1913, oil on leather backed with canvas, composed of four arched panels, each depicting a classical landscape with buildings and figures in a painted arched architectural frame, with flowers in an urn above and entwined foliage below, in shades of green, blue, and red, with gold, some wear, flaking, and worm holes (some light restoration), height 208.5cm (82ins), overall width 200cm (78.75ins), with paper label on verso of fourth panel with manuscript inscription within an engraved oval frame: ‘Designed and executed by Harriette Anne Morrell begun in 1911 finished 1913’ Provenance: From the collection of Lady Ottoline Morrell, thence by descent. Exhibited: Memorial exhibition at Black Hall, St. Giles, Oxford, 2nd-14th February 1925. Harriette Anne was the daughter of the Reverend Philip Wynter, President of St John’s College, Oxford and Vice-Chancellor of the University of Oxford. She married Frederick Parker Morrell, and they lived at Black Hall, St. Giles, Oxford. Their second son Philip Edward Morrell married Ottoline Violet Anne Cavendish-Bentinck in 1902. Harriette Morrell kept a small book in which she recorded her work and under 1913 she records: ‘1913 Finished in the early part of this year a tall leather screen - shades of blue flowers on bright red, with four landscapes, Hampton Court, The Silent Pool, Ruins and le Petit Trianon. Philip and Margaret and Freddy [her children] all liked it very much. This screen lives in the drawing-room at Black Hall.’ Listed on p.21 of the memorial exhibition catalogue ‘Harriette Anne Morrell... A Description of Herself and some of her Needlework and Painting Edited by her Son’, published by Basil Blackwell in 1925. (1) £700-1000
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310* Morrell (Harriette, 1843-1924). A collection of approximately fifty watercolour studies and sketches, circa 1890-1910, including English and continental views, particularly Italy, two watercolours of the gypsy fair at Lindfield, West Sussex, 1891, two studies of costumes for Shakespeare’s Othello, still lifes, decorative floral designs for embroidery, a few in pencil, various sizes (275 x 385mm, 10.75 x 15.2ins and smaller), all contained within five various albums, mostly folio (1)
£200-300
312* Neapolitan School. Panoramic view of the harbour, Naples, late 19th/early 20th century, gouache on paper, unsigned, 405 x 617mm (16 x 24.3ins) mount aperture, framed and glazed (1)
311* Neapolitan School. Villa Reale, Naples, circa 1830s, gouache on paper, in the style of Camillo de Vito, sheet size 166 x 214mm (6.5 x 8.4ins), mounted on backing paper, with contemporary ink inscription to lower left corner ‘painted at Naples’, framed and glazed (1)
£200-300
77
£200-300
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313* Orchardson (William Quiller, 1832-1910). Study of two women reading outdoors, watercolour on paper, signed lower left, some overall toning, 225 x 300mm (8.75 x 11.75ins) mount aperture, period gilt frame, glazed, together with a pencil and watercolour study of rocks and water at the foot of a cliff by Louisa Canziani Starr (1845-1909), signed Canziani lower right, 335 x 243mm (13.2 x 9.6ins), framed and glazed (2)
£150-200
314* Payne (William, 1755/60-c.1830). On the Wye, watercolour and black ink on paper, signed within foreground, sheet size 13 x 16.5cm (5 x 6.25ins), framed and glazed (1)
Lot 316
£100-150
315* Roberts (David, 1796-1864). St. Paul's, Antwerp, watercolour over pencil on card, laid down onto card, showing figures in a church interior, sheet size 51.5 x 40.5cm (20.25 x 16ins), later gilt frame, glazed, with labels of Frost & Reed to verso giving the artist's name and title 'St. Paul's' David Roberts was evidently much taken with the church of St. Paul's in Antwerp, painting at least four versions of the view of the main chancel. The artist first visited the city in 1827, but it was not until the autumn of 1845 that he recorded painting the church, writing in a letter to his daughter, Christine Bicknell, that he was working "now upon a magnificent interior. The church of the Dominicans with a Splendid Alter [sic] I think it will be both novel and good". A larger version in oils, painted for Robert Vernon in 1847, is now part of the permanent collection at the Tate Gallery. George Virtue published a steel engraving in the Art Journal in 1850 which matches the present work. (1) £1000-1500
316* Roberts (David, 1796-1864). Fortress in Salamanca, Spain, watercolour on paper with scratching out, overall slight discolouration, sheet size 164 x 126mm, near contemporary gilt mount, framed and glazed (1)
£300-500
317* Rooke (Thomas Matthew, 1842-1942). The Frari, Venice, 1907, watercolour on paper, signed, dated and titled lower right, 37 x 24cm (14.5 x 9.5ins), framed and glazed (1)
£150-200
Lot 317 78
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Lot 315
79
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319* Scott (Alexander, 1872-1932). Nielghery Hills from Ootacamund, India, oil on canvas, signed lower left, 458 x 610mm (18 x 24ins), period frame, with old hand-written label to verso, together with another similar oil on canvas by Alexander Scott of a mountain scene in India, signed lower left, 615 x 465mm (24.25 x 18.25ins), period frame, glazed (2)
£400-600
320* Scott (William Bell, 1811-1890). View of the interior of the Great Hall, Newcastle Castle, 1846, pencil and watercolour, showing a female figure and two children beside a fire in the great hall with armour on the walls, titled in red lower left ‘Hall in the Castle 1846’, and further titled in pencil below image to mount ‘Hall. Norman Castle. Newcastle’, 12 x 17.5cm (4.75 x 6.75ins), framed and glazed Provenance: From an English private collection formed circa 1950-1970, thence by descent. William Bell Scott became head of the Government School of Design in Newcastle upon Tyne in 1843, and he lived in Newcastle until his retirement and return to London in 1864. (1) £200-400
318* Sauzay (Adrien Jacques, 1841-1928). La Laveuse, 1875, oil on canvas, signed and dated lower left, 404 x 293mm (16 x 11.5ins), elaborate gilt moulded frame (1)
£300-500
Lot 319 80
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321* Silhouette Portraits. Gentleman in profile wearing tricorn hat, late 18th century, pen & ink on paper head & shoulders oval portrait, 100 x 75mm, black laquered frame with convex glazing, small hoop hanger at head of frame incorporating cast brass acorn and oak leaf ornamentation, together with Portrait of a lady in profile wearing bonnet, early 19th century, trimmed black paper portrait, with line definition in bodycolour, image 70 x 40mm, mahogany veneer frame, glazed
323* English School. Virgin and Child with infant Saint John in the fields, 1893, large circular oil on canvas, signed with initials 'J D M' and dated lower centre, some flaking and surface deterioration, 600mm (23.5ins) diameter, contemporary gilt frame, glazed, with remains of Aitken Dott & Son labels to verso (1)
The silhouette portraits are understood to be members of the Humphreys family of Holly Place, Hampstead, London. (2) £150-200
322* Smith (Frederica J., active 1860s). Still life of roses and a sparrow, 1869, oval watercolour, showing pink and white dog roses and alkanet, and a dead sparrow beside a mossy bank with ferns, signed and dated to lower margin, 37.5 x 32cm (14.75 x 12.5ins), mounted, framed and glazed
£200-300
324* Steffan (Johann Gottfried, 1815-1905). Gebirgslandschaft mit Bäumen, August 1848, pencil on grey paper, captioned and dated lower left, 376 x 282mm (14.75 x 11.1ins), together with a collection of miscellaneous drawings and sketches, mostly pencil or pen and ink, including one or two watercolour or wash drawings, figure studies, landscapes, various sizes
Frederica Smith exhibited three works, including two watercolours of fruit, at the Royal Society of British Artists, Suffolk Street. She lived in Notting Hill Square. (1) £100-150
(48)
81
£150-200
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325* Varley (Edgar John, 1839-1888). North Mundham Church & Rectory, Sussex, 1867, watercolour on paper, signed and dated lower left, mounted on mount board with cropped caption to lower left and inscribed by the artist to verso ‘North Mundham Church & Rectory, from sketch, with Edgar Varley’s kindest regards to J.G. Holland Esqr., 88 Oakley St., Chelsea, S.W. London, Sept. 1867’, image 82 x 135mm, framed & glazed (1)
£150-250
326* Victorian School. The Artist’s Studio, circa 1860, watercolour on paper, 522 x 713mm x 20.6 x 28.1ins), near contemporary frame, glazed Provenance: Private collection, Bedfordshire. According to the owner, this work may be signed “G.J.Hood” obscurely on the upturned corner of carpet in the left foreground, thus suggesting the artist George Jacomb-Hood (1857-1929). (1) £300-500
Lot 325
Lot 326
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328 Watercolour Album. An early 19th century folio album of watercolours and drawings, compiled by Jane B. Campion, circa 1815-25, containing 32 various watercolours, wash and pencil drawings, including a small unsigned watercolour of Derwentwater, a large watercolour view captioned ‘Lake of Geneva from Nyon’, and inscribed W. Scott below the image, 6 small sepia wash vignette landscapes, 3 botanical watercolour studies by Emily Courthorpe, F. Courthorpe and Emily Skyring, a large watercolour of an English church by a lake, unsigned, a watercolour Rhine view, a large watercolour of the Piazza San Marco, Venice, pencil landscapes including one of Derwentwater Lake by J. Varley, dated 1822, a small pen, ink and wash landscape by Mrs Grey, a view of Rippington, a pencil drawing entitled From Molo di Gusta by G. Brunswell, and others by F. Campion, J. Burgess, etc., plus 21 various prints and engravings, including lithographs of Alowa House by M.C. Johnson, Brambletye House by E. Goring, 5 engraved views of Heidelberg, 5 lithographed English views, including Hotwells and Clifton by F. Nicholson after T. Hulley, a large colour aquatint of Staubbach and the Valley of Lauterbrun, and a colour lithograph of a volcanic island ‘discovered July 12th 1831 between the islands of Goria and Sicily, from an original drawing by M.W. Russell of HMS St. Vincent’, etc., oblong folio (285 x 415 mm, 11.2 x 16.25 ins)
327 Watercolour Album. An album of drawings and watercolours compiled by Emily Frances, Ridley Colborne, 1831, containing thirty-five watercolour and pencil landscapes, and other subjects, including nine watercolours: Castle of Borghett Lake Garda, by Colonel Cockburn, Connington in 1800/Connington in 1838/Connington in 1846, three botanical studies, two unsigned marine views, four sepia wash drawings (including Dover Castle by Colonel Cockburn), one oil on paper, and other pencil studies by Lady E. Steele, J Ridley, Julia Conyers, G. Montgomerie, and a good quality pencil study of shipping by the coast, inscribed Nizza, E. W. C., and dated Aug. 1849, contents partly loose, contemporary giltdecorated maroon fully morocco, some wear and rubbed to edges, 4to (240 x 210mm, 9.5 x 8ins) (1)
(1)
£200-300
83
£300-400
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329 Watercolour Album. An album of watercolour sketches believed to be by Maria Wrottesley (1805-1881), circa 1842-45, containing approximately fifty landscape sketches, interior scenes, still lifes, pet dogs, etc, including views in Dresden, Lüneburg, Schaffenburg, Magdebourg, Brunswick, Holberstadt, and Hamburg, views of Weymouth, Wrottesley, Brighton, Chesham Place and Enfield, and a pencil sketch from life of the artist Peter De Wint (perhaps a tutor to the family?), bound in contemporary half morocco, some wear 298 x 235mm (11.75 x 9.25ins), together with three other related albums of watercolours and drawings by members of the Wrottesley family, including one by Louisa Wrottesley, dated 1819, containing views of houses and buildings, landscapes and shipping at Willey, Ramsgate, Debden, Oaken and Copped Hall, bound in contemporary morocco backed boards, with clasps in working order, 270 x 365mm (10.7 x 14.3ins) another unattributed album containing twenty fine pencil views of the house and estate at Wrottesley Hall, Staffordshire, circa 1810, bound in straight-grained dark blue morocco (230 x 285mm, 9 x 11.25ins), and one other album of sketches at Wrottesley, Knoyle, Loughton (Essex), and elsewhere, possibly by Julia Conyers, Lady Wrottesley, containing approximately thirty-five pencil sketches (4)
330 Watercolour Album. An album of mostly pencil views by Eva Maingay, circa 1847, containing thirty attractive pencil sketches, most heightened with white chalk, including views of Stotzenfells Castle, Darmstadt Hotel, Emms near Lindenbach, Dausenau and Schwalbach, and the remainder mostly views of Guernsey and Sark, including Castle Cornet, Moulin Huet, Havre Gosselin, Port du Moulin and the Cruese, bound in contemporary green half calf, rubbed and scuffed, 190 x 270mm (7.5 x 10.75ins), together with four other early to mid 19th sketchbooks, including one album by Walter H. Wrottesley, circa 1862-63, another album of continental views and studies, a one other album containing a small number of mounted photographs, stamped G. Manley Jun. at front
£300-400
(5)
£200-300
331* Watling (Hamlet, 1818-1908). A small archive of watercolours and drawings, approximately sixty-three watercolours and drawings in pencil or pen & ink, on twenty-two folio card or paper sheets, some mounted, mostly to rectos only, of stained glass, wall paintings, and architectural details of churches, some signed, mostly titled, and some with extensive anotations by the artist, a number relating to images of St. Edmund, on conjoined sheets, with a title-page ‘Ancient Paintings of St. Edmund In painted glass on Screens etc. In the Eastern Counties by H. Watling, Stonham’, sheet size 53.5 x 33cm (21 x 13ins) and smaller, together with a few pencil drawings on tracing paper, all loosely inserted in card folder, spine worn Titles include: ‘Screen and Loft, Sheringham, Norfolk’; ‘Ruins of an ancient little chapel upon a hill E. of Bures village the evident site of the Coronation of St. Edmund (now used as a cattle shed)’; ‘Martyrdom of St. Edmund - A mural painting in the Nave of Stow Bardolph Ch. Norfolk’; ‘Ancient Carving of St. Edmund In the possession of a Gentleman at Ipswich. Actual Size. A.D. 1460’; ‘St Zita, Shorthampton, Oxon’; ‘Curious Mason’s Marks from ye Pillars in Coddenham Church’; ‘N. Window of Chancel Herringfleet Suffolk’. Antiquary, artist and school master Hamlet Watling devoted much of his life to recording church and other antiquities in his native county of Suffolk. He was prolific in output, and although much of his work was never published, there are holdings in public and private collections. He conducted excavations, contributed to learned societies, compiled twelve manuscript tomes of Suffolk heraldry and genealogy, and wrote lengthy weekly columns in the regional press for over forty years. He also became involved in excavations on Roman sites in Suffolk during the 1860s and 1870s. He helped launch the career of Nina Frances Layard (1853-1935), the pioneering archaeologist of Ipswich who became one of the first female Fellows of the Society of Antiquaries of London in the early 1920s. (a folder) £200-300
84
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332* Wildash (Frederick, active 1892). The Old Bull and Bush, Hampstead, oil on canvas, signed lower left, 42 x 56cm (16.5 x 22ins), framed (1)
£300-500
333* After Sir David Wilkie (1785-1841). The Rent Day, early to mid-19th century oil on panel, a copy after the famous work by David Wilkie of 1807, 23 x 33 cm (9 x 13 ins), framed (1)
Lot 331
85
£150-200
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334* Wilkie (Sir David 1785-1841). First sketch for “Peep O Day, Boy’s Cabin”, pen and ink on paper, 15 x 10cm (6 x 4ins), Abbott & Holder label to verso, framed and glazed
336* Wright (Robert William, active 1870-1906). The Flower Seller, 1888, oil on canvas, signed and dated lower right, old stencil to verso of stretcher ‘759 AG’, 485 x 380mm (19 x 15ins), framed and glazed
An initial sketch for the large oil of the same title now held by Tate Britain. (1) £150-200
(1)
£1500-2000
335* Wilkin (Charles, 1750-1814). Portrait of a young Gentleman, head & shoulders oval watercolour portrait on thin bone, lined with card to verso inscribed in pencil ‘by Charles Wilkin’, 57 x 47mm, black laquered framed & glazed, small hoop hanger at head incorporating cast brass bird attachment, together with Portrait of a Gentleman in navy blue coat with brass buttons, circa 1800, head & shoulders oval watercolour portrait on thin bone, paper lining to verso, 69 x 56mm, black laquered frame with convex glass glazing, hoop hanger at head incorporating cast brass acorn & oak leaf attachment (2)
£200-300
86
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Lot 337
337* After Giovanni Bellini (circa 1430-1516). Madonna and Child holding cherries, late 18th century, oil on canvas, relined, 41 x 33cm (16 x 13ins), contemporary gilt frame (1)
ÂŁ300-500
338* Boyle (George, 1826-1899 ). Greenwich Landscape, oil on panel, signed lower left, 304 x 227mm (12 x 9ins), framed (1)
ÂŁ300-500
Lot 338 87
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339* Attributed to Francis Cotes (1726-1770). Portrait of a young lady, oil on canvas, half-length portrait of a dark-haired lady wearing an ivory silk gown, against a swag of reddish-brown drapery, overall craquelure and some expert restoration, 92 x 78cm (36 x 30.75ins), period gilt moulded frame with attribution plate Provenance: Private collection, Monmouthshire. Accompanied by three typed letters signed on headed paper relating to conservation of the painting in 1954, from picture restorer Eric William Goodliffe (1911-1976) to the owner, Mrs. I. Reynolds of Penpergwn Lodge, Abergavenny. Goodliffe lived in Bristol and was a leading restorer in the West of England and Wales. He had a flourishing private practise operating under the trade name Thaumaturgus, and carried out work on numerous country house collections. Goodliffe also worked for a number of institutions, including the National Museum of Wales, National Portrait Gallery and National Library of Wales. His letters to Mrs. Reynolds detail precisely the nature of his restoration work on the painting, and also suggest that the work could be by a pupil of Kneller. (1) ÂŁ2000-3000
88
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340* Creswick (Thomas, 1811-1869). Going fishing, oil on canvas, signed lower right, 306 x 611mm (12 x 24ins), framed (1)
£300-500
341* English School. Portrait of a young lady, circa 1810, oil on canvas, half-length portrait of a young lady with dark brown curls, wearing a high-waisted white muslin gown, with bows at the waist and on the cap sleeves, with a red shawl loosely around her, faint craquelure, 19 x 16.5cm (7.5 x 6.5ins), gilt moulded frame, glazed (1)
342* German School. Portrait of St. Luke reading his gospel, with head of a black bull, 16th century, oil on quarter sawn baltic pine panel, showing St. Luke reading chaper 1 verse 5 of his gospel ‘Fuit in diebus Herodis Regis Judeae sacerdos quidam nomine Zaccharias ...’, 375 x 283mm
£200-300
Provenance: Possibly the sale of the art collection and library of Richard Bull (1721-1805), a well-known antiquarian and collector, Sotheby’s May 1881. Subsequently, Reverend Henry Clark (1785-1862) vicar of Harmston, Lincolnshire. His daughter Susanna Harris (née Clark), wife of the Reverend Joseph Harris (1831-1892). Thence by descent. (1) £500-800
89
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343* Attributed to Robert Griffier (circa 1675- after 1727). Mountainous River Landscape with figures on a ferry, oil on bevelled panel, old cracks professionally repaired to verso with some consequent surface restoration, 166 x 219mm (6.5 x 8.5ins), framed (1)
£1000-1500
344* Anglo-Chinese School. British clipper off the coast of Hong Kong, mid 19th century, oil on canvas, several repaired tears to verso, some surface marks and overall craquelure, 458 x 596mm (18 x 23.5ins), framed (1)
345* Attributed to Solomon Ruisdael (1600-1670). Arcadian landscape with figures and bridge across a river, oil on bevelled wood panel, 307 x 399mm (12 x 15.75ins), modern frame (1)
£150-200
90
£500-800
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346* Attributed to John Warwick Smith (1749-1831). Isle of Barbe, Lyon, France, oil on wood panel, edges bevelled to verso, showing the Isle of Barbe on the River Saône at Lyon, 340 x 410mm (13.4 x 16.1ins), with remains of early 19th century handwritten label to verso, contemporary gilt frame (1)
£200-400
347 English School. The Great Temple of Rameses II at Abu Simbel, circa 1900, oil on canvas, unsigned, relined, contemporary framer's label of Harris & Sons, 70 George Street, Plymouth, to verso, 61 x 81cm (24 x 32ins), contemporary gilt frame, glazed (1)
Lot 346
Lot 347 91
£300-500
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348* Van Spaendonck (Cornelis, 1756-1840). Still Life of a bunch of grapes on a ledge, oil on panel, signed Corneille van Spaendonck lower left, 16.5 x 36cm (6.5 x 14ins), framed The Dutch artist Cornelis van Spaendonck followed his brother Gerard to Paris in 1773 where he established his career as a still life and flower painter. His first exhibition took place in 1779, and he was elected to the AcadĂŠmie des Beaux-Arts in 1789. His popularity continued undiminished after the French Revolution. (1) ÂŁ1500-2000
92
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OLD MASTER PRINTS & DRAWINGS
349* Blake (William, 1757-1827). Head of a girl, 1819, pencil on paper, profile portrait to the right of a young woman with braided hair, sheet size 15.5 x 20cm (6 x 8ins), image size 13 x 11cm (5.25 x 4.25ins), mounted, framed and glazed Provenance: John Varley; William Christian Selle, thence to Selle’s daughter who married H. Buxton Forman, by whom given to William Bell Scott in 1870; Miss Alice Boyd, Penkill Castle, passed 1897 to her niece Miss Eleanor Margaret Courtney-Boyd, passed 1946 to her niece Miss Evelyn May Courtney-Boyd; M.D.E. Clayton-Stamm, 1967; sold Christie’s 15 June 1971, where purchased by the family of the present owner. Butlin, The Paintings and Drawings of William Blake (1981), 692, 79-80. Exhibited at the Tate Gallery, London, from 1969 to 1971. Butlin suggests that this drawing is comparable with the inscribed drawing of Corinna, the Theban poetess (Butlin 708), described by Allan Cunningham as the ‘lovely creature’. (1) £5000-8000
93
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Lot 350
94
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350* Blake (William, 1757-1827). Standing King Holding a Sceptre, a fortified town behind, circa 1819, pencil on wove paper, showing a full-length male figure wearing a crown and holding a staff before the walls of a castle, with colour-notes inscribed ‘Lt. Pl’ on the figure’s robe, ‘gold’ on hem of cloak, and ‘w’ on sleeve and skirt, probably by John Varley, 200 x 155mm (8 x 6ins), framed and double-glazed, with later 20th century handwritten notes in ink on paper attached to verso
351* Cazin (Jean-Charles, 1841-1901). Rue de Village, black chalk on grey paper, signed lower left, 193 x 217mm (7.6 x 8.5ins), framed and glazed, with old French handwritten label to verso, giving details of the sale of this drawing, when it formed part of the Collection Leon Arnoult, Paris, 31st March - 1 April 1938 Provenance: Collection Leon Arnoult, his sale Paris, 31 Mars-1 Avril 1938, Salle 1, Expert: André Schoeller. Private collection, Somerset. (1) £100-150
Provenance: John Varley; William Christian Selle, thence to Selle’s daughter who married H. Buxton Forman, by whom given to William Bell Scott in 1870; Miss Alice Boyd, Penkill Castle, passed 1897 to her niece Miss Eleanor Margaret Courtney-Boyd, passed 1946 to her niece Miss Evelyn May Courtney-Boyd; M.D.E. Clayton-Stamm, 1967; sold Christie’s 15 June 1971, where purchased by the family of the present owner. Butlin, The Paintings and Drawings of William Blake (1981), 692, 73-74. From the small Blake-Varley Sketchbook of 1819, published in facsimile by Martin Butlin in 1971. Exhibited at the Tate Gallery, London, from 1969 to 1971. During 1819 and for some time thereafter, William Blake made a large number of pencil drawings known as Visionary Heads in the company of his friend the landscape painter and astrologer John Varley. Varley was Blake’s close companion from their first meeting in 1819 until Blake’s death in 1827. Of the three sketchbooks used by Blake, the first is known as the smaller Blake-Varley Sketchbook (Butlin 692), the second as the larger Blake-Varley Sketchbook (discovered in 1989), and the folio Blake-Varley Sketchbook (undiscovered, although individual drawings from this album have been identified). Varley had been introduced to Blake by his pupil John Linnell, and the meetings during which the drawings were made took place (according to Alexander Gilchrist, Blake’s first biographer), ‘During the favourable and fitting hours of night; from nine or ten in the evening to one or two, perhaps three and four o’clock in the morning’. Both Blake and Varley were interested in physiognamy, astrology, and the related science of phrenology. Gilchrist describes these visionary séances in some detail: ‘Varley it was who encouraged Blake to take authentic sketches of certain among his most frequent spiritual visitants. The Visionary faculty was so much under control, that, at the wish of a friend, he could summon before his abstracted gaze any of the familiar forms and faces he was asked for. This was during the favourable and befitting hours of night; from nine or ten in the evening, until one or two, or perhaps three and four o’clock, in the morning; Varley sitting by, ‘sometimes slumbering, and sometimes waking’.’ Varley would say, ‘Draw me Moses,’ or David; or would call for a likeness of Julius Caesar, or Cassibellaunus, or Edward the Third, or some other great historical personage. Blake would answer, ‘There he is!’ and paper and pencil being at hand, he would begin drawing with the utmost alacrity and composure, looking up from time to time as though he had a real sitter before him...’(Gilchrist, Life of William Blake, Pictor Ignotus, 1863, page 251). (1) £5000-8000
352 Everdingen (Allart van, 1621-1675). A bound collection of 101 engravings of landscapes, rustic and village scenes, 101 etchings on 50 leaves, mostly 2 to a page, but including 4 whole page and 5 leaves with 3 images each, printed on Dutch laid paper of circa 1750 (bears circular Vryhuyt watermark with the motto pro patria egusque libertate (Churchill 83 or 84), sheet size 323 x 196mm (12.7 x 7.75ins), early 19th century half calf, worn with upper cover detached, folio (1)
Lot 351 95
£300-500
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354* French School. Don Quixote carried away on an ox-cart (illustration to Cervantes’ Don Quixote, chapter 47), probably early to mid 19th century, pen and brown ink and wash on wove paper, heightened with white body-colour, 184 x 238mm (7.25 x 9.4ins), mid 19th century collectors’ marks CD within oval (see Lugt 521b, A. de Clementi 1874-1940) and N within red circle (see Lugt 1953a, G. de Nicola 1879-1926), framed and glazed (1)
353* French School. Head of a man expressing hatred, early to mid 18th century, red chalk on laid paper, with partial watermark of a five pointed star within the base of a vase to left margin, inscribed to lower left in French ‘Le 3 Avril apre 7 ans d’intervale No. 2’, with contemporary inscription in brown ink to head of sheet verso Monsieur Maury, diagonal crease to upper right, sheet size 250 x 185mm (9.8 x 7.3ins), mounted (1)
£200-300
355* Haydon (Benjamin Robert, 1786-1846). Sketch of the Acropolis at Athens, circa 1835-40, pencil on wove paper, heightened with brown ink, 162 x 258mm (6.4 x 10.2ins) mounted aperture, gilt frame, glazed (1)
£150-200
Lot 355
96
£200-300
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356* Hogarth (William, 1697-1764). A Rake's Progress, 1735-1763, the complete set of 8 engravings, on pale cream laid paper, the 3rd state, with various alterations (including the addition of the large half-penny dated 1763 to plate 8, and the added phrase Retouch'd by the Author 1763 at the end of the verses, lower right), good impressions, some light marks and minor waterstain to margins, plate size 355 x 408mm (14 x 1 ins), sheet size 410 x 605mm (18.5 x 23.75ins) Paulson 132-139. (1)
ÂŁ500-800
97
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358* Italian School. Two figures leaning on a balcony looking down, early 17th century, pencil on pale blue paper, 224 x 155mm (8.8 x 6.1ins) mount aperture, framed and glazed (1)
£150-200
359* Kauffman (Angelica, 1741-1807). Religion (after Angelica Kauffman), 1792, fine monochrome silk oval embroidery by Eunice Bagster (nee Birch), a copy of the stipple engraving by Francesco Bartolozzi after the original allegorical drawing by Angelica Kauffman, entitled Religion (published as an engraving 1st October 1783), with the face drawn by Kauffman herself, 280 x 215mm (11 x 8.5ins) mount aperture, contemporary gilt beaded oval frame, glazed (verre eglamise), together with the original Bartolozzi engraving from which the embroidery was copied, similarly framed and glazed (with a further manuscript note to verso by Eunice Bagster) Provenance: Eunice Bagster (1777-1877), wife of Samuel Bagster the publisher and bible printer. Thence by descent to the current owner. A remarkable collaboration between the embroiderer Eunice Bagster and the artist, with the face drawn by Kauffman with miniature precision, and returned to its owner as a gift. An extensive manuscript annotation by Eunice Bagster to verso provides details of the origin of this work: “This needlework imitation of an engraving representing ‘Religion’ drawn by Angelica Kauffman and engraved by Bartolozzi was executed by me when Eunice Birch in the year 1792. When the work was completed it was sent to the artist Angelica Kauffman to paint the face - who complimented the young performer by refusing any other remuneration for so doing than the pleasure she had received in the beauty of the needle-work itself. Eunice Birch married Samuel Bagster on December 19 1797 and now in January 1843 it is given to my beloved daughter Eunice Bagster by her own affectionate mother. Eunice Bagster. It is my particular wish that the needlework and the original engraving from which it was copied should not be separated but that whoever possesses the needle-work should also the engraving”. (2) £1000-1500
357* Hughes (Edward Robert, 1851-1914). Scenes of Medieval Industry, five pen and ink drawings on paper, each initialled lower corner, Julian Hartnoll gallery label to mount, 62 x 116mm (2.5 x 4.5ins) image size, mounted together (5)
£200-300
98
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Lot 359
99
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360* After Sir Peter Lely (1618-1680). Self-portrait, black and coloured chalks on laid paper, heightened with white, apparently a 19th century copy after an original by Lely, some marks and overall toning, oval mount stain, sheet size 370 x 259mm (14.5 x 10.2ins), mounted (1)
£100-150
361* Neoclassical School. Study of a girl’s head in profile with hair tied back, late 18th or early 19th century, oval pencil and pale red fine crayon on laid paper, with watermark WW, image size 270 x 210mm (10.7 x 8.25ins), sheet size 355 x 240mm (14 x 9.5ins), nearcontemporary gilt frame, glazed, with old label of Frederick B. Daniell & Son, 32 Cranbourne Street, Leicester Square, London to verso (1)
£150-200
Lot 360
362* Attributed to François Perrier (1594-1650). Study for The Deificiation of Aeneas, pen & brown ink with brown wash on pale cream laid paper, with traces of red chalk, bearing unidentified early watermark of interlaced Cs enclosed within a shield-shaped foliate border, laid down on early 19th century backing paper (with ruled brown ink border), partial inscription in ink to verso ‘paintre et graveur a l’eau forte - Ecole romaine’, 298 x 367mm (11.75 x 14.5ins), tab-mounted, framed and glazed Provenance: Sold Gorringes, Fine Art & Antiques, 23 March 2016, lot 844. The present work may be a prepatory study (here reversed and differing in composition) for the painting of the same title by François Perrier, sold Christies, London, Old Master Pictures, 9 July 1993, lot 38. (1) £500-800
Lot 361
100
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365 Rossini (Luigi, 1790-1857). Veduta dell'avanzo del fianco del Portico, che circondava la Cella del Tempio di Antonino Pio, in Oggi Dogana di Terra, e Piazza di Pietra, Rome, 1822, etching on laid paper, plate size 400 x 540mm (15.75 x 21.25ins), with margins, framed and glazed, together with Veduta del Gran Sepolcro di Cecilia Metella situato nella Via Appia, Rome, 1822, etching on laid paper, plate size 460 x 625mm (18 x 24.5ins), with margins, black and gilt frame, glazed
363* Piranesi (Giovanni Battista, 1720-1778). Avanzi di una Sala appartenente al Castro Pretorio nella Villa Adriana in Tivoli (from the Vedute di Roma) 1774, etching on heavy laid paper, the first state (of 3), plate size 441 x 576mm (17.3 x 22.7ins), wide margins, antique-style black and gilt wood frame, glazed Hind 112, i/iii. Wilton-Ely 245. Focillon 831. A view of the so-called Hall of the Philosophers (now considered to have been a library) at Hadrian’s Villa, Tivoli. (1) £200-300
(2)
364* Ploos van Amstel (Cornelis, 1726-1798). Marine Landscape off the Dutch Coast, after P. Cooper, 1777, etching with handcolouring on laid paper, 110 x 220mm (4.25 x 8.7ins), with pencil and monochrome wash vignette to verso and faint early inscription, together with Luyken (Jan, 1649-1712), Feldschlacht der Kaiserlichen mit den Franzosen, copper engraving on laid paper, some marks, plate size 270 x 340mm (10.7 x 13.5ins), with narrow margins, mounted on backing card, plus other various Old Master prints & engravings, including an engraving of Christ carried to the tomb, bearing Durer’s monogram AD, and the biblical quotation ‘sicut in adam omnens moriuntur ita et in Christo omnes vivificabuntur’ (not by Durer), an engraving by Marcantonio Raimondi after Raphael, re-issued by Giovanni Giacomo Rossi in 1610, several later impressions of Rembrandt prints, an engraving by Paulus Pontius after Van Dyck, a Bartolozzi stipple engraving after Richard Cosway, a Dighton caricture of Lieutenant-General MacDonald, 1812, etc., various sizes (42)
£200-300
366* Tempesta (Antonio, 1555-1630). Septem Orbis Admiranda ex Antiquitatis..., 1608, etched title page, 225 x 285mm (8.9 x 11.25ins), trimmed to margins, together with a collection of miscellaneous old master and later prints and engravings, mostly 17-19th century, including portraits, illustrations, Hogarth, a signed Blampied lithograph (toned), etc, various sizes (approximately 140)
£200-300
101
£300-400
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367* After Anthony Van Dyck (1599-1641). Portrait of Sir Kenelm Digby, red chalk on laid paper, with arched top, no watermark visible, 211 x 186mm (8.35 x 7.3ins), mounted on 19th century album leaf Provenance: Removed from an album of 19th century wash and pencil drawings, including some by William Turner of Oxford, formerly in the collection of John Reeves (1774-1856), thence by descent. A similar drawing in red chalk of the same subject and with more detail is held by the National Portrait Gallery, London (N.P.G. D20383). This drawing would appear to be based on the engraving of the same portrait by Robert van Voerst, which was published circa 1636. A studio copy of Van Dyck’s portrait hangs at Worcester College, Oxford (formerly Gloucester Hall), of which Digby was an alumnus. (1) £700-1000
102
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368* Leighton (Frederick, 1830-1896). Whispers, 1893, photogravure on chine collé, published January 2nd 1893 by Arthur Tooth & Sons, printed in Berlin, Printseller's Association blind-stamp with code 'BPZ' to lower left corner, signed in pencil lower left, plate size 680 x 445mm (26.75 x 17.5ins), with wide margins, period fluted mahogany frame, with gilt slip, glazed, with label of C. E. Ponsford, Fine Art Dealer, 240 Ballam High Road, London to verso
369* Leighton (Frederick, 1830-1896). Farewell, 1894, photogravure on chine collé, published by Arthur Tooth & Sons, printed in Berlin, Printseller’s Association blind-stamp with code ‘EKF’ to lower left corner, signed in pencil lower left, one or two light horizontal creases to image, plate size 763 x 367 (30 x 14.5ins), period frame, glazed, together with Bacchante, 1892, photogravure, with Printseller’s Association blind-stamp with code ‘AZD’ to lower corner, signed in pencil lower left, plate size 640 x 465mm (25.25 x 18.25ins) with wide margins, period wood frame, glazed, original label of Henry Graves and Company, London to verso, plus one other colour photogravure after Frederick Leighton of Captive Andromache, unsigned 415 x 880mm (16.3 x 34.6ins), period gilt frame, glazed
The original painting was exhibited at the Royal Academy of Arts, London in 1881 (no.585), and is now in a private collection. See British Museum 1947,0211.3. (1) £150-200
(3)
103
£200-300
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371* Anglo-Chinese School. Gold and Silver Honey-suckle, circa 1810, watercolour on paper, captioned in ink in English to lower edge, 38 x 31cm (15 x 12ins), framed and glazed, together with another similar botanical study probably by the same hand, though uncaptioned, framed and glazed
ORIENTAL WORKS OF ART ON PAPER
Possibly the work of a Chinese workshop commissioned by John Reeves F.R.S. (1774-1856). (2) £200-300
370* Anglo-Chinese School. Mandarin official and his wife, late Qing dynasty, 19th century, a pair of gouaches on paper, showing a Mandarin official of the first order in blue robes of court and his wife in matching robes, 27 x 18cm (10.5 x 7ins), framed and glazed (2)
£100-150
372* Anglo-Chinese School. Studies of birds, early 19th century, three watercolours on various watermarked paper (J. Whatman 1816 and M & J Lay 1817), two partially trimmed to image, occasional toning, mark or small worm hole, intact sheet size 476 x 373mm (18.75 x 14.6ins) (3)
£100-150
373* Chinese Export. Bird studies, late Qing dynasty, mid to late 19th century, a pair of watercolours with gouache on pith paper, depicting golden and silver pheasants, 143 x 214mm (5.5 x 8.5ins) mount aperture, near contemporary veneered frames (2)
Lot 371
104
£100-150
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374* Chinese Manuscript. Account of a Daoist religious ceremony, Chongfu Altar, Shanxi Province, Northern China, 12 December 1872, an impressive illuminated manuscript, watercolour and gouache on mulberry paper comprising 204 panels, laid onto heavier paper and bound concertina style, depicting an elaborate Daoist religious ceremony, including a procession of musicians, banner bearers, dignitaries, deities and mythical creatures, and kaigen-kuyo or the ritual of the eye-opening ceremony, the Five Thunder Gods are invoked to dispel demons (the blue figures with flaming red hair), the twelve animals of the zodiac are present representing the blending of religious and secular Chinese beliefs, as well as drawing attention to the importance of the date of the ceremony (the second day of the second division of the second month of winter, in the eleventh year of the reign of Tongzhi, a ren shen year), titled and dated on opening leaves, approximately four leaves heavily stained, generally dust-soiled and with some wear to inner hinges, lacking covers, approximately 36metres (120ft) long, 27cm (10.5ins) high Provenance: Private European collection. An astonishing illustrated manuscript account of a complex ceremony, the present work appears to be in tradition of the manuscript histories of the Yao people, and the blending of Buddhist, Daoist and traditional motifs appears to correspond with the history of the Yao and their migrations across Asia. Whilst the British Library and other institutions in the West, hold collections of Yao manuscripts, we have been unable to locate any comparable document either in terms of length or density of illustration. The date referred to in the title of the text is described as “very auspicious” and it is possible that this document was prepared slightly before this day to serve as an instruction manual for the performing of rituals like the eye-opening ceremony and the exorcism of evil spirits. (1) £4000-6000
105
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377* Anglo-Indian School. Taj Mahal, late 19th century, oval, opaque watercolour and gouache on ivorine, mounted, 8.5 x 13cm (3.5 x 5ins), framed and glazed, together with a 19th century company school watercolour of Taj Mahal on watermarked paper, framed and glazed (2)
£100-150
375* Japanese School. Year of the Rat, mid 19th century, surimono, colour woodblock print on paper, heightened with silver, some minor surface wear, sheet size 202 x 176mm (8 x 7ins), together with another Japanese colour woodblock print (2)
£100-150
378* Anglo-Indian School. Jain High School, circa 1926, pen, ink and watercolour on paper, occasional minor worming, 26 x 38cm (10 x 15ins) mount aperture, framed and glazed The N. G. Navheri Jain High School was built in 1926 in the Gujarati city of Surat and still operates as a school to this day. The present watercolour depicts the facade of the building and was perhaps undertaken by a student to commemerate the opening of the school. (1) £150-200
376* Japanese School. Ancestor portraits, 20th century, a pair of watercolours on silk, one or two small repairs to blank margins, 653 x 319mm (25.75 x 12.6ins), framed and glazed (2)
£70-100
Lot 379
106
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379* Company School. Cockatoo on a branch, circa 1803, watercolour on J. Whatman watermarked paper, laid onto later card, sheet size 35 x 43cm (13.75 x 17ins), framed and glazed An unusual early 19th century watercolour possibly undertaken in or around Singapore. (1) £200-300
380* Company School. Two soldiers, mounted on camelback, with rifles, 19th century, watercolour and gouache on paper, collections stamp to lower right corner, numbered in Arabic script, 228 x 311mm (9 x 12.25ins), mounted (1)
Lot 382
£300-500
381* Indian School. Royal Elephant, 20th century, gouache and watercolour on silk, heightened with gilt, 20 x 24cm (8 x 9.5ins), framed and glazed (1)
£150-200
383* Oudh School. Elderly man in a fur collar and orange cloak, possibly Lucknow, early to mid 19th century, gouache on paper, heightened with gilt, multiple ruled borders, Beirut retailer’s label to verso, image size 15.5 x 10cm (6 x 4ins), framed and glazed, together with a pair of Indian copies of mughal miniatures on recycled manuscript leaves, framed and glazed
382* Kashmir School. Bahram Gur and the dragon, circa 1820, gouache on thin paper, contemporary Persian inscription in black ink to right margin, multiple ruled border, image size 147 x 103mm (5.75 x 4ins), loosely contained within 18th century gilt vellum binding Provenance: Private collection, Oxford. (1)
£150-200
(3)
107
£150-200
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384* Shiraz School A pair of miniature paintings depicting princes at court, probably 18th century, atercolour on pale brown card, heightened with gold, each captioned in manuscript, ruled and floral borders, some dust-soiling and a little rubbing to paint surface, image size 298 x 168mm (11.75 x 6.6ins) and slightly smaller, sheet size 470 x 316mm (18.5 x 12.3ins) and slightly smaller (2)
£1000-1500
385* Rajasthan School. Woman bathing, probably Bikanir or Jaipur, early 19th century, opaque watercolour and gouache on paper, 14.5 x 10cm (5.75 x 4ins), framed and glazed, together with another work possibly by the same artist depicting a woman dancing (2)
£150-200
386* Rajasthan School Dancer with a green bird under a young tree, possibly Udaipur, late 19th/early 20th century, gouache on paper, ruled borders, image size 27 x 16.5cm (10.5 x 6.5ins), sheet size 33.5 x 23cm (13 x 9ins), together with Kangra School, Evening on the terrace, probably Dharamshala, late 19th/early 20th century, gouache on paper, depicting a prince and his consort on a palace terrace overlooking a like with birds in flight and a band of musicians, ruled and decorated borders, German retailer’s label to verso, image size 23 x 17.5cm (9 x 7ins), sheet size 27.5 x 23cm (10.75 x 9ins), plus another Indian miniature painting, possibly Mewar, depicting a tiger hunt Lot 385
Lot 386 108
(3)
£100-150
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MODERN PAINTINGS & WATERCOLOURS
387AR* Ayrton (Michael, 1921-1975). Minotaur Studies, 1965, pencil on paper, Christopher Hull Gallery label to verso, 24 x 34cm (9.5 x 13.3ins), framed and glazed Provenance: Philip Ward-Green collection. Exhibited Christopher Hull Gallery, London, 3-27 October 1984, no. 73. (1) £700-1000
109
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388* Blum (Ludwig, 1891-1974). Street scene, Jerusalem, 1947, oil on canvas, signed and dated lower left, additionally signed and dated in cursive Hebrew lower right, Safrai Gallery label to verso, 35 x 27.6cm (14 x 10.75ins), framed Provenance: Private collection, South West England. Ludwig Blum was born in Moravia (present-day Czech Republic) and emigrated to Palestine in 1923, settling in Jerusalem. He painted the city of Jerusalem in its various aspects, including the streets and alleys of the historic centre, the walls, people and markets and the surrounding landscape, earning him the title “the painter of Jerusalem”. (1) £2000-3000
110
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390* Bunce (Daniel, 20 th century). The Fisherman’s Cottage by Moonlight, 1987, watercolour on paper, heightened with bodycolour, signed and dated lower left, Silk Top Hat gallery label to verso, 464 x 657mm (18.25 x 25.75ins) mount aperture, framed and glazed (1)
£150-200
391* Butterworth (Howard, 20th century). Back of Balmoral, oil on canvas, signed lower left, 456 x 358mm (17.9 x 14ins), framed (1)
£150-200
389AR* Bowen (Denis, 1921-2006). Flying object, 1964, oil on canvas, signed lower right, additionally signed, titled and dated to verso, 760 x 510mm (30 x 20ins), framed Provenance: Sir George Pollock Collection. (1)
£300-500
392* Butterworth (Howard, 20th century). Bridge over a river in a Scottish landscape, oil on board, signed lower right, 246 x 346mm (9.75 x 13.5ins), framed (1)
Lot 390
111
£200-300
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393* Cherkes (Daniel, 1899-1971). Gur i mir, oil on board, 16 x 10cm (6.3 x 4ins), framed (1)
ÂŁ150-200
394AR* Denaro (Melita, 1950-). Bin Doig V, Donegal, oil on wood, Royal Academy of Arts Summer Exhibition 1996 label to verso, 30 x 26cm (12 x 10ins), framed and glazed Melita Denaro studied at the Central School of Art (1975-78) at the Royal Academy Schools (1992-95), and lives and works in Donegal and London. Her oil studies are concentrated on the Isle of Doagh, an island on the Atlantic coast of Ireland. (1)
Lot 393
Lot 394 112
ÂŁ400-600
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396* Dougill (Wesley, 1893-1943). A collection of five sketchbooks, 1919-1921, together five sketchbooks, containing numerous pencil (and some pen & ink) drawings, of buildings and architectural details (many drawn in Rome), plans, interiors, caricatures and cartoons, animal and figure studies, land and seascapes, silhouettes, books variously annotated at front ‘23rd Field Coy. RE, Germany’, ‘British School, Valle Giulia, Rome’, ‘Aysgarth, Wensleydale, Yorks.’, oblong 4to/small 8vo, together with a small archive of ephemera relating to Wesley Dougill, including photographs (some loose, some in albums), printed booklets by him (e.g. ‘The English Village’, ‘The English Coast’, ‘Amsterdam: Its Town Planning Development’, ‘Birmingham Civic Centre Competition’, ‘An Analysis of York’), scrapbooks of cuttings, postcards, certificates (including Associate of the Royal Institute of British Architects, 1919, and Member of the Town Planning Institute, 1935), and letters of condolence to Wesley’s widow Ileene Wesley Dougill was a highly regarded architect and town planner who also taught civic and landscape design. He graduated from the Liverpool School of Architecture in 1922 with a first class honours degree, went on to study for an MA, came second in the Prix de Rome of 1921, and was awarded a silver medal by the Royal Institute of British Architects. He later went back to his old university, taking the dual post of senior lecturer and research fellow. He made extensive researches abroad, was a member of the Town Planning Instiutue for many years, studied and wrote about the English village, and became the recognised authority on English coastal preservation and development. When he died prematurely, at the age of forty-nine, he had just helped to oversee a major and important plan for the redevelopment of London. (a carton) £200-300
395* Dixon-Smith (Captain H. R., 20th century). Portrait of a Wazir Malik, 1932, pencil and pastel on paper, two small paper repairs, titled, signed and dated Waziristan, 23.4.32 to lower edge, Army Officers Art Society exhibition label to verso, 34 x 29cm (13.25 x 11.5ins), mount aperture, framed and glazed (1)
£100-150
397* Dring (William, 1904-). A Game of Bridge, pastel on paper, 38 x 30cm (15 x 12ins), framed and glazed (1)
Lot 396
113
£300-400
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398* Dring (William Dennis, 1904-1990). A Hampshire Farm & Haymaking, circa 1935, a pair of watercolours on paper, 24 x 34cm (9.5 x 13.3ins) and similar, framed and glazed (2)
£200-300
Lot 401
399* English School. At the Agricultural Show, circa 1930s-40s, pen, black ink and watercolour on laid paper, bears initials H.C. in pencil lower right, 225 x 300mm (8.8 x 11.75ins) mount aperture, framed and glazed (1)
£80-120
400 NO LOT 401* Fedden (A. Romilly, 1875-1939). Market Day, watercolour on paper, signed lower right, 44 x 31cm (17.25 x 12.25ins), framed and glazed (1)
£150-200
402* Flynn (Dianne Elizabeth, 1939-). Girl Sewing, & Girl Reading, together two watercolours on paper, each signed upper left and lower right respectively, 235 x 162mm (9.25 x 6.3ins) mount aperture, and similar , matching frames, glazed (2)
£100-150
Lot 402
114
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403* Frost (Terry, 1915-2003). Spirals, pen and ink on blank postcard, signed in ink to lower edge, 14 x 9cm (5.5 x 3.5ins) (1)
£150-200
404* Gibbs (Rosemary, 20th century). Seated man smoking under a tree, watercolour on paper, with traces of pencil, signed lower right, 355 x 290mm (14 x 11.4ins) mount aperture, framed and glazed (1)
£70-100
405* Girolamo (Romeo di, 1939-). Abstract landscape, oil on board, signed lower right, 912 x 1226mm (36 x 48ins), framed
Lot 403
(1)
£100-150
406* Gloucestershire. Arlington Row, Bibury, & Fairford, by Tom MacDonald, together two watercolours over pencil, signed and titled, 34 x 44.5cm (13.5 x 17.5ins) and 34.5 x 52cm (13.5 x 20.5ins) mount aperture, respectively, both framed and glazed (2)
£70-100
407* Hammond (Arthur Henry Knighton, 1875-1970). Sur la plage, Dieppe, watercolour on paper, signed lower right, some overall fading and light paper toning, 442 x 596mm (17.4 x 23.5ins) mount aperture, framed and glazed (1)
Lot 404
115
£300-400
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Lot 408
408* Hughes-Stanton (Herbert Edward Pelham, 1870-1937). Muncaster Fell, Lake District, 1914, watercolour, signed, dated lower left, titled in pencil lower right, 333 x 490mm (13.1 x 19.25ins) mount aperture, framed and glazed, with typed label to verso Provenance: Sold Christie Manson & Woods, Sale of Modern Pictures and Drawings of Charles J.C. Douglas, of Harrogate, 1927. (1) ÂŁ200-300
409* Jeune (Marcel, early 20th century). Head of a young man, 1924, black chalk on paper, signed and dated lower right, 405 x 305mm (16 x 12ins), framed and glazed, together with a black charcoal study of a female nude by M. Fourchlanger, dated March 11 1938, signed, dated and marked 50 min to upper right, 550 x 360mm (21.7 x 14.2ins) mount aperture, framed and glazed (2)
ÂŁ100-150
Lot 409 116
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410 Kirchner (Raphael, 1876-1917). A collection of 175 original illustrations to Le Bandeau by Felicien Champsaur, published Paris, La Renaissance du Livre, [1916], a specially bound copy of the book illustrated by Raphael Kirchner, with 8 colour plates by Chimot, Dardier, Kirchner and De Lambert, plus vignettes by Benedictus, Morin, Orazi and Lorenzi, interleaved with approximately 175 original pen and black ink vignette illustrations by Kirchner for this work,each bound in alongside the relevant page, many with printer's measurements in pencil to margins, some with whiting out, and five related autograph and typewritten letters relating to the book bound in at the front of the volume, including one by the author Champsaur, two from the publisher, one from the Theatre Edouard VII, and one from Joseph Schurmann, each with original envelope, all dated 1918, plus a further portion of manuscript verse in French by Champsaur tipped-in to front endpaper, and the author's cut signature, mounted to preceding leaf, top edge gilt, contemporary three-quarter terracotta crushed morocco (by E. Jarrigeon), spine gilt, a few minor marks to covers, large thick 8vo A unique copy of this frivolous French social satire by Felicien Champsaur, first published in 1916, and promoted as entertainment for the troops in the trenches at the time, with numerous fine original drawings made specially for the book by Raphael Kirchner bound in. (1) ÂŁ2000-3000
117
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Lot 411
Lot 412
118
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411AR* Knight (Dame Laura, 1877-1970). The Rehearsal: Gwen Ffrangcon-Davies and Barry Jackson, circa 1920-1925, black charcoal on heavy cream wove paper, signed with initials and inscribed ‘Barry V J & Gwen’ lower left, 242 x 350mm (9.5 x 13.75ins) mount aperture, period oak frame, glazed Provenance: Private collection, Bedfordshire. The scene appears to depict a rehersal by the theatre director Sir Barry Vincent Jackson, and the famous stage actress Gwen Ffrangcon-Davies, most likely at Birmingham Repertory Theatre where Laura Knight regularly sketched from the 1920s onwards. (1) £400-600
412* Ling (Kam Cheong, 1911-1991). Hong Kong Street Scene, watercolour on paper, signed lower right, 35 x 50cm (14 x 19.75ins) mount aperture, framed and glazed (1)
£300-500
413* Maclagan (Dorothea Frances, 1895-1982). Group of musical putti, 1922, oil on canvas, with a further oil portrait of a bearded gentleman to reverse, inscribed in chalk capitals to reverse ‘Blake Annual Exam 1922’, apparently unsigned, stretcher inscribed with artist’s name in a later hand, 430 x 605mm (17 x 23.8ins), framed and glazed, together with a smaller oil on canvas by the same artist, entitled ‘Dawn’, 305 x 225mm (12 x 8.75ins), framed with artist’s handwritten label to verso (2)
Lot 414
£200-300
414* Michie (James Coutts, 1861-1919). Girl with rabbit, oil on panel, showing a girl seated in a yard wearing a conical hat and feeding a large lop-eared rabbit, vertical crack, signed lower left, 26 x 18cm (10.25 x 7.25ins), gilt moulded frame James Coutts Michie was a Scottish painter who specialised in landscapes and portraits. He studied at the Trustee Academy in Edinburgh, and later in Paris. He travelled widely on the continent and in North Africa before settling in England around 1893. He became an Associate of the Royal Scottish Academy. (1) £500-800
Lot 415
415* Middle East. View of a walled city, Middle East, early 20th century, gouache on paper in antique style, depicting figures arriving near a Middle Eastern walled city with minarets and domes, unsigned, sheet size 245 x 330mm (9.75 x 13ins), framed and glazed (1)
£70-100
119
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416* Moreau-Vauthier (Charles, 1857-1924). Portrait of a young man in red headdress, oil on canvas, laid down on board, signed lower left, peppered worm holes, 395 x 310mm (15.5 x 12.25ins), framed, with old framer’s label of W. Cutler & Son, Bournemouth to verso (1)
417 Morrell (Lady Ottoline, 1873-1938). An archive of newscuttings, photographs, postcards, prints and engravings and other reproductions, compiled by Lady Ottoline Morrell, circa 1920-1935, including photographs and newspaper reproductions of paintings by the Bloomsbury Group, numerous newspaper portraits of artists, celebrities, actors, writers, family members, weddings, and fashionable figures of the day, some historical persons of note, cuttings of topical news and events, and including a photograph of Thomas Hardy in academic dress, five real photo postcards of Benito Mussolini, a St. Dominic’s Press booklet ‘The Law the Lawyers Know About’ (1923), a portrait photograph of Lady Ottoline at Garsington signed Kyrle, circa 1928, colour lithograph cartoons by Max Beerbohm, two large signed photographs of the singer and dancer Tina Meller, a reproduction of Renoir’s Etude du Nu, issued to subscribers of the Bulletin de la Vie Artistique, early 1920s, a signed and inscribed oval portrait of the dancer and choreographer Michio Itow, 1915, a photograph of Stanley Spencer painting (possibly at Burghclere) probably taken by Lady Ottoline, a wood engraving by Clifford Webb ‘Skiing at Arosa’, signed, titled and dated 1931 in ink, all mounted in seven near matching vellumbacked folio albums with colour printed floral patterns to covers of each (with Fox Bookbinder, 5 George Street, London label), rubbed and some marks, 430 x 330mm (17 x 13ins), together with two scrap albums compiled by Lady Ottoline’s daughter Julian Morrell, circa 1924-1928, containing numerous photographs of film stars of the period
£300-500
(9)
120
£300-500
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Lot 418
418* Newlyn School. Raking in the field, oil on canvas, laid onto board, unsigned, some surface marks and light scratches, inscribed to verso of frame in a later hand ‘Albert Verrer [?] Hall 18601920. Newlyn School. Penzance’, 640 x 765mm (25 x 30ins), framed (slight damage to frame) (1)
£300-500
419* Patterson (Keith, 1925-1995). Boats, 1951, gouache, watercolour and black crayon on paper, signed and dated lower right, 415 x 520mm (16.3 x 20.5ins), framed and glazed (1)
£200-300
Lot 419 121
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420* Peschka (Anton Emanuel, 1885-1940). Changing of the Guard (“The Palace Growl”), Vienna, 1909, oil on canvas, depicting a crowd of people watching the changing of the guard at the Hofburg Palace, Vienna, signed and dated lower right, several surface scratches and other minor marks, some light overall discolouration, 856 x 854mm (33.6 x 33.5ins), period ebonised frame (by Franz Rapf, Wolizeile 5/Bäckerstrasse 5, Wien, with his label to reverse), some damage Provenance: Private collection, Hampshire. Anton Peschka studied alongside Egon Schiele at the Akademie in Vienna. In 1909 he was among the 15 founding members of Schiele’s Neukunstgruppe, who were later forced to leave the school after disagreements with their professor. That same year, (also the date of the present work), Schiele painted a portrait of his fellow student (Portrait of the painter Anton Peschka, sold Christies, London 2001). Peschka married Schiele’s sister Gertrude in 1914 and remained a close friend of the artist thoughout his life. This painting will benefit significantly from light cleaning and restoration. (1) £2000-3000
122
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421* Sickert (Walter, 1860-1942). Portrait of Giovanni Boldini, 1890, pen & ink, head and shoulders portrait half turned to the left, signed by Boldini lower right, signed by the artist and dated 1890 upper right, some light toning and one or two marks, manuscript label to backboard "Illustrated 'L'opera completa di Boldini' 1970 page 83", 22 x 17cm (8.75 x 6.5ins), mounted, framed and glazed Italian artist Giovanni Boldini (1842-1931) was a genre and portrait painter who lived and worked in Paris for most of his career. He was known as the "Master of Swish" because of his flowing style of painting, and was described by Sickert as "the nonpareil parent of the wriggle and chiffon school of portraiture." (Walter Richard Sickert, "Wriggle and Chiffon", 'The New Age', 9th June 1910, pp.129/30) (1) ÂŁ1500-2000
123
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422* Pitchforth (Rowland Vivian, 1895-1982). Malta, watercolour on paper, signed lower right, Abbott & Holder label to verso, 29.5 x 46cm (11.5 x 18ins), framed and glazed (1)
425* Spenlove (Frank Spenlove, 1864-1933). Haymaking, oil on panel, unsigned, panel split across lower edge, 15 x 33cm (6 x 8.75ins), framed
£150-200
(1)
£100-150
426 NO LOT
423* Spenlove (Frank Spenlove, 1864-1933). Boats moored in an estuary at dusk, watercolour on paper laid onto card, 172 x 266mm (6.75 x 10.5ins), framed and glazed, together with another watercolour on paper mounted on card (Roberson’s Aquarelle Tablet), depicting a river landscape with castle on the horizon, some marks to surface, 183 x 270mm (7.2 x 10.6ins) (2)
£100-150
424* Spenlove (Frank Spenlove, 1864-1933). Habourside, oil on panel, unsigned, 13 x 22cm (5 x 8.75ins), framed
427* Sulpis (Emile, 1856-1943). Album containing 30 coloured chalk or pastel studies of young women by the seaside, circa 1905-1920, mostly signed and some dated, a few inscribed Riva Bella [near Ouistreham in Normandy], sheet size 210 x 125 mm (8.25 x 4.9 ins) and smaller, all contained in green cloth-bound album, rubbed and soiled with spine missing, and upper cover detached, small oblong 4to (195 x 260 mm), together with a signed etching by the same artist
(1)
(31)
£200-300
124
£300-500
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428* Thornley (William Georges, 1857-1935). Summer landscape in Southern France, pencil and watercolour, showing a sunlit landscape with hills and trees, signed lower right, 26.5 x 36.5cm (10.5 x 14.25ins), framed and glazed William Georges Thornley was a successful artist and lithographer, who embraced the Impressionist movement early in his career, and is known chiefly for his landscapes of the French and Italian Rivieras. (1) £100-150
429AR* Uglow (Euan, 1932-2000). Seated nude, pencil on wove paper, 40 x 37.5cm, framed and glazed Provenance: Private Collection, Wiltshire. Purchased in the late 1970s or early 1980s. An exhibition of Uglow’s drawings was recently held at Marlborough Fine Art, London, 15 January - 1 February 2014. (1) £1000-1500
Lot 428
Lot 429
125
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430* Wain (Louis, 1860-1939). Cat in starched collar, pen and brown ink on pale cream paper, signed below image, and with manuscript caption in the artist’s hand to lower margin in mirror writing “Those with feelings wondrous kind, Can love with Kittens ever bind. Louis Wain”, 155 x 120mm (6.1 x 4.7ins) mount aperture, modern frame, glazed (1)
£400-600
431 Watercolour Album. A large folio album of drawings and some watercolours, mostly 19th century, containing thirty-eight various images, including a sheet of pencil studies of oriental subjects in the style of George Chinnery, a Neapolitan gouache entitled Piemonte, by Giuseppe Pascaie, a pencil sketch of a Hindoo Temple near Allahabad by G Moir, 1841, a pencil vignette view by Anna Faircloth, captioned A View in Nankin, China, various English landscapes, figure studies, etc, various sizes (350 x 260mm, 13.75 x 10.25ins and smaller), 19th century red half morocco, heavily rubbed and some wear, (48 x 30cm, 19 x 15ins) (1)
Lot 431
£200-300
432 NO LOT
126
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REGINALD J. LLOYD (born 1926) Dominic Winter Auctioneers are pleased to have this opportunity to offer a further selection of work from the studio of R.J. Lloyd, particularly some watercolours of the 1950s from his stay in Much Hadham where he met Henry Moore, a near neighbour. Moore was very encouraging on his visits to Lloyd’s studio. After Much Hadham, Lloyd moved to Porthleven in Cornwall. Much of Lloyd’s work is now in private and public collections, notably the V&A, Tate Gallery London, National Maritime Museum, Exeter College Oxford, Oriel College Oxford, Hatton Gallery Newcastle, Lancaster Education Authority, and Burton Art Gallery, Bideford.
433* Lloyd (Reginald J., 1926-). The White Jug, 1950, oil on canvas, signed and dated lower left, 455 x 555mm (18 x 21.75ins), framed, with Hereford City Museum & Art Gallery, R.J. Lloyd Retrospective Exhibition label to verso (1)
£300-400
127
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435* Lloyd (Reginald J., 1926-). Rain, 1953, monotype on watermarked paper, signed and dated in pencil lower left, 248 x 185mm (9.75 x 7.25ins), framed and glazed (1)
434* Lloyd (Reginald J., 1926-). Porthleven, 2012, oil on artist’s board, signed and dated lower right, titled to verso, 305 x 355mm (12 x 14ins), framed (1)
£100-150
436* Lloyd (Reginald J., 1926-). Amwell Maltings, 1951, watercolour with traces of pencil on paper, signed and dated lower right, 255 x 360mm (10 x 14.2ins), framed and glazed
£150-200
(1)
£200-300
437* Lloyd (Reginald J., 1926-). Rectory Sluice Gate, Much Hadham, 1955, pen & black ink and watercolour on heavy wove paper, signed and dated lower right and titled lower left, 285 x 395mm (11.25 x 15.6ins), framed and glazed (1)
Lot 435
128
£200-300
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438* Lloyd (Reginald J., 1926-). Clay Streams, Rosewarne Downs, near Reskirdidick, Camborne, 1950, watercolour on buff paper, signed and dated lower left, 267 x 377mm (10.5 x 14.8ins), framed and glazed
440* Lloyd (Reginald J., 1926-). Rock Gap, 2005, oil on board, signed and dated lower right, 510 x 640mm (20 x 25.2ins), framed
(1)
(1)
£200-250
£200-300
439* Lloyd (Reginald J., 1926-). Figures in landscape, 2013, oil on canvas board, signed and dated lower left, 550 x 530mm (21.75 x 21ins), framed (1)
£200-250
441* Lloyd (Reginald J., 1926-). Black Construction, 1956, monotype and watercolour on paper (with address at top, 15 The Strand, Bideford, N. Devon), signed and dated lower left, 250 x 197mm (9.75 x 7.75ins), framed and glazed (1)
129
£200-300
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444* Lloyd (Reginald J., 1926-). Old Workings, 2011, oil on board, 482 x 738mm (19 x 29ins) mount aperture, framed (1)
£200-300
442* Lloyd (Reginald J., 1926-). Widford Church stile, Herts., 1955, black chalk, grey wash and watercolour, signed and dated lower right, some light spotting, 270 x 365mm (10.5 x 14.25ins) mount aperture, framed and glazed (1)
445* Lloyd (Reginald J., 1926-). Pig, Worms & Hare (illustrations for What is the Truth? by Ted Hughes and R.J. Lloyd), 1982, 3 original monotype drawings (one with text layout) for Ted Hughes & R.J. Lloyd’s What is the Truth? published by Faber & Faber in 1984, each signed and dated 1982, irregular sheet size 260 x 355mm (10.25 x 14ins) and slightly smaller, each framed and glazed, the first two with Hereford City Museum & Art Gallery R.J. Lloyd Retrospective Exhibition label to verso, the third with Shell House Gallery Ledbury R.J. Lloyd and Ted Hughes Exhibition 1997 label to verso
£200-300
(3)
£150-200
446* Lloyd (Reginald J., 1926-). Figures in landscape, 2013, twofold hinged painted screen, oil on canvas, signed and dated, overall size 180 x 145cm (71 x 57ins) (1)
£500-700
447* Lloyd (Reginald J., 1926-). Untitled, 2014, large ceramic plate, with handpainted underglaze design by the artist in black and brown, signed and dated on reverse, diameter 400mm (15.75ins) (1)
448* Lloyd (Reginald J., 1926). Untitled, 2012, ceramic plate, with handpainted underglaze design by the artist in black, signed and dated on reverse, diameter 347mm (13.7ins)
443* Lloyd (Reginald J., 1926-). Coming In, 2011, oil on board, signed and dated, 400 x 500mm (15.75 x 19.75ins), framed (1)
£70-100
£150-200
(1)
£50-80
449* Lloyd (Reginald J., 1926-). Untitled, 2000, slab-built ceramic sculpture with incised wave and spiral forms, cream crackle glaze, incised signature and date to verso, height 240mm (9.5ins), width 305mm (12ins) (1)
Lot 444 130
£50-80
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Lot 446
Lot 447
Lot 448
131
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MODERN PRINTS
450* Arnold (Graham, 1932-). St. George in the Garden of King René, 2002, colour reproduction print, signed, titled and dated in pencil, image size 294 x 505 mm (11.6 x 19.9 ins), with margins, mounted (1)
£70-100
451* Brewster (Martyn, 1952-). Untitled, 1988, two monoprints, each signed and dated, 430 x 785mm (17 x 31ins) mount aperture and similar, matching stained wood framed (by John Jones Frames Ltd., London), glazed (2)
£100-150
452* Desmazieres (Erik, 1948-). Atelier René Tazé III, 1981, etching on thick wove paper, a very good clean impression from the edition of 90, signed, dated, titled and numbered 81/90, plate size 645 x 490mm (25.4 x 19.3ins), with margins, framed and glazed (1)
Lot 452
£200-300
Lot 451 132
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453 Dickson (Jennifer Joan, 1936-). The Trysting Place, Athelhampton, etching with watercolour on paper, signed, titled and numbered 21/30 to lower margin, image size 275 x 411mm (10.9 x 16ins), mount aperture 361 x 489mm (14.25 x 19.25ins), The City Gallery label to verso, framed and glazed (1)
£200-300
Lot 455
454* Evans (Merlyn Oliver, 1910-1973). Cheiromorph - No. 1, 1966, monochrome etching on thick wove paper, signed lower right, titled and numbered Artist’s Proof 2/5, plate size 500 x 600mm (19.7 x 23.6ins), sheet size 730 x 820mm, 28.75 x 32.3 ins, frame and glazed with Redfern Gallery label to verso (1)
£200-300
455* Evans (Merlyn Oliver, 1910-1973). Helmet Mask, 1957, monochrome etching on thick wove paper, signed and dated lower right, titled and numbered 4/50, plate size 735 x 500mm (29 x 19.75ins), modern wood frame, glazed (1)
£200-400
456* Halter (Ardyn, 1956). Swimming into Morni, 1996, colour silkscreen print on thick handmade paper, with circular blindstamp of Advanced Graphics, lower right corner, signed and dated lower right, numbered 65/95 lower left, image size 720 x 797mm (28.3 x 31.4ins), sheet size 875 x 930mm (34.5 x 36.6ins), framed and glazed (1)
Lot 456
£100-150
133
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Lot 458
457 Hirst (Damien, 1965- ). I Want To Spend The Rest Of My Life Everywhere, With Everyone, One to One, Always, Forever, Now, 1st edition, Booth-Clibborn Editions, 1997, signed by the artist in black ink to half-title, numerous colour illustrations, including folding plates, pop-ups, glassine overlays, moveable parts, etc., original red mock leather gilt in dust jacket, large 4to, VG (1)
458*AR Hirst (Damien, 1965- ). Valium, 2000, lambda inkjet print in colours, on glossy Fujicolor Professional Paper, published by Eyestorm, London, in an edition of 500, signed in black felt-tip pen, signed and numbered 105/500 in pencil, 1270 x 1270mm (50 x 50ins), several creases to extremities and surface marks, with original cardboard tube, as issued (rubbed and marked), plus a postcard photograph of the artist signing the print
ÂŁ200-300
(1)
134
ÂŁ2000-3000
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459AR* Hodgkin (Howard, 1932-). After Lunch, 1980, etching and aquatint on handmade paper, printed in an edition of 100, signed with initials, dated and numbered 44/100, sheet size 570 x 766mm (22.5 x 30ins), framed and glazed (1)
ÂŁ1000-1500
135
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461* Keane (John). Economics of Bananas, 1991, colour screenprint, signed, titled, dated, and numbered 6/75, framed and glazed (1)
£100-150
460* Johnson (Ben, 1946-). Pavilion, Seville, 1992, colour print, signed and dated lower right, titled and numbered 50/100, image size 853 x 575mm (33.6 x 22.65ins), sheet size 1020 x 735mm, 40.5 x 29 ins, framed and glazed (1)
£100-150
462* Lamb (Elspeth, 1951-). Milagro, 1990, colour screenprint, signed and dated, titled, and numbered 21/30, sheet size 1070 x 765mm (42.2 x 30.2ins), framed and glazed, with Glasgow Print Studio Gallery label to verso (1)
£150-200
463* Leech (Gwyneth, 1959). Salt Sea Fossil Sea, 1989, colour lithograph, signed and dated lower right, titled and numbered 12/18, image size 482 x 760mm (19 x 30ins), framed and glazed (1)
Lot 461
136
£100-150
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Lot 464
Lot 465
464* Moore (Henry, 1898-1986). Two black forms: Metal Figures, 1973, lithograph on T. H. Saunders handmade paper, printed by Curwen Prints and published by Gerald Cramer, Geneva, 1973, signed, dated and numbered 34/80 in pencil, image size 327 x 260mm (12.9 x 10.25ins), with full margins, framed and glazed Cramer 307. (1)
£300-500
465* Moore (Henry, 1898-1986). Hands, 1947, monochrome photograph of the original watercolour drawing, inscribed by the artist to lower margin ‘For Malcolm Franklin from Henry Moore’, image size 190 x 158mm (7.5 x 6.2ins), framed and glazed, with typed letter from Henry Moore’s secretary Betty Tinsley on headed notepaper, dated 3rd September 1979, pasted to verso (1)
£100-150
466* Moynihan (Rodrigo, 1910-1990). Abstract Composition, colour screenprint on wove paper, signed and numbered 3/100 in pencil to lower margin, image size 230 x 230 mm (9 x 9 ins), sheet size 507 x 352 mm (20 x 13.8 ins), tap mounted (1)
£150-200
Lot 466
137
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467AR* Nash (Paul, 1889-1946). Wood on the Downs, colour offset lithograph on wove paper, published by by W.J. Stacey, London, signed by the artist twice in pencil to lower right (first within the image, second to blank margin), Fine Art Trade Guild blindstamp lower left, image size 410 x 530 mm (16.1 x 20.8 ins), sheet size 480 x 610 mm (19 x 24 ins), framed and glazed (1)
469 Picasso (Pablo, 1881-1973). Los Toreros I-IV, 1961, together 4 lithographs, including one in colour, as issued in Jaime Sabartes, Picasso: Toreros, published by A. Zwemmer & A. Sauret, 1961, the English edition, with numerous colour and monochrome illustrations, contemporary presentation inscription to Robert Gardner-Medwin to front blank, dated February 1963, original decorated red cloth with slipcase (faded and some marks to edges), a few light spots to margins, oblong folio, sheet size 245 x 315mm (9.7 x 12.5ins)
£500-800
(1)
£500-700
470* Picasso (Pablo, 1881-1973). Homme couché et femme assise, photogravure reproduction on watermarked paper, dated in the image 23.8.42, with stamped signature in green lower right, numbered 67/250 lower left in pencil, 410 x 515mm (16 x 20.2ins) mount aperture, framed and glazed (1)
468* Neiland (Brendan, 1941). Lloyd’s, & Skylight, 1981, two colour screenprints, each signed, titled and numbered 94/100 and 5/125 respectively, the second work dated 1981, image size 762 x 508mm (30 x 20ins), matching stained wood frames, glazed, with Thumb Gallery label to verso (2)
£150-200
138
£100-150
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471* Proctor (Patrick, 1936-2003). Untitled (from the South African Suite), 1974, etching with aquatint on wove paper, signed and inscribed Artist’s proof in pencil, plate size 127 x 178 mm (5 x 7 ins), with margins (1)
£100-150
473* Reeves (Philip, 1931-). Venetian Mirror, colour etching on heavy handmade paper, signed, titled and numbered 4/8, plate size 697 x 478mm (27.5 x 18.8ins), sheet size 800 x 558mm, (31.5 x 22ins) (1)
474* Reynolds (Alan, 1926-). August Image-Chrystalline, circa 196263, rayon & linen textile by Edinburgh Weavers after the original design by Alan Reynolds, 610 x 655mm (24 x 25.75ins), framed
472* Ray (Man, 1890-1976). Man on the moon, colour etching, published in an edition of 100, signed and numbered 98/100, plate size 455 x 302mm (17.9 x 11.8ins), framed and glazed (1)
£200-300
Provenance: Sir George Pollock Collection. The original watercolour by Reynolds for this work was sold at auction by Christies: Lot 270, 20th Century British Art, London, 1 March 2006. (1) £200-300
£150-200
139
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475* Rice (Brian, 1936-). The ‘Radials’ Series, six serigraphs by Brian Rice, November 1967, the complete set of six colour screenprints, printed by Peter Lipscombe, Harrow, in an edition of 50, each signed, dated, titled RI, II, III, IV, V & VI respectively, and numbered 8/50, sheet size 368 x 330mm (14.5 x 13ins), loose as issued in printed wrapper Provenance: Sir George Pollock Collection, Bath. (6)
£200-300
476AR* Picasso (Pablo, 1881-1973). Sculpteurs, Modèles et Sculpture (plate 41 from La Suite Vollard), 1933, etching on heavy laid paper, watermarked Picasso, from the edition of 250, signed in pencil lower right, some pale time-staining at the sheet edges below the mount, plate size 193 x 265mm (7.6 x 10. ins), sheet size 338 x 405mm (13.3 x 16ins) Bloch 149. Picasso produced 100 untitled etchings for the Paris art dealer Ambroise Vollard between 1930 and 1937, called The Vollard Suite, the printing of which was completed by Roger Lacouriere in 1939. Owing to Vollard's unexpected death in a car accident in the summer of 1939 their sale and distribution was delayed until after the war, when the edition was acquired by the dealer Henri Petiet. (1) £2500-3500
Lot 475
Lot 476 140
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478 Walker (John, 1939-). Composition with Skull, 1982, colour screenprint, printed in an edition of 75, signed and numbered 44/75, Advanced Graphics blindstamp, 84 x 61cm (33 x 24ins) (1)
477* Toulouse-Lautrec (Henri de, 1864-1901). Eldorado. Aristide Bruant dans son cabaret, colour lithograph printed on linen, probably early 20th century, 330 x 240mm (13 x 9.5ins), framed and glazed, together with five other similar colour lithographic poster designs printed on linen, including Lautrec’s Reine de Joie par Victor Joze, Folies Bergere tous les soirs, Scala, A Fleur de Peau, Revue en 2 actes (by Sem), A La Place Clichy, Lundi 1er Octobre, Nouveautés de la Saison, Magazzini Italiani Napoli, E. & A. Mele & Co., Novita per Signora and Illustrated Pall Mall Budget, New Series, all 330 x 240mm (13 x 9.5ins), framed and glazed (one or two frames broken), plus a later 20th century photographic full-size reproduction of Lautrec’s Divan Japonais, 775 x 600mm (30.5 x 23.5ins), framed and glazed (7)
£200-300
479* Wells (John, 1907-2000). Untitled, 1958, colour lithograph on paper, laid down on card, signed, dated and numbered 6/30 in pencil, image size 320 x 420mm (12.5 x 16.5ins), some surface marks, framed
£200-300
(1)
480 NO LOT 141
£400-600
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20TH CENTURY ETCHINGS FROM A PRIVATE COLLECTION
Lot 481
Lot 482
481* Brangwyn (Frank, 1867-1956 ). The Butcher’s Shop: La Boucherie, Wormwood Scrubs, 1904, etching printed in sepia, a strong dark impression, signed in pencil, plate size 477 x 490mm (18.8 x 19.3ins) with margins, framed and glazed, with old Colnaghi’s label to verso Gaunt 46. (1)
482* Cameron (David Young, 1865-1945). Cathedral Window, etching with drypoint on thin wove paper, signed in pencil, plate size 392 x 282mm (15.5 x 11.1ins) with margins, framed and glazed, together with another signed etching with drypoint by D.Y. Cameron of a panoramic estuary with distant outline of mountains beyond, signed in pencil, plate size 112 x 318mm (4.4 x 12.5ins), framed and glazed
£100-150
(2)
142
£100-150
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Lot 483
Lot 484
483* Farleigh (John, 1900-1965). Cover design for The Adventures of the Black Girl in her search for God, by Bernard Shaw, 1933, wood engraving on japan tissue, signed in pencil lower right, image size 225 x 298mm (8.8 x 11.7ins), framed and glazed (1)
£100-150
484* Haden (Sir Francis Seymour, 1818-1910). Windsor, 1878, etching printed in sepia on wove paper, a proof before letters, signed in pencil lower right, plate size 330 x 445mm (13 x 17.5ins), framed and glazed Schneiderman 186. (1)
£100-150
485* Hoyton (Edward Bouverie, 1900-1988). Baths of Caracalla, Rome, etching on pale cream Van Gelder Zonen laid paper, signed in pencil, plate size 250 x 336mm (9.8 x 13.25ins), framed and glazed (1)
£100-150
Lot 485
143
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486* Nevinson (Christopher Richard Wynne, 1889-1946). Barmouth Estuary, etching and drypoint on pale cream wove paper, signed in pencil lower right, plate size 145 x 194mm (5.7 x 7.6ins), with good margins, framed and glazed, with CCA Galleries label to verso A similar composition in watercolour by Nevinson, titled The Estuary at Barmouth, North Wales, was sold at Christie’s South Kensington on 23rd March 2011, lot 26 (with the composition in reverse). (1) £1500-2000
144
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487* Penn (William Charles, 1877-1968). The Mersey Ferries, 1930, etching with drypoint on heavy wove paper, signed, dated, and titled in pencil, a very good and strong impression, plate size 280 x 450mm (11 x 17.7ins) with margins, framed and glazed (1)
£100-150
Lot 489
488* Rushbury (Henry George, 1889-1968 ). City of Durham, 1934, etching and drypoint on wove paper, from the edition of 75, signed in pencil, plate size 240 x 325mm (9.5 x 12.75ins), framed and glazed Rushbury 74. (1)
£200-300
489* Rushbury (Henry George, 1889-1968 ). St. Martins in the Fields, 1944, etching and drypoint, signed in pencil, 290 x 264mm (11.4 x 10.4ins), framed and glazed (1)
£100-150
490* Strang (Ian R.E., 1886-1952). The Demolition of the Empire Theatre, 1927, etching, a rich dark impression, signed with inscription ‘To David Strang from Ian Strang’, and marked Pattern Proof, aside from the published edition of 75, plate size 341 x 289mm (13.5 x 11.4ins), framed and glazed, with CCA Galleries label to verso (1)
Lot 490
£100-150
145
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19TH & 20TH CENTURY ETCHINGS LITHOGRAPHS & WOODCUTS
491* Strang (Ian R.E., 1886-1952). The Site of Devonshire House, 1925, etching and drypoint on pale cream laid paper, signed, dated, inscribed to David Strang, and marked Pattern Proof by the artist in pencil, additional signature of David Strang imp., plate size 276 x 340mm (10.9 x 13.4ins), framed and glazed with CCA Galleries label to verso (1)
493* Anderson (Stanley, 1884-1966). The National Gallery, 1925, etching on cream wove paper, signed in ink, plate size 224 x 288mm (8.8 x 11.3ins), framed and glazed (1)
£100-150
£300-500
492* Strang (Ian R.E., 1886-1952). Cannon Street Station, from the River Thames, 1923, etching and drypoint, signed, dated, inscribed to David Strang, and marked Trial Proof, additionally signed David Strang imp., plate size 197 x 312mm (7.75 x 12.2ins), with margins, framed and glazed, with CCA Galleries label to verso (1)
£100-150
494* Austin (Robert Sargent, 1895-1973). Woman tethering a goat, 1928-29, engraving on laid paper, from the published edition of 75, signed and dated 1929, numbered 27/75, plate size 140 x 125mm (5.5 x 5ins), sheet size 305 x 217mm (12 x 8.5ins) Dodgson 81 ix/ix. (1)
146
£150-200
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497* Brangwyn (Frank, 1867-1956 ). The Farmyard, etching on wove paper, signed in pencil to lower margin, plate size 221 x 306mm (8.75 x 12ins), framed and glazed (1)
£200-300
495* Bauer (Carl Josef, 1897-1989). Potiphar’s Wife, etching with drypoint on thick wove paper, some spotting, mainly to margins, signed in pencil to lower margin, plate size 275 x 270mm (10.75 x 10.6ins), with margins, together with another colour etching by the same artist, signed in pencil, plus an etching of a female guitarist by Robert Jakob Bock (1896-1943), signed in pencil, plus other similar English and continental etchings, various (10)
£150-200
498* Brangwyn (Frank, 1867-1956 ). Wounded Soldiers, colour woodcut, signed in pencil to lower margin, plate size 154 x 206mm (6 x 8ins), framed and glazed (1)
496* Blampied (Edmund, 1886-1966). ‘Vraicing - Early Morning’, 1936, drypoint etching, on pale cream paper, signed (signature somewhat faded), plate size 210 x 300mm (8.2 x 11.8ins), sheet size 292 x 465mm (11.4 x 18.3ins), framed and glazed Arnold & Appleby 179. (1)
£200-300
147
£200-300
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500* Bresslern-Roth (Norbertine von, 1891-1978). Junger Löwe, 1937, linocut on japan, printed in black, signed and inscribed Handdruck in pencil, image size 170 x 230mm (6.75 x 9ins), sheet size 207 x 260mm (8.2 x 10.25ins) (1)
£300-400
501* Briscoe (Arthur John Trevor, 1873-1943). Command (Third Plate), 1937, etching on laid paper, signed and numbered in ink 26/50, a very good, clean impression, plate size 210 x 350mm (8.25 x 13.75ins), with margins, framed and glazed (unexamined out of frame) (1)
£200-300
499* Brangwyn (Frank, 1867-1956 ). The Zeppelin Raids: The Vow of Vengeance, circa 1915, lithograph on laid paper, signed in pencil, in very good condition, image size 580 x 485mm (22.8 x 19.1ins), with margins, framed and glazed (unexamined out of frame) A signed impression of the poster designed by Brangwyn for the Daily Chronicle, and published in 1916, with the printed text above and below removed. (1) £250-350
502 Flight (Claude, 1881-1955). Lino-Cuts, A hand-book of linoleum cut colour printing, 1st edition, 1927, colour and monochrome illustrations, including an original colour lino-cut by Claude Flight, Crossing the Road, printed from the author’s original baska type blocks in red, cobalt blue and black, some light handling marks, original light grey-brown cloth, with design in red to upper cover, rubbed and some marks, large 8vo (1)
Lot 500
148
£150-200
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503* Frelaut (Jean, 1879-1954). Cour de Ferme, 1925, etching with drypoint on pale cream laid paper, 10th (final) state, signed and numbered 34/40 in pencil, plate size 129 x 178mm (5 x 7ins), together with 5 other etchings by Jean Frelaut: Le Grand Chene de Luscanen (grande planche), 1904, Chapelle de Saint-Ave, Tete de Mendiante, 1921, Le Grand Chene de Luscanen (petit planche) & Fontaine sous un Arbre, each signed in pencil, plate 140 x 180mm (5.5 x 7ins) and a little smaller, all in matching frames, glazed (6)
Lot 505
£200-300
504* Gabain (Ethel, 1883-1950). Sheep on the Downs (Wye, Kent), lithograph on japan paper, one of 25 proofs, signed in pencil, 255 x 355mm (10 x 14ins), framed and glazed (1)
£80-120
505* Gill (Eric, 1882-1940). Animals All, 1916, wood engraving on laid paper, the full sheet, signed in pencil, additionally inscribed with additional early owner’s presentation to verso in ink ‘Bubbie with best Christmas wishes & love from George’, image size 51 x 51mm (2.2 x 2.2ins), sheet size 191 x 123mm (7.5 x 4.8ins) Physick 50. (1)
£200-300
506* Gill (Eric, 1882-1940). Ascension, wood engraving on cream paper, unsigned, plate size 137 x 88mm (5.5 x 3.4ins), framed and glazed Physick 140. One of 490 impressions taken from the original block and included in Douglas Cleverdon’s Engravings of Eric Gill (1929). (1) £70-100
Lot 506 149
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507 Griggs (Frederick Landseer). Campden, Twenty Four Engravings After Pen Drawings, Oxford: Shakespeare Head Press, 1940, halftitle, twenty-four wood-engraved plates after drawings by Griggs, each with letterpress caption, edges roughly trimmed, original black cloth, gilt title to upper cover, rubbed and scuffed, folio (1)
£200-300
508* Griggs (Frederick Landseer, 1876-1938). Meppershall Chapel, 1915, etching on laid paper, one of 30 impressions of the third state, signed in pencil, some light toning, sheet edges with some tears and loss to edges (caused by previous mounting and glue), encroaching particularly to the lower right corner of the image (but with some margin on all sides), plate size 131 x 116mm (5.2 x 4.5ins), sheet size 210 x 185mm (8.3 x 7.2ins), with margins shorter in several places Comstock 13, iii/iii. (1)
£150-200
509* Helleu (Paul Cesar, 1859-1927). Girl with Long Hair, circa 1896, drypoint on laid paper, signed in pencil to lower margin, plate size 42 x 28cm (16.5 x 11ins), framed and glazed (1)
£1000-1500
Lot 507
510* Hermes (Gertrude, 1901-1983). Ring Net Fishers, 1955, colour linocut on wove paper, signed and dated lower right, titled and numbered 45/50, image size 560 x 755mm (22 x 29.75ins), sheet size 675 x 850mm, 26.5 x 33.5 ins, framed and glazed (1)
Lot 508
150
£200-300
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Lot 509
151
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512* Jones (David, 1895-1974). Bride kneeling, copper engraving on thick wove paper, a later impression from the cancelled plate, plate size 175 x 137mm (6.9 x 5.4ins), with margins, framed and glazed, together with two other similar copper engravings by David Jones, similarly printed on thick wove paper, one of a pelican and offspring, plate size 110 x 88mm, the other a small harbour scene tailpiece, plate size 38 x 123mm, and two engraved bookplates by Marie Laurencin and Rex Whistler, framed as one (5)
513* Jongkind (Johan Barthold, 1819-1891). Moulins en Hollande (Rotterdam), 1867, etching on laid paper, plate size 145 x 195 mm (5.7 x 7.7 ins), framed and glazed
511* Holland (Dudley, 1915-1956). Still Life Design II, 1939, colour linocut, signed, dated, titled and numbered 3/25 to lower margin, 315 x 257mm (12.4 x 10.1ins) mount aperture, framed and glazed (1)
ÂŁ200-300
(1)
ÂŁ200-300
Lot 512
ÂŁ150-200
Lot 514
152
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514* Laboureur (Jean Emile, 1877-1943). Le croquis sur le port, 1924, etching on paper, monogrammed in the plate, one of 108 proofs in the 2nd state, signed by the artist in black ink, plate size 99 x 70mm (3.8 x 2.75ins), framed and glazed
516* Lucas (David, 1802-1881). Salisbury Cathedral: Large Plate, 1837, reissued 1896, proof mezzotint on wove paper, re-issued by Henry Graves & Co. Ltd., 1896, without letters, image size 550 x 685mm (21.7 x 27ins), with margins, period black and gilt frame, glazed
(1)
See Shirley 39. (1)
£200-300
515* Lucas (David, 1802-1881). Old Sarum (after John Constable), 1830, mezzotint on india laid paper, a trial proof before letters, before the reduction of the highlights on the shepherd’s crook, and beyond the trunks of the trees to extreme right, image size 140 x 214mm (5.5 x 8.4ins), plate size 185 x 250mm (7.2 x 9.9ins), mounted, together with Spring (after John Constable), 1830, mezzotint on thick wove paper, a later trial proof, with the slight reduction in size, lettered below ‘Spring, Painted by John Constable, R.A. Engraved by David Lucas’, image size 125 x 244mm (5 x 9.6ins), sheet size 282 x 429mm (11.1 x 16.9ins), mounted, plus one other proof after Constable by David Lucas of The Young Waltonians (or Stratford Mill), mezzotint on thick wove paper, without letters, some overall soiling Shirley 8g. (3)
£100-150
517* Martin (John, 1789-1854). The Creation, Death of Abel, The Covenant (from Illustrations to the Bible), 1831-35, The Deluge, & Fall of Nineveh, 5 mezzotints on ivory wove paper, all proof impressions issued by John Martin (prior to the editions published by Charles Tilt in 1838 and 1839), with artist’s address and dates March 21st 1831, September 19th 1831, May 1st 1835, and one undated (without letters), good, strong impressions with contrast, image size 192 x 291mm (7.5 x 11.5ins), plate size 265 x 355mm (10.5 x 14ins), sheet size 270 x 398mm (10.6 x 15.4ins), with margins (principally to left and right sides), a few marks, and stitching holes to lower edge Campbell-Wees 92, 96, 97, 98 & 111. (5)
£150-200
£200-300
518* Mesquita (Samuel Jessuren de, 1868-1944). Fantasy: Elongated Figures and Heads in Profile (Fantasie: langgerekte figuren met aan weerszijden profielkoppen), 1922, etching on cream wove paper, a very good impression, printed with plate tone, signed in pencil lower right, plate size 156 x 300mm (6.2 x 11.8ins), with margins, framed and glazed
Lot 516
Van Es D92. (1)
153
£200-300
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519* Patrick (James McIntosh, 1907-1998). Kyleakin, Isle of Skye, Scotland, 1936, etching, signed in pencil, plate size 150 x 212mm (5.9 x 8.3ins), framed and glazed (1)
£200-300
Lot 521
522 Rimington (Alexander Wallace, 1854-1918). Which Ideals, etching and drypoint, signed and titled in pencil, plate size 270 x 470mm (10.6 x 18.5ins), mounted (1)
£100-150
520* Pissarro (Lucien, 1863-1944). Portrait de Camille Pissarro, circa 1900, colour woodcut on grey laid paper, image size 76 x 76mm (3 x 3ins), sheet size 166 x 122mm (6.5 x 4.4ins) (1)
£100-150
521* Raverat (Gwen, 1885-1957). Grand Ballet, 1934, woodcut on thick wove paper, unsigned, with greetings message from the artist to verso ‘I can’t find anything nice to send you this year - this is only a token to show goodwill - Love & best wishes from Gwen Raverat, my new address is The Old Granary, Silver St, Cambridge, Tel. 56178’, some scattered spotting, image size 89 x 89mm (3.5 x 3.5ins), sheet size 205 x 140mm (8 x 5.5ins) (1)
£200-300
Lot 523
154
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523* Robins (William Palmer, 1882-1959). Shoreham, Sussex, 1925, etching on laid paper, signed and dated lower edge, title and edition to lower margin, plate size 158 x 253mm (6.25 x 10ins), sheet size 217 x 319mm (8.5 x 12.5ins), together with The Hundred-Foot Cut, 1928, etching on wove paper, signed, dated and titled in pencil to lower margin, some scattered spotting, plate size 248 x 363mm (9.75 x 14.3ins), sheet size 311 x 433mm (12.25 x 17ins) (2)
524* Schwemer (Martin, 1894-1986). Untitled (Two Dancers), circa 1920, woodcut on thin japan tissue, a rare signed impression, aside from the unsigned edition published in the periodical Der Schwarze Turm, volume 1, no. 8, March 1920, signed in pencil and numbered 9 to lower margin, some light spotting, and one or two horizontal creases at the top of the sheet, mounted on old card, with two glue spots to top left and right corners, image size 210 x 150mm (8.25 x 5.9ins), sheet size 330 x 267mm (13 x 10.5ins), together with Opfermann (Karl, 1891-1960), Group of old men, woodcut printed on laid paper, image size 309 x 218mm (12.2 x 8.6ins), sheet size 415 x 340mm (16.3 x 13.4ins), plus one other woodcut by the same artist, signed in pencil, some marks and creases
£50-80
(3)
£150-200
525* Strang (William, 1859-1921). Portrait of Thomas Hardy, etching on thin laid paper, the second state (of 3), before the plate was significantly reduced in size, inscribed in pencil by David Strang to lower margin ‘In final state (3rd) the plate had been cut to 6” x 4”. D.S. 2nd state. Wm. Strang fec. D.S.’, plate size 301 x 203 mm (11.8 x 8 ins), sheet size 228 x 330 mm (9 x 13 ins), mounted, together with Rothenstein (William, 1872-1945), Portrait of Hilaire Belloc, lithograph on india paper laid on wove, signed in pencil, some scattered spotting, india paper sheet size 255 x 228 mm (10 x 9 ins), laid down on card (2)
Lot 524 155
£200-300
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526* Strang (William, 1859-1921). The Quay at Syracuse, etching on wove paper, signed and numbered “trial b” to lower margin, plate size 151 x 200mm (6 x 7.9ins), framed and glazed One of three proofs printed by David Strang. (1)
£200-300
528* Todd (Arthur Ralph Middleton, 1891-1966). Jean, drypoint etching on pale cream wove paper, signed in pencil, plate size 187 x 137mm (7.3 x 5.4ins), framed and glazed (1)
£200-300
527* Strudwick (John Melhuish, 1849-1935). Elaine, 1891, photogravure published by the Berlin Photographic Company, London, February 15th 1892, signed by the artist in pencil lower left, image size 528 x 390mm (20.75 x 15.3ins), sheet size 620 x 440mm (24.5 x 17.25ins), framed and glazed
529* Tunnicliffe (Charles Frederick, 1901-1979). Cockatoo, and Long-eared Owl, 2 wood engravings printed from Tunnicliffe’s original blocks by Nicholas McDowall on Zerkhall paper, published in a limited edition of 112 by Gerrish/Larkhall Fine Art, April 2009, sheet size 532 x 380mm (21 x 15ins) and 535 x 380mm (21.1 x 15ins) respectively
(1)
(2)
£150-200
156
£150-200
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532* Ward (Leslie Moffat, 1888-1978). Storm Clouds on a Lakeland River, etching on laid paper, a working proof, aside from the published edition of 50, signed and marked ‘working proof’ in pencil, plate size 275 x 275mm (10.75 x 10.75ins), with margins, mounted, together with Coniston Water, 1952, colour lithograph on laid paper, from the edition of 20, signed, dated, titled and numbered 4 of 20 in pencil, image size 167 x 369mm (6.6 x 14.5ins), sheet size 290 x 495mm (11.5 x 19.5ins), mounted The second work - Coniston Water illustrated in Steve Marshall & Peter Davies, An English Idyll, Leslie Moffat Ward, Paintings and Prints, 2015, page 65. (2) £100-150
530* Tunnicliffe (Charles Frederick, 1901-1979). Gander, and Canadas in Cheshire, 2 wood engravings printed from Tunnicliffe’s original blocks by Nicholas McDowall on Zerkhall paper, published in a limited edition of 112 by Gerrish/Larkhall Fine Art, April 2009, sheet size 432 x 280mm (17 x 11ins) and 535 x 382mm (21 x 15ins) respectively (2)
£150-200
531* Ward (Leslie Moffat, 1888-1978). The Home of the Barges: Rochester: night, 1922, etching, signed and titled in pencil, plate size 227 x 298mm (8.9 x 11.75ins), sheet size 310 x 340mm (12.2 x 13.4ins), mounted, together with Chepstow, 1935, copper engraving on laid paper, watermarked C.A. France, an unsigned proof impression before the additon of the title lower left, plate size 175 x 165mm (6.9 x 6.5ins), with margins, mounted, plus De Lange Jan, Middelburg, circa 1913, etching on cream laid paper, signed in pencil, plate size 175 x 120mm (6.9 x 4.75ins), sheet size 260 x 187mm (10.25 x 7.4ins), mounted (3)
533* Ward (Leslie Moffat, 1888-1978). The Town Clock, 1934, wood engraving on thin laid paper, image size 215 x 163mm (8.5 x 6.4ins), sheet size 310 x 230mm (12.2 x 9ins), mounted, together with The George Hotel, 1934, wood engraving on thin laid paper, unsigned, image size 217 x 203mm (8.5 x 8ins), sheet size 330 x 230mm (13 x 9ins), mounted, plus Hastings, Port of Rye, woodcut on laid paper, unsigned, image size 345 x 263mm (13.5 x 10.3ins), sheet size 440 x 345mm (17.25 x 13.5ins), mounted The Town Clock and The George Hotel both illustrated in Steve Marshall & Peter Davies, An English Idyll, Leslie Moffat Ward, Paintings and Prints, 2015, pages 74 & 73 respectively. (3) £150-200
£150-200
157
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535* Wyllie (William Lionel, 1851-1931). The Forth Bridge, circa 1914, etching with drypoint on pale cream wove paper, signed in pencil lower left, plate size 163 x 378mm (6.4 x 14.9ins), with margins, framed and glazed, together with an etching on india paper, by Edward Burrow entitled Rossall Shore, 1902, signed in pencil lower left, laid down, plate size 170 x 320mm (6.75 x 12.6ins), framed and glazed (2)
534* Ward (Leslie Moffat, 1888-1978). Reverie, 1916, lithograph on wove paper, signed, dated and titled in pencil, image size 340 x 245mm (13.4 x 9.7ins), sheet size 380 x 280mm (15 x 11ins), mounted, together with Twilight After the Storm, 1916, lithograph on wove paper, signed and dated in pencil, image size 235 x 210mm (9.25 x 8.25ins), sheet size 310 x 255mm (12 x 10ins), mounted, plus two other unsigned lithographs by the same artist, both night scenes, one of a shepherd and sheep in front of a ruined abbey, the other of barges unloading at night, both mounted (4)
ÂŁ150-200
536* Zorn (Anders, 1860-1920). Seaward Skerries, 1913, etching on laid paper, signed in pencil, some pale spotting, and several wormholes to left blank margin, plate size 178 x 229mm (7 x 9ins), sheet size 325 x 445mm (12.75 x 17.5ins) (1)
ÂŁ150-200
Lot 535
158
ÂŁ200-300
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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 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 these cards. Debit cards drawn on an overseas bank, however, will be subject to a 2% surcharge. Credit Cards: Visa and Mastercard are accepted, a 2% surcharge will apply. It is a good idea to let your card provider know in advance if you are intending to buy something. This can help cut down the time we need to seek authority when you come to pay. Bank Transfer: All transfers must state the relevant invoice no. 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. 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) 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.
BIDDING Bidding in Person: Customers are asked to pay cash or establish a credit with the Auctioneers prior to the sale. Payment may be made while the sale is in progress: please see the cashier in the auction office. For all other payment arrangements please refer to information at the end of the catalogue. Online Bidding: Live online bidding is available at the-saleroom.com and invaluable.com.
Commission Bids: Commission bids may be submitted for this sale in a number of different ways: T: +44 (0) 1285 860006 F: +44 (0) 1285 862461 E: info@dominicwinter.co.uk Via our website www.dominicwinter.co.uk Please ensure that all commission bids reach us by 9.30am on the morning of sale. Telephone Bids: Telephone bids only accepted for lots with estimated value greater than £300 and should reach us by 9.30am on the morning of sale.
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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 19.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 23.40% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 19.5% and assents to the Auctioneer receiving the said commission. 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.