Dominic Winter by Jamm Design Ltd

Fine Art & Antiques 16 JULY 2015

Dominic Winter SPECIALIST AUCTIONEERS & VALUERS

Lot 247 â&#x20AC;˘ Front Cover: Lot 39

Dominic Winter SPECIALIST AUCTIONEERS AND VALUERS All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom. A buyer’s premium of 19.5% of the hammer price is payable by the buyers of all lots, except those lots asterisked, in which case the buyer’s premium is 23.40% Lots marked with a cross (+) are subject to VAT on the hammer price as well as the premium

OIL PAINTINGS & WATERCOLOURS OLD MASTER PRINTS & DRAWINGS MODERN PRINTS, ETCHINGS & POSTERS Lots 1-325 Followed by

ANTIQUE & MODERN FURNITURE SILVER, CERAMICS, GLASS & JEWELLERY Lots 350-510

Thursday 16 July 2015 Commencing at 11am Viewing Tuesday 14 July, 9am-7pm Wednesday 15 July and morning of sale from 9am Payment may be made while the sale is in progress: please see the cashier in the auction office. Customers are asked to pay cash or establish a credit reference with the Auctioneers prior to the sale. Please ensure that all commission bids reach us by 10am on the morning of sale. Telephone bids only accepted for lots with estimated value greater than £300 and should reach us by 9am on morning of sale Results will be posted on our website immediately after the sale.

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

Fax: 01285 862461 info@dominicwinter.co.uk

For directions on how to find us, please refer to map at rear of this catalogue

Victor Pont (1846-1931). A private family archive of approximately 100 large format platinum prints of India, circa 1880s Estimate ÂŁ2,000-3,000 (to be sold 15 October)

FORTHCOMING SALES IN 2015 Wednesday 16 September

Printed Books, Maps & Documents Opera & History of Music

Wednesday 14 October

Printed Books, Maps & Documents Travel & Exploration, including Australia, Greece & The Levant

Thursday 15 October

Fine Art & Antiques Photography 1850-2000

Friday 16 October

British Etchings & Modern Prints: A Private Collection

Wednesday 11 November

Printed Books, Maps & Documents Natural History, Fishing & Sporting Art

Thursday 12 November

Motoring Literature & Automobilia Early Cycling & Railwayana Clocks & Scientific Instruments

Friday 13 November

Military & Aviation History, Medals, Arms & Militaria Coins, Stamps & Postal History

Friday 13 November

Islamic, Indian & Oriental Arts

Wednesday 9 December

Printed Books, Maps & Documents Science, Medicine & Cookery

Thursday 10 December

Childrenâ&#x20AC;&#x2122;s & Illustrated Books Dolls, Toys & Games Modern First Editions

For further information and consignment advice, please contact the main office or speak to one of our specialists.

Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 Fax: 01285 862461 www.dominicwinter.co.uk info@dominicwinter.co.uk

CONTENTS 19th Century Watercolours Maritime & Military Art Sporting Art Oil Paintings Historical Portraits & Miniatures Sculpture & Reliefs Old Master Prints & Drawings Modern Etchings, Woodcuts & Lithographs Twentieth Century Posters Modern Prints Original Illustrations & Artwork Twentieth Century Watercolours Sue Read Reginald James Lloyd Modern Paintings

1-32 33-43 44-49 50-70 71-92 93-102 103-142 143-185 186-194 195-216 217-228 229-260 261-266 267-277 278-325

Ceramics & Glass Collectables Oriental Works Of Art Textiles Tribal Art Silver & Jewellery Furniture

350-368 369-410 411-432 433-437 438-449 450-468 469-510

IMPORTANT NOTICES All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyerâ&#x20AC;&#x2122;s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with asterisk, in which case the buyerâ&#x20AC;&#x2122;s premium in 19.5%. Artist's Resale Right Law ("Droit de Suite") Lots marked with a (AR) may be subject to Droit de suite. Droit de suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty For the Portion of the Hammer Price (in Euros) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Please refer to the DACS website www.dacs.org.uk for further details.

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

19TH CENTURY WATERCOLOURS All lots unframed unless otherwise stated To commence at 11am

Lot 2

1* Barnett (James D., active 1855-1892). Continental river scene, watercolour, showing a busy river scene with boats and figures, a bridge, a watermill, and other buildings, including a fortress on the hillside (possibly Heidelberg Castle from the Neckar River), signed lower left, 21 x 27.5cm (8.25 x 10.75ins), mounted, framed and glazed (1)

£100-150

2* Birmingham. W. & T. Avery Works at the Soho Foundry, Birmingham, 1919, fine topographical watercolour on paper, showing a birds-eye-view of the factories and buildings, with details of service vehicles, and railway and canal beyond, 81.5 x 112cm (32 x 44 ins) mount aperture, in original purpose-made art deco stained oak frame, with carved company name to pediment, and brass plaque to lower edge, generally in very good condition (1)

£500-800

4* Broad (Sydney M., late 19th-early 20th century). River landscape with cows watering, watercolour, heightened with bodycolour, showing an evening river scene with cattle and farmhouse beyond, signed lower right, 29 x 49.5cm (11.5 x 19.5ins), mounted, together with another similar watercolour by the same artist, showing a river landscape with hills beyond, signed lower left, 29.5 x 50cm (11.75 x 19.75ins), mounted, matching modern gilt frames, glazed

3* Bland (John Francis, 1857-1899). Corfu Fishing Boats, watercolour with traces of pencil on paper, framed and glazed, together with two other 19th century drawings: a view of Aston Hall, Birmingham and a watercolour of a cleric by E. Heller (3)

£70-100

(2)

£150-200

7* English School. Sluice House, New River, 1779, gouache on paper, showing a brick and timber building on the river, with a young boy fishing, accompanied by a dog, and a lady and gentleman on the opposite side of the river, with a traveller on the road behind, and Hornsey Wood House in the distance, slightly rubbed and creased, 13.5 x 18.5cm (5.25 x 7.25ins), attractive veneered frame, glazed, with early manuscript label on verso ‘Sluice House, New River 1779, Hornsey Wood House in the distance’, backboard additionally inscribed ‘B.D. Kershaw Jany 1897’ The Sluice House was situated near to a tavern known as Eel Pie House. Although this stretch of water was popular with London anglers, the eels in the famous pies which gave the tavern its name came from Holland. Hornsey Wood House was a small roadside public house, and the adjacent wood was for a time a theatre for duellists. (1) £200-400

5* Bruckman (Willem Leendert, 1866-1928). Dutch archway with figures, watercolour, showing an elaborately carved and embellished stone archway, with two labourers in clogs carrying a stretcher of goods between them, signed lower right, 49 x 33.5cm (19.25 x 13.25ins), mounted, framed and glazed, two old gallery labels on backboard (1)

£200-400

6* Continental School. Swiss Chalet by the Lake, late 19th century, watercolour on paper, laid down onto later card, 25 x 38.5cm (10 x 15ins) (1)

£70-100

8* Bristol. View of the River Avon, Hanham, 1860, watercolour, showing a river landscape, with boats and figures, cottages and ruins, titled, initialled W.N.H., and dated lower right, 35 x 53.5cm (13.75 x 21ins), mounted, framed and glazed (1)

£200-300

9* English School. A pair of rustic landscapes, two grisaille watercolours, one showing a village with a cluster of cottages, a church, stocks, cart, and figures, lightly spotted, 14 x 20.5cm (5.5 x 8ins), the other a wooded view with cottage and woodcutter seated on a log beside a stream, 16 x 23cm (6.5 x 9ins), each mounted, together with two other monochrome watercolours, one a rustic landscape with figures and cattle watering, 18 x 26cm (7 x 10.25ins), the other a view of London from Lowes Heath, Hampstead, by George Shepherd, 12.5 x 17cm (5 x 6.75ins) tipped onto card, plus an unfinished pencil drawing of fishermen in a boat after P.J. de Loutherbourg, indistinctly signed lower right, mounted on card (5)

11* Manner of Anthony Vandyke Copley, Fielding (1787-1855). Hilly landscape (possibly Lake District) with two figures and cattle, watercolour on paper, signed ‘Copley Fielding 1849’ lower left, 21 x 29.5cm (8.25 x 11.5ins), framed and glazed (1)

£150-200

£200-300

12* Jack (Lieutenant-Colonel Alexander, 1805-1857). Shivneri Fort at Junnar, watercolour on paper, signed lower right, captioned in pencil in slightly later hand to lower margin, short closed tear to left margin (slightly affecting image), 30 x 46cm (12 x 18ins) sheet size Alexander Jack joined the Bengal Native Infantry in 1824 fighting as a brigadier in the Kangra campaign of 1847 and later in the second Sikh War. He became a Lieutenant- Colonel in 1851 and died at Cawnpore in the rising of 1857. He published Six Views of Kot Kangra in 1847, (Abbey, Travel 473). (1) £200-300

10* English School. Gypsy encampment by a waterfall, circa 1830s, watercolour, showing a group of travellers cooking over an open fire, and a mule loaded with panniers, in a wooded grove beside a waterfall, 29.5 x 43.5cm (11.5 x 17ins), mounted, framed, and glazed (1)

£100-150

13* Harraden (Richard Bankes, 1778-1862). Corpus Christi College, Cambridge, watercolour on wove paper, showing the main facade with entrance, and a street scene with begowned figures, street vendors, carriages, etc., titled and signed to lower margin, 34 x 55.5cm (13.5 x 21.75ins), mounted on paper, contemporary oak frame, glazed, with partially obliterated artist’s signature and title on backboard (1)

Lot 15

£400-600

14* Heaps (J. Andrew, late 19th/early 20th century). View of the Thames in London, grisaille watercolour, showing Nicholsons Wharves, with steamers and other shipping, and Tower Bridge in the distance, signed lower right, 22.5 x 39.5cm (9 x 15.5ins), mounted, framed and glazed (1)

£70-100

15 India. Three watercolour sketchbooks of scenes in India, early 20th century, approximately thirty watercolours in three spiralbound Whatman sketchbooks, including views of Madras, Delhi, Dutch Fort at Sadras, The Muirhead’s House, Lahore, and Mysore, most with pencil captions to lower edge or verso, sheet size 18 x 25cm (7 x 10ins) (3)

£200-300

16* Jacquemart (Jules, 1837-1880). Chinese Porcelain, ink and colours on vellum, showing three pieces of 17th century porcelain and a study of arabesque pattern, signed lower right, 22.5 x 17cm (9 x 6.75ins), framed and glazed Provenance: Siegfried Sassoon, from the Roy Davids Collection. (1)

£200-300

17* Mildmay (Caroline St John, 1834-1894). A View in Scotland, unfinished watercolour over pencil on paper, Abbott & Holder label to verso, 20.5 x 45cm (8 x 16ins), framed and glazed (1)

£100-150

20* Neapolitan School. Eruzione de 2. Gennai 1839, gouache on wove paper, circa 1840, some surface marks and short closed tear to upper left margin, sheet size 217 x 335mm (8.5 x 13.25ins) (1)

£150-200

18* After George Morland (1763-1804). Children Fishing, circa 1860s, watercolour on paper, showing a group of children on a riverbank beneath a tree, 41.5 x 35cm (16.25 x 13.5ins), mounted, framed and glazed A mezzotint by Phillip Dawe after George Morland’s original oil painting was published by William Dickinson in 1788. (1) £200-300

21* Pyne (Thomas, 1843-1935). Summer Landscape with women and child seated by a stream, 1912, signed and dated lower left, 165 x 240mm (6.5 x 9.5ins) mount aperture, period gilt frame, glazed (1)

19* After William James Muller (1812-45). Tent of wandering Yurooks, Xanthus, Christmas Day, watercolour on paper, 34 x 50cm (13.5 x 19.5ins), framed and glazed together with another watercolour, attributed to William James Muller showing Turkish fishing boats (2)

£100-150

22* Pyne (Thomas, 1843-1935). Summer Landscape with cows in a field and bridge over a stream, 1910, watercolour, signed and dated lower left, 175 x 245mm (7 x 9.75ins) mount aperture, period gilt frame, glazed

£200-300

(1)

£100-150

23* Rayner (Margaret, 1837-1920). Interior of the Chapel at Haddon Hall, Derbyshire, watercolour and bodycolour, signed to lower left, 24.5 x 32.5cm (9.75 x 12.5ins) (1)

£150-200

24* Redworth (William Josiah, 1873-1947). Richmond Castle, watercolour, signed by artist to lower right, 40.5 x 50.5cm (16 x 20ins), mounted, framed and glazed, with remains of old label to verso Provenance: From the collection of the actor and historian Robert Hardy. (1) £100-150

25* After Thomas Rowlandson (1756-1827). Entrance of Tottenham Court Road Turnpike, with a View of St. James’s Chapel, Views of London No. 3; Entrance from Hackney or Cambridge Heath Turnpike with a Distant View of St. Paul’s, Views of London No. 6, by Sarah Russell Gritton, circa 1809, watercolour on paper, each laid down on card, each showing a chaotic street scene with numerous figures, horses, and vehicles, including milkmaids, ladies and gentlemen, children, stage coaches, dashing and cavorting ponies, an upturned cart with rearing horse, escaped piglets, and a Punch & Judy show, minor glue and paper residue to margins, both 30 x 40cm (11.75 x 16ins), each with early inscription on backing card partially trimmed away, first item mounted, manuscript inscription detailing artist, title, and date to mount

Lot 23

After a series of aquatints by Rowlandson which were published by Ackermann in 1798. (2) £200-300

26* Sachs (John, 19th century). Album of drawings and watercolours, approximately 200 pencil sketches, pen & ink drawings, and watercolours, comprising portraits, animals and birds, landscapes, figure studies, illustrations, buildings, etc., some dated 1840s, various sizes, plus several small photographs from which the artist worked, several items loosely inserted but mostly mounted on album leaves, page block detached and frayed, original half calf, worn and broken, lacking spine, folio John Sachs produced illustrations for the Illustrated London News. This album appears to contain work done in his youth. Loosely inserted is a sheet of manuscript comments in various hands on ‘A Study in Penshurst Park’. The watercolour to which this refers is contained in the album, as is the preparatory pencil sketch for the work. (1) £150-250

Lot 24

Lot 25 Lot 27

27* Smallfield (Philip C., active 1882-1903). The Old Salt, 1894, watercolour, head and shoulders portrait of an old fisherman, wearing an oilskin coat and sou’wester secured with a piece of twine, against the sea and a glowering sky, initialled and dated lower right, some light spotting, 19 x 24.5cm (7.5 x 9.5ins), mounted, framed and glazed

30* Turner (Edward, 19th century). Rural landscape with ruined archway and figures on a path, pen & brown ink on paper, laid down on backing paper with contemporary ink ruled and wash mount, initialled E.T. to wash border lower left, and inscribed to verso ‘May Forbes The gift of E. Turner March 31st and last day’, 150 x 225mm (5.9 x 8.9ins), together with 14 other various pen & ink or pencil drawings, mostly 19th century, but including a few 18th century, including a pencil portrait on paper of the scriptural geologist Granville Penn (1761-1844), with monogram T.S. (autograph signature of the sitter attached to lower corner), a small pencil study of cherubs on laid paper, numbered in ink to top corner, 134, etc., various sizes

Philip Smallfield was a painter of animals and figurative subjects. He exhibited six works at the Royal Academy and two works at the Royal Society of British Artists. (1) £300-500

(15)

£150-200

31* Uren (John Clarkson Isaac, 1845-1932). St. Michael’s Mount, watercolour, showing St. Michael’s Mount at dawn with the tide out and figures on the causeway, with boats and pony cart in the foreground, signed lower right, lightly spotted, 28 x 43.5cm (11 x 17.25ins), framed and glazed Born in Penzance, Uren produced seascapes and coastal studies of Devon and Cornwall. He also worked at Lamorna before the colony of painters was established there. (1) £100-150

28* Stannard (Theresa Sylvester, 1898-1947). An English Garden, watercolour with touches of bodycolour, showing a sundial on a lawn viewed through a rose arch, with stone path and steps, and herbaceous borders, signed lower left, 34.5 x 25cm (13.5 x 10ins), mounted, framed and glazed (1)

£200-300

29* Tarrant (Margaret Winifred, 1888-1959). Studies of a pine marten, pencil and watercolour study of a pine marten, and three small pencil studies, two of its head and one of its foreleg, inscribed in pencil ‘12”-14” including tail’, 16.5 x 23.5cm (6.5 x 9.25ins), mounted, framed and glazed, backboard with printed label relating to Margaret Tarrant and annotated ‘from sketch book circa 1930 purchased from Abbot and Holder 1984’, together with twenty-eight other various 19th and 20th century drawings, watercolours, and prints, some framed (30)

32* Valter (Frederick E., 1850-1930). Cow and sheep resting in a landscape, 1923, pen, brown ink and watercolour, signed and dated lower left, 28 x 22.5cm (11 x 8.8ins) mount aperture, period gilt frame, glazed (1)

£200-400

£100-150

MARITIME & MILITARY ART 33* Cardew (Sidney, 1931-). Cluster of Barges, watercolour, signed lower left, 27 x 36.5cm (10.5 x 14.25ins), framed and glazed (1)

£100-150

36* Fort (Theodore, 1810-1896). Three French cavalry officers riding at a fast gallop, mid 19th century, watercolour on paper, signed ‘Th. Fort’ lower right, 12 x 20.5cm (4.75 x 8ins), framed and glazed (1)

£200-300

37* Follower of Thomas Bush Hardy (1842-1897). Boats in a rough sea off a coastline featuring houses, a lighthouse, further boats and figures, late 19th century, watercolour on paper, unsigned, 17.5 x 37cm (7 x 14.5ins), framed and glazed (1)

£200-300

34* Military drawings. An album of military and other drawings, circa 1860s, approximately seventy-five pen & ink and pencil drawings, a few with watercolour wash, mostly with a military theme, including several of Hougoumont Farm and other scenes of Waterloo, and one referring to the Battle of Navarino, including some humourous cartoons, one dated 1865, and one initialled G.G.W., 18 x 24.5cm (7 x 9.75ins) and smaller, mounted on album leaves (and some loosely inserted), hinges split, original black half morocco, rubbed and slight wear to extremities, 4to (1)

£200-300

38* Knox (William, 1862-1925). H.M. Ship Repulse entering the harbour, 1939, watercolour heightened with bodycolour, signed ‘A.F.D. Bannister’ and dated lower left, captioned ‘Old Portsmouth’ and titled lower right, aperture size 33 x 43cm (13 x 17ins), framed and glazed A.F.D. Bannister is thought to be one of the pseudonyms employed by William Knox who also painted under the name A. D. Bell. See Jeremy Wood, Hidden Talents. (1) £150-200

35* First World War. HMS Lion in Action, Dogger Bank, Jan 24th [19]15, by J.G. Glendinning, oil on canvas, titled and signed in white capital letters lower right, 29 x 60cm (11.5 x 23.5ins), gilt wooden frame A dramatic contemporary naval painting by James Graham Glendinning of the Monmouth Regiment and Royal Flying Corps who died in an aircraft crash from enemy fire in December 1917. (1) £300-500

Lot 39

39* Naive School. The Mary Jonna off Malta Harbour, circa 1820, oil on canvas of an armed British schooner off Valletta harbour, slight craquelure, 51 x 64.5cm (20 x 25.5ins), framed and glazed in a near contemporary stained wood frame Provenance: Private Collection, South Wales. (1)

ÂŁ1000-1500

40* Norie (Orlando, 1832-1901). The Charge of the Light Brigade, the 17th Lancers leading the charge, watercolour on paper heightened with body colour, signed lower edge, 23 x 36cm (9 x 14ins), framed and glazed (1)

£300-400

Lot 40

42* Walters (George Stanfield, 1838-1924 ). Fishing boats coming into harbour, watercolour on paper, 245 x 425mm (9.75 x 16.75ins) mount aperture, framed and glazed (1)

£100-150

41* Walters (George Stanfield, 1838-1924 ). A Winter Morning on the Thames, watercolour on paper, signed lower left, 25 x 41cm (10 x 16ins), framed and glazed (1)

£100-150

43* Watson (Thomas Boswell, 1815-1860). Sailing Vessels in Harbour, pencil on off-white paper, possibly showing harbour in Malaysia or Singapore, numbered 3 in pencil to upper right corner, sheet size 158 x 136mm (6.25 x 5.3ins), framed and glazed, with Spink gallery label to verso and additional type written label stating that this drawing comes from an album of drawings by George Chinnery

Lot 42

(1)

£150-200

SPORTING ART 44* Biegel (Peter, 1913-1987). Four Dachshunds, 1964, oil on canvas, signed and dated ‘64 lower right, 51 x 61cm (20 x 24ins) (1)

£300-500

45* Clowes (Henry, 1799-1871). A chestnut horse in a stable, 1868, oil on canvas, signed and dated lower right, some flaking and restoration, 29 x 28cm (11.5 x 15ins), framed (1)

£200-300

46* Earl (George 1824-1908). Clumber Spaniel finding a Grey Partridge, oil on canvas, signed and titled to verso with a presentation inscription to E. Gordon Colman Esqre., some cracking to canvas, 390 x 520 mm, framed and glazed (1)

£300-500

Lot 44

47* Ross (Iain, 20th century). Cock Pheasant & Osprey, 1967, a pair of oils on board, each signed and dated ‘67 to lower right, 59.5 x 64cm (23.5 x 25ins) and similar, framed

Lot 45

(2)

£200-300

48* Shreeve (Colin, 20th century). Evening Flight, acrylic on board, artist’s manuscript label to verso, 29 x 38cm (11.5 x 15ins), framed (1)

£70-100

49* Wright (George 1860-1942). Design for a fan leaf with hunting scenes, grisaille oil on canvas, showing a design for a fan leaf, with three hunting scenes by George Wright, within a decorative border of foliage and equestrian accoutrements by Alice Martineau, signed by both artists to lower margin, slightly rubbed in places, image size 20.5 x 57.5cm (8.25 x 22.5ins), together with a grisaille watercolour on paper, mounted on board (bowed), by George Wright, of a trap pulled by two horses, and a boy mounted on a pony looking on, beside a gatehouse, signed lower right, toned, 36 x 27cm (14.25 x 10.75ins) (2)

Lot 46

£150-200

OIL PAINTINGS

51* Collin (A., 19th century). Interior scene with father and daughter, oil on wood panel, showing a dark-haired young woman in a red shawl and gold earrings, holding a garment, with sewing equipment beside her, seated next to an old man holding a needle and thread, in a room with tiled floor, wooden sideboard and table, besom, baskets, bird cage, and other accoutrements of a country cottage, signed lower left, 20.5 x 26cm (8.25 x 10.25ins), with old manuscript label to verso ‘Jung Gewohnt’, period gilt moulded frame (1)

52* Continental School. Liberation of Saint Peter, late 18th or early 19th century, oil on tin, 15 x 58cm (6 x 23ins), framed

50* After John Collet (circa 1725-1780). The Hurdy Gurdy Player, oil on oak panel, 43 x 36cm (17 x 14ins), framed (1)

£150-200

The deliverance of Saint Peter from imprisionment at the hands of Herod was a popular theme for artists. Raphael used the subject for a sopraporte in the Vatican Stanze. (1) £100-150

£200-300

Lot 52

53* Dawson (Henry, 1811-1878). Shipping at Dusk, oil on board, seascape with sailing boats on calm water and a setting sun, signed lower right, and indistinctly dated, 35.5 x 45.5cm (14 x 18ins), framed Henry Dawson came from a humble background, and began his working career in a lace factory. He painted pictures in his spare time at first, and sold them so successfully that in 1835 he gave up the lace trade and devoted himself to painting full-time. With the exception of six lessons from James Baker Pyne, Henry Dawson was entirely self-taught. (1) £300-500

56* Dutch School. Boors playing cards in a tavern, circa 1850, oil on wood panel, overall craquelure and some minor surface chipping, 19 x 21.5cm (7.5 x 8.5ins), framed (1)

£150-200

54* De Laet (Alois, 1866-1949). Winter landscape with sheep, oil on board, signed upper right, 15 x 23cm (6 x 9ins), framed and glazed, together with four late 19th century oil landscapes, various sizes, gilt frames (5)

£100-150

57* English School. Still life of paeonies, early 20th century, oil on canvas, showing pink paeonies in a copper bowl on a ledge, indistinctly signed lower right, 69.5 x 85cm (27.5 x 33.5ins), gilt frame (1)

55* Dutch School. Dutch river landscape with cart and figures, late 18th or early 19th century, oil on copper, 20.5 x 26cm (8 x 10.25ins), framed (1)

£150-200

£200-300

Lot 58 58* English School. The Brecknock Beacons, late 19th century, oil on canvas, showing a group of sheep on a track amongst bushes and foxgloves, with mountains in the background, re-lined, titled on verso of stretcher in old manuscript, 46 x 76cm (18 x 30ins), gilt frame (1)

£300-400

59* After Francesco Guardi (1712-1793). View of the Piazzetta San Marco towards San Giorgio Maggiore, 20th century oil on canvas, unsigned, 50 x 70cm (19.75 x 27.5ins), framed

60* Manner of Egbert van Heemskerck I (1634-1704). Two Figures by a Tavern Window, oil on oak panel, showing two men beside a leaded open window, one with a pewter tankard, the other leaning on a stone window ledge and looking at a leaf of paper, 24 x 21.5cm (9.5 x 8.5ins), gilt moulded frame, glazed

The original, painted sometime in the 1770’s, remains in Venice in the Galleria Franchetti, Ca’ d’Oro. (1) £150-200

(1)

£300-500

61* Manner of Thomas Hudson (1701-1779). Portrait of a young woman, oil on canvas, overall craquelure with slight flaking, 36 x 28cm (14 x 11ins), framed Provenence: Private collection, Devon. (1)

ÂŁ700-1000

62* Icon. A Russian icon of the Theotokos or The Life-Giving Spring, Central Russian, 17th century, tempera and gilt on one-piece oak panel, central figure of Mary captioned MP OY, 48.5 x 35cm (19 x 13.75ins), framed The title theotokos (literally ‘God-giver’) is used by the Eastern Orthodox Church to refer to Mary, the Mother of God, following the liturgy of St James the Just in 60AD. As the icon portrays, Mary is associated with the vivifying fountain, the waters from which are said to cure the sick. (1) £800-1200

64* Italian School. Church interior with figures and guards, 18th century, oil on canvas, showing the vast candle-lit interior of a classical church, with figures, including guards and musicians, sometime re-lined, 117 x 89cm (46 x 35ins), framed (1)

£400-600

63* Spanish School. Church interior with figures, circa 1800, oil on canvas, showing robed figures, including children, forming a procession and carrying tapers, processional crucifix, incense burner, and banners, in the dark interior of a church, with a shaft of sunlight coming through the open door of the Norman archway, relined, 30.5 x 41cm (12 x 16ins), framed (1)

£300-500

65* After Benedetto Luti (1666-1724). Young boy with flute, a 19th century Russian copy, oil on canvas, signed E. Leont’eva, 1885, in Russian cursive script in red to lower right, small hole to lower edge, three small old repairs to verso, 49 x 39cm (19.25 x15.3ins) Luti’s produced a number of similar works based on angelic children, such as the the Head of a Boy, now in the Bayerische Staatsgemäldesammlungen, Munich. The present work is a copy of Luti’s original held by the Hermitage museum, produced by a Russian artist. (1) £300-500

Lot 64

Lot 66

Lot 67

Lot 68

Lot 70

66* Manner of Jan Mortel (1652-1719). Still life with fruit, probably early 19th century, oil on canvas showing apples, peaches, grapes, cherries and lemon peel with a fly resting, dent to upper right corner, 43.5 x 36cm (17 x 14ins) (1)

69* Swan (Charles Angus, late 19th century). A Glimpse of the Country, 1887, oil on board, showing a rustic landscape with cottage and trees, and a figure on a track in the foreground, 20 x 25cm (8 x 10ins), signed and dated lower right, and signed, titled and dated in the artist’s hand on verso, together with another rustic landscape similar, with cottage and figure beside a river, oil on board, signed ‘F. Blakeman’, titled on verso ‘Nr. Stratford’, 17 x 22.5cm (6.75 x 9ins), plus another oil on board of a rocky river landscape, 19 x 28cm (7.5 x 11ins), framed

£200-300

67* Manner of Samuel A. Rayner (1820-1874). A pair of still life paintings of armour, oil on textured paper, each showing a helmet, breastplate, and sword, in a interior, with various other objects, including a shield, a pottery flagon, a bugle, a lute, a goblet, and a book, each 49 x 38cm (19.25 x 15ins), matching mounts and frames, glazed (2)

(3)

70* Palmadesz (Palmades, 1607-1638). A cavalry skirmish, oil on wood panel, showing several horsemen engaged in battle, with a corpse on the ground in front, and a larger cavalry encounter in the background, some splitting to panel, old repairs and restoration, 20th century label of Cortinovis, via Castiglione, Bologna to verso, 46 x 63.5cm (18.25 x 25ins), 17th century gilt moulded frame

£150-200

68* Slater (John Falconar, 1857-1937). Moorland Scene, oil on canvas, signed lower right, two small holes, 47 x 84cm (18.5 x 33ins), framed (1)

£100-150

Provenance: From a European Private Collection. Dutch painter Palamedesz is particularly known for his cavalry scenes. (1) £2000-4000

£150-200

HISTORICAL PORTRAITS & MINIATURES

71* Dowdney (George, active 1730-1750). Reverend Christopher Pitt, half-length (?) half-length portrait of the Reverend Christopher Pitt in clerical dress and wig, titled upper right, sometime re-lined and discreetly restored, Rowley Gallery label on stretcher, 76 x 63.5cm (30 x 25ins), gilt moulded frame Provenance: By direct family descent. Depicting the author and churchman Christopher Pitt (1699-1748) in later life, he was at the time Rector of Pimperne in Dorset, a short distance from his place of birth at Blandford. Taking an M.A. from New College Oxford, he published a translation of Vida's 'Art of Poetry' in Dublin in 1726 and a translation of Virgil's 'Aeneid' in 1740. Pitt's poem, 'The Plague of Marseilles', was published anonymously in 1721. This portrait, together with the two portraits in the following lot, are listed in the will of the sitter's nephew Rev. James John Talman (1768-1820, rector of Christchurch), where they are described as 'by Dowdney' (information supplied by vendor). Little is known of the artist George Dowdney except for a brief entry in Ellis Waterhouses' Dictionary of British 18th Century Painters (1985, page 112) and two portraits at Kingston Lacy, near Wimborne Minster, Dorset, depicting Henry Bankes (1698-1776, MP) and John Bankes the Younger (1692-1772, MP). An inventory of paintings cleaned by Dowdney in 1731 also survives at Kingston Lacy (see Ian McClure, The Framing of Wooden Panels, in The Structural Conservation of Panel Paintings, edited by Kathleen Dardes and Andrea Rothe, 1998). (1) ÂŁ400-600

72* Dowdney (George, active 1730-50). Elizabeth Pitt & Ann Pitt, together a pair of portraits, each oil on canvas, the first a half-length portrait depicting a grey-haired lady wearing a silver-grey silk gown, titled upper right 'Mrs. Eliz. Pitt. March ye 20th. 1736', sometime relined and discreetly restored, 76.5 x 63.5cm (30 x 25ins), gilt moulded frame, the other a half-length portrait of her younger sister Ann wearing a deep blue silk gown, sometime re-lined and discreetly restored, 75.5 x 63cm (29.75 x 24.75ins), gilt moulded frame Provenance: By family descent. Elizabeth and Ann were sisters of Reverend Christopher Pitt (see previous lot). Elizabeth married William Goldwyer of Somerford, Steward of Christchurch. Their youngest daughter Martha married Reverend James John Talman. Ann died unmarried. (2) ÂŁ400-600

Lot 72

73* Rippingille (Alexander, circa 1796-1858). John James Talman, oil on canvas, three-quarter length portrait of an officer putting on his gloves, with his helmet on the table beside, sometime re-lined and discreetly restored, early manuscript label on stretcher, 127 x 102cm (50 x 40ins), ebonised and gilt frame, with Rowley Gallery label on verso Provenance: By family descent. The manuscript label on the stretcher reads: 'No. 7. Portrait of J.J. Talman Esqr. His Majesty's Honorable Corps of Gentleman at Arms by Alexr. Rippingille, No.91 Dean Street in Soho Square'. John James Talman (1798-1864), the son of Reverend John James and Mary Talman, was born at Peldon, Essex and died at Oak Hall, East Ham, Essex. He married Mary Lea Wilson in 1840 at Streatham, Surrey. He was Gentleman at Arms to three monarchs - George IV, William IV and Queen Victoria (being sworn in on her accession to the throne). He was elected to the Bank of England in 1816 and became Principal of the Chancery and Exchequer Office in 1858. (1) ÂŁ700-1000

75* Cook (Theodore, active 1881-1894). Self Portrait on Oriental garb, November 1889, oval pastel on paper over canvas, signed, dated and inscribed “To my friend, Robin Little”, 68 x 58cm (27 x 23ins), gilt mount, framed and glazed Theodore Cook (active 1881-1894) exhibited at the Royal Academy and the Society of British Artists. (1) £200-300

74* English School. John James Talman, oil on canvas, half-length portrait of a dark-haired gentleman wearing a dark coat and cravat with a white waistcoat, sometime re-lined and discreetly restored (one or two small chips), together with a portrait of his mother wearing a black silk gown with small brooch at the neck, a pale blue fringed shawl, and a frilled and beribboned bonnet, sometime relined and substantially repaired, each 76 x 63.5cm (30 x 25ins), matching ornate gilt moulded frames, the former with old printed framer's label on verso 'Vokins Carver and Gilder, Oxford Street' Provenance: By family descent. John James Talman (1798-1864), the son of Reverend John James and Mary Talman, was born at Peldon, Essex and died at Oak Hall, East Ham, Essex. He married Mary Lea Wilson in 1840 at Streatham, Surrey. He was Gentleman at Arms to three monarchs - George IV, William IV and Queen Victoria (being sworn in on her accession to the throne). He was elected to the Bank of England in 1816 and became Principal of the Chancery and Exchequer Office in 1858. Mary Talman (1774-1862) was the daughter of Dr. Samuel Forster, Registrar of Oxford University. Her husband, Reverend John James Talman MA, was Chaplain of Bromley College in Kent, Vicar of North Curry and of Stogumber in Somerset, Chaplain to the Earl of Enniskillen and acting Chaplain to the Bishop of Rochester. (2) £300-500

76* English School. Portrait of Marie Miles, 1900, pastel, oval head & shoulders portrait of a young woman wearing a diaphanous white gown embellished with a posy of blue flowers, with a grey kitten sitting on one shoulder, annotated on right hand side ‘Marie Miles 1900’, 53 x 41cm (21 x 16ins), framed and glazed (1)

£150-200

77* English School. Portrait of a lady, 1920s, pastel on board, head & shoulders portrait of an elegant lady wearing an evening gown with peacock decoration, a double string of pearls, a silk bandeau with gem embellishment, and drop earrings, 48 x 61cm (19 x 24ins) (1)

£150-200

78* German School. Half-length portrait of a seated gentleman, 19th century, oil on canvas, the Schubert-like young man seated with an unidentified book held in his left hand, a little surface paint flaking and slight damage to left hand, neat old repair to surface area of coat arm, 75 x 62cm (29.5 x 24.5ins), contemporary gilt gesso moulded frame with deep recess and foliate decorations, a little damage, together with a portrait of an unidentified cardinal’s head, 19th century, oil on canvas, 39 x 31cm (15.5 x 12ins), framed (2)

£200-300

Lot 77

79* Humbert-Vignol (Leonie, 1878-1960). Gypsy Woman, oil on canvas, half-length portrait of a sultry dark-haired gypsy woman, wearing a crimson robe and gold earrings, and holding a beribboned tambourine, signed upper left, re-lined, 73 x 54cm (28.75 x 21.25ins), gilt moulded frame Leonie Humbert-Vignol was born in Lyon and studied there at the Ecole des Beaux-Arts under Alexandre Bonnardel and Edouard Toudouze. From 1896 she exhibited at the salon in Lyon and became particularly known for her genre scenes, which were praised for their intimacy. After winning several medals for her work, she began exhibiting at the salons in Paris in 1905. She exhibited particularly at Salon des Artistes Français where in 1908 she received an honourable mention and, in 1910, a further medal. HumbertVignol was one of the rising number of female artists who had an important impact on the art establishment in the first half of the 1900s. The museum of Digne les Bains houses some of her work. (1) £400-600

Lot 78

80* McDonald (Madeline M., 1874-1942). Portrait of Anne Richardson Armstrong, 1903, oil on canvas portrait of a lady seated against a curtain backdrop, wearing a black dress with white chiffon collar adorned with a posy of violets, signed and dated lower right, surface flecked with later white paint, 66 x 71cm (26 x 28ins), gilt moulded frame (damaged), with old typed label on verso ‘Anne Richardson Armstrong (“Aunt Lily”) daughter of Richard Armstrong Q.C., M.P. of Sligo; First Sergeant-at-Arms: B: 1850, M: William T.S. Kevill-Davies Capt. in the 17th Lancers, D: 14th(?) February 1931’ (1)

82* Miniature. Portrait of a young gentleman, circa 1820, oval watercolour on ivory, half-length portrait of a young gentleman with bouffant fair hair, signed Mäkelburg, 5 x 3.5cm (2 x 1.5ins), copper oval pendant frame, glazed (1)

£200-300

£300-500

81* Miniature. Portrait of a gentleman, French, early 19th century, circular watercolour on ivory, half-length portrait of a gentleman with grey hair, wearing an orange striped waistcoat over an embroidered white shirt, and a blue coat, lightly spotted, diameter 5cm (2ins), rose gold frame, glazed

83* Miniature. Oval portrait miniature of a lady, circa 1800, pencil and waterolour on card, half-length profile turned to the left, of a lady with grey curls wearing a white muslin dress and large frilly mob cap, both trimmed with wide pale blue ribbon, 10 x 7.5cm (4 x 3ins), ebonised frame, together with an oval miniature Continental landscape, late 18th century, pen & ink on ivory, laid down on thin card, showing a river landscape with sailing boats, figures, round tower, and cottages, horizontal break across lower portion, 26 x 22mm (1 x 0.75ins)

(1)

(2)

£500-700

£200-300

84* Miniatures. Oval portrait miniature of a young girl, circa 1800, watercolour on ivory, half-length portrait of a dark-haired young girl wearing a sprigged dress with white muslin collar and blue sash, and a high mob cap with lace trim and tied with a blue bow, 5 x 3.5cm (2 x 1.5ins), oval ebonised frame, glazed, together with seven other painted and photographic portrait miniatures, including a watercolour of an Edwardian lady wearing a large hat trimmed with flowers, 6 x 4.5cm (2.25 x 1.75ins) (8)

86* Quinn (J., 20th century). Portrait of a young girl in red shoes, 1933, full length portrait in oil on canvas, signed and dated lower right, Frost and Reed label to verso, 122 x 76cm (48 x 30ins), framed

£150-200

(1)

£200-400

85* German School. Portrait of a gentleman in a fur hat, probably 17th century, oil on wood panel, head and shoulders portrait, possibly depicting an Hungarian or Central European merchant, wearing a large-brimmed fur hat, fur-trimmed tunic, and laced high collar, holding a drinking vessel decorated with an armorial, latter with lion rampant gules over per chef argent and gules holding a whip(?) in its forepaws, painting dated 1483 to left-hand side and with numerals '44' to right-hand side, panel slightly bowed, 16.5 x 12.5cm (6.5 x 5ins), early 19th century gilt moulded frame (with piece missing)

87* Silhouette. Portrait of a young woman, circa 1840, circular painted head and shoulders silhouette portrait, with neck frill and mob cap painted in white and pink, diameter 6cm (2.5ins), circular ebony frame

(1)

£400-600

£100-150

88* Field (John, 1772-1848). Portrait of a young girl, 1842, a finely bronzed painted silhouette portrait, head and shoulders, profile turned to the right, of a young lady wearing a dress with a chiffon collar, her hair in a plaited bun and with ringlets held in a clasp, signed ‘Field 2 Strand’, toned, with Field’s engraved label on reverse ‘Field, Profile Painter, Jeweller, Seal Engraver, &c...’, and with contemporary manuscript inscription above ‘S.P. to J.N.P.’ dated 1842, image size 6 x 3cm (2.25 x 1.25ins) A fine example of the work of one of the foremost silhouette artists. John Field exhibited extensively at the Royal Academy and was particularly known for his bronze detailing. (1) £200-300

89* Speed (Harold, 1872-1957). Head of a young woman, pencil on paper, showing a head and shoulders female portrait in quarter profile, captioned in pencil to lower right ‘H. S. Drunk, 12pm, (Harold Speed portrait of me)’, aperture size 27.5 x 19.5cm (11 x 7.75ins), framed and glazed Provenance: From the Roy Davids Collection. (1)

£200-300

90* Strang (William, 1859-1921). Portrait of a Gentleman, 1903, chalk on laid paper, showing half-length portrait in profile of a gentleman, signed and dated to lower left, slightly toned overall, laid onto later card, 37 x 26cm (14.5 x 10ins) Provenance: From the Roy Davids Collection. (1)

£300-500

91* After George Frederick Watts (1817-1904). Sir Edward Coley Burne-Jones, published by The Berlin Photographic Company, [circa 1900], photogravure, half-length full face portrait, publisher’s imprint to upper margin, image size 24.5 x 19.5cm (9.75 x 7.75ins), framed and glazed

Lot 89

Provenance: From the Roy Davids Collection. (1)

£70-100

92* Worlidge (Thomas, 1700-1766). Self Portrait, circular pencil drawing on laid paper, showing head and shoulders portrait in quarter profile, blindstamp of Theodore Besterman to lower edge, slightly toned overall, diameter 14cm (5.5ins), framed and glazed Provenance: Roy Davids Collection. (1)

Lot 90

£200-300

SCULPTURE & RELIEFS

93* Barbedienne (Ferdinand, 1810-1892). Trumpeters and Young Girls Dancing, bronze relief, after Luca della Robbia’s Cantoria panel in the Museo dell’Opera del Duomo in Florence, 53.5 x 49cm (21 x 19.25ins), contemporary oak frame Luca della Robbia began his Cantoria, originally designed as an organ loft but later used to hold choir singers, for the Cathedral of Florence in 1431. He worked for seven years on the project, eventually producing ten exquisitely detailed panels depicting the celebratory text of Psalm 150. The French sculptor Ferdinand Barbedienne established his foundry in 1838, initially producing high quality bronze castings of classical sculptures, but later also works by living artists. (1) £1000-1500

96* Jefferson (Robert, active 1853-1860). The Fall of the Rebel Angels, composition plaque of circular form, showing the archangel Michael and his angels driving Lucifer and his companions from heaven, lettered around edge, diameter 18cm (7ins), together with Wyon (Edward William, 1811-1885), May Morning, composition plaque of circular form, showing two female nude figures, one strewing flowers, lettered around edge, diameter 18cm (7ins), in matching circular ebonised frames, glazed (2)

£80-120

97* Porter (Raymond Averill, 1883-1949). Harvest Offering, 1912, papier mache plaque moulded in shallow relief, moulded signature and date 1912, 28 x 25cm (11 x 10ins) (1)

£70-100

94* Manner of Frank Dobson (1888-1963). Mother and Child, circa 1930s, carved Portland stone, 31cm (12ins) high (1)

£300-500

98* Porter (Raymond Averill, 1883-1949). Indian Chief, cast bronze circular plaque, moulded in shallow relief with profile portrait of a Native American chief, diameter 27cm (10.5ins) (1)

£100-150

95* British School. Amorphous Elephant, 1954, cast patinated bronze, indistinctly signed, mounted on marble plinth, 23.5cm (9.25ins) high (1)

Lot 99

£150-200

99* Wyon (Edward William, 1811-1885). The Infant Academy & The Calmady Children, after Joshua Reynolds and Thomas Lawrence, together two alabaster plaques of circular form cast in high relief, depicting children at play, each with indistinct inscription around lower edge (one signed 'E.W. Wyon Sculpt'), diameter of each 19cm (7.5ins), mounted together in a silk-lined wooden frame, glazed Wyon studied at the Royal Academy from 1829 and exhibited there from 1831 to 1876. Among his commissions were works for Wedgwood and numerous portrait busts. He executed reliefs for Drapers' Hall, London (1866), and two caryatids for the Fitzwilliam Museum, Cambridge (1874). 'The Infant Academy' by Reynolds is held by English Heritage at Kenwood House, London, and, as with Lawrence's painting of the Calmady children, was much copied in the 19th century. Emily and Laura Anne were the children of Charles Calmady of Langdon Court in Devonshire. Their portrait was shown at the Royal Academy, and described by Lawrence as "my best picture... one of the few I should wish hereafter to be known by." (1) £150-250

100* Schoenewerk (Pierre Alexandre, 1820-1885). Jeune femme a la fontaine, moulded terracotta, green-bronze glaze, incised Schoenewerk mark and stamped Paris to right side, few minor chips and slightly rubbed (mostly to base), 74cm (29ins) high (1)

£1000-1500

Lot 100

101* Skeaping (John Rattenbury, 1901-1980). Figure of a footballer, bronze footballer in typical pose, mounted on a marble base, overall 27 x 13cm (10.75 x 5.25ins), signed at foot of bronze base (1)

£100-150

102* Taulbut (John, M., 1934-). Leila, carved Cornish polyphant stone, original wooden base, artist’s impressed stamp to base, together with original receipt and autographed signed letter from the artist, both dated 14 June 1992, 20cm (8ins) high Taulbut has exhibited at the Royal Academy Summer Exhibition and galleries across Wales and the South West. His ‘Madonna and Child’ is now held by Llansteffan Parish Church, Carmarthen. (1) £200-300

Lot 102

OLD MASTER PRINTS & DRAWINGS 103* Alberti (Cherubino, 1553-1615). Rape of the Sabines, copper engraving on laid paper, after Polidoro da Caravaggio (1492-1543), margins close trimmed, just touching borders, central vertical crease, 162 x 475mm (6.4 x 18.75ins), together with other mostly 17th century etchings and engravings, including Adrian Collaert, S. Furck, C.W.E. Dietricy, etc. (15)

£150-200

104* Barret (George, Junior, 1767-1842). Cat Resting, pencil and white and red chalk on grey laid paper, unsigned, some overall spotting, 165 x 230mm (6.5 x 9ins) mount aperture, framed and glazed, with inkstamp of William Drummond, Covent Garden Gallery, to verso, and typewritten attribution and title label also pasted to verso (1)

£100-150

105* Bartolozzi (Francesco, 1727-1815). Queen Katharine’s Dream, after Henry Fuseli, 1788, stipple engraving published by Thomas Macklin, April 4th 1788, no. 1 of the British Poets series, a good impression, with margins, 410 x 475mm (16.2 x 18.75ins) mount aperture, framed and glazed, together with Dido, after G. B. Cipriani, 1780, copper engraving on laid paper, published by John Boydell, January 1st 1780, some light spotting, sheet size 430 x 497mm (17 x 19.6ins), plus four large stipple engravings after Henry Bunbury, all published by Thomas Macklin for the Poet’s Gallery, June 1st 1792, June 20th 1793, August 20th 1795 & May 10, 1799 (the supposed death of Imogen, by T. Cheesman, Prospero disarming Ferdinand by Bartolozzi, Dick the butcher & Smith the weaver seizing the Clerk of Chatham, by Coles & Margaret’s Tomb, by Bartolozzi), a few marks and light marginal soiling, a few closed tears repaired, generally in good condition, and six similar large engravings from Boydell’s Shakespeare Gallery, March 1st 1791September 29, 1799 (Much Ado About Nothing, Act IV, Scene II, by Ogborne after Robert Smirke, Romeo & Juliet, Act I, Scene V, by G.S. and I.G. Facius after William Miller, Merry Wives of Windsor, Act V, Scene V, by Isaac Taylor after Robert Smirke, First Part of King Henry VI, Act II, Scene IV, by J. Ogborne after Josiah Boydell, Twelfth Night, Act V, Scene I, by Bartolozzi after William Hamilton, & Othello, Act V, Scene II, by W. Leney, after J. Graham), plus four others various, including John Hamilton Mortimer, Soldier’s Funeral, etched by Robert Blyth, May 1, 1781, George Vertue, Caput, after A. Gordon, Richard Earlom, A Lady Reading, after Frans Boll, published by Boydell, November 1st 1775, and J. Vivares, A Study for the Basso relievo on the pedestal of the Statue of Apollo, published by W. Y. Ottley, May 1, 1812 (16)

Lot 105

£200-300

106* Baudet (Etienne, 1638-1711). Classical landscapes (after Francesco Albano, 1578-1660), 1672 [or later], together 3 large copper engravings on laid paper (from the set of 4), depicting the Toilet of Venus, Venus reclining with cupids resharpening arrows & Venus and Adonis, each numbered to lower right corner, plate size 595 x 675mm (23.5 x 26.5ins), matching frames, glazed, together with Cochin (Charles-Nicolas, 1715-1790), Decoration de la salle de spectacle pour la Princesse de Navarre, 1746, copper engraving, some marks and one or two short closed marginal tears, 740 x 530mm (29 x 21ins), framed and glazed (4)

Lot 106

107* Bolswert (Schelte Adams, 1576-1659). Johannes Baptista Barbé, after Anthony Van Dyck, circa 1635-40, etching with engraving on laid paper with indistinct watermark, a good strong impression, with wide margins, plate size 245 x 160mm (9.6 x 6.25ins), sheet size 355 x 229mm (14 x 9ins), together with Margareta Princeps Lotharingia Ducissa Serenissima Aurelianensis, after Anthony Van Dyck, circa 1640, etching with engraving on laid paper, with margins, plate size 245 x 180mm (9.6 x 7.1ins), sheet size 285 x 219mm (11.25 x 8.6ins), with collector’s stamp of Oswald Stein to verso

£200-300

Mauquoy-Hendrickx 20 for the first item, a portrait of the Flemish engraver Jean-Baptiste Barbé, published as part of Van Dyck’s Iconographie. (2) £300-500

Lot 107

Lot 109

108* Bough (Sam, 1822-1878). ‘Crossing to Skye’, pencil on paper, showing passengers on board a ship in the Scottish Hightlands, with studio sale stamp to lower left, including the artist’s name, the date 19th April 1879, and the initials of the auctioneer Dowell, to lower left, 15 x 24cm (6 x 9.5ins), contemporary wood frame, with early label of John Kesson, Carver & Gilder, Aberdeen, to verso The Scottish painter Sam Bough died at the age of 56 on 19th November 1878, and his personal effects and studio contents were sold at Dowell’s Rooms in Edinburgh in April 1879, over six days from Tuesday 15th April 1879. (1) £100-150

109* Bout (Pieter, 1658-1719). The Sleigh on the Ice, circa 1680, etching on laid paper, overall scattered spotting, several marginal creases, one short closed tear to lower left margin, and paper split along plate mark to lower right corner (without loss), plate size 198 x 280mm (7.75 x 11ins), sheet size 260 x 342mm (10.25 x 13.5ins) Bartsch, Duthuit, Hollstein 3. (1)

£500-800

110* Carloni (Marco, 1742-1796). Seated Bacchus with figures [from Le Antiche Camere delle Terme di Tito, 1776], copper engraving on laid paper, published by Ludovico Mirri, Rome, numbered 13 to top right corner, with margins, some marks and light marginal creases, sheet size 530 x 574mm (20.8 x 22.6ins), together with Balliu (Bernard de, 1641-1694), Section of the ceiling of the Camera of Venus in the Pitti Palace, Florence, circa 1677, copper engraving on laid paper, with watermark of fleur-de-lys within a circle, published by Giovanni Giacomo de Rossi, Rome, circa 1677, with margins, some light creases and marginal soiling, sheet size 430 x 530mm (17 x 21ins), plus Cesio (Carlo, 1626-1686), The Ceiling of the Farnese Gallery, depicting the loves of the gods, after Annibale Caracci, [1657], two etchings on laid paper, published by Francois Collignon, Rome, plate numbered 16 and 17, some light marginal soiling, sheet size 400 x 550mm (15.75 x 21.7ins) and slightly smaller, and four other large Italian engravings, including Cosimo Mogalli, Bacchus and Ariadne, after Titian, [1778], Pietro Santi Bartoli (1635-1700), Pictura, que Domus Titi fornices exornabat tabula IIII, Nicolas Dorigny (1657-1746), Cupidinis et Psyches Nuptialis Caena, after Raphael, published by Giovanni Giacomo de Rossi, Rome, 1693 (trimmed to left and right margins), etc. (8)

Lot 110

£200-300

Lot 111

Lot 112

Lot 113

111* Chinnery (George, 1774-1852). Chinese figures playing dice, brown ink on paper, sheet size 12 x 15cm (4.75ins x 6ins), framed and glazed, with Martyn Gregory gallery label to verso Provenance: Private collection, Buckinghamshire (1)

113* Chinnery (George, 1774-1852). Studies of Chinese figures and cattle, 1827, pencil on paper, inscribed in shorthand ‘Fix February 22 1827’, several small wormtracks, mainly towards left margin, discreetly repaired, 9 x 12cm (3.5 x 4.75ins), framed and glazed, with Martyn Gregory gallery label to verso

£700-1000

Provenance: Private collection, Buckinghamshire (1)

112* Chinnery (George, 1774-1852). Chinese figure in a sampan, 1835, brown ink over pencil on paper, inscribed in shorthand ‘May 6 1835’, 7 x 14cm (3 x 6ins), framed and glazed, with Martyn Gregory gallery label to verso

£600-800

114* Chinnery (George, 1774-1852). Ruined building with goats, & Group of figures, pen & black ink on wove paper, and pen & brown ink on wove paper respectively, unsigned, 115 x 178mm (4.5 x 7ins), and 78 x 110mm (3 x 4.3ins) mount apertures respectively, matching modern gilt frames, glazed

Provenance: Formerly the collection of Dr. Thomas B. Watson, (see gallery label). Private collection, Buckinghamshire. (1) £700-1000

Provenance: Formerly Appleby Brothers Collection, London (according to typewritten labels attached). (2) £150-200

116* Davies (Edward Thompson, 1833-1867). Head of a Girl, 1856, black and red chalk, head and shoulders half profile, turned to left, of a young girl, signed lower right, and additionally initialled and dated to left-hand margin, 22.5 x 17cm (9 x 7ins), mounted, framed and glazed, with Colnaghi label on backboard (1)

£200-300

115* Rosenberg (Louis Conrad, 1890-1983). Spanish Town, etching, signed in pencil, some pale toning, plate 165 x 202 mm (6.5 x 8 ins), framed and glazed, together with four other etchings and mezzotints, various, including Salisbury from The Avon, Harnham Bridge, by Norman Hirst after John Constable, a view of the Paris Opera by Thomas Meikle Kelly, an etching by W. Unger after M. Munkacsy of a peasant family, and one other (5)

£100-150

117* Durer (Albrecht, 1471-1528). The Virgin and Child with a Monkey, circa 1498, engraving on laid paper (without watermark), a good but later impression, one or two patches of thinning to verso, one with consequent small hole to lower right, trimmed to image, sheet size 188 x 122mm (7.4 x 4.8ins) Bartsch 42. Meder, Hollstein 30. Schoch, Mende, Scherbaum 20. Dodgson 22. (1) £400-600

118* Dutch School. Head of a Prophet, 18th century red chalk drawing on laid paper, ink stamp of the Royal Academy of Arts, The Hague upper right, collector’s mark to corner verso, sheet size 470 x 365mm (18.5 x 14.25ins), together with another similar chalk drawing (2)

Lot 116

£200-300

119* Dutch School. The Four Seasons, together four fine grisaille gouache paintings on copper, probably early 19th century, each showing a young child as one of the four seasons: Spring is shown wearing a hat and carrying a posy of flowers; Summer wears a garland of flowers and holds up a plate of fruit; Autumn carries a scythe; and Winter is skating on a frozen lake, each 10.5 x7cm (4 x 2.75ins), matching mounts and frames, glazed (4)

£300-500

120* Herring (John Frederick, Senior, 1795-1865). Stable scenes with figures and horses, two pencil drawings on paper, each initialled lower left, 8 x 12cm (3.5 x 3.75ins) and slightly smaller, framed and glazed (2)

£150-200

Lot 118

121* Hooghe (Romeyn de, 1645-1708). Arlequin sur l’Hippogryphe a la Croisade Lojoliste. Armée van de Heylige Lingue voor der Jesuiten Monarchy, circa 1689, etching on laid paper, with text in Dutch in four columns below, sheet size 575 x 440mm (22.6 x 17.3ins) A satire on Louis XIV, ridiculing his military ambitions, and showing him in close proximity with the ousted James II on a donkey, following the Glorious Revolution of the protestant William of Orange. (1) £150-200

122* Italian School. Rustic landscape with ruin and figures, circa 1800, pencil, monotone sepia pen and ink and watercolour with body colour on laid paper, showing three figures on horseback, mother and child in conversation with a gentleman, and two stone breakers near a ruin among trees, indistinctly signed and dated to lower margin left, (?)’E Garamissi fecit 1791’, 16 x 24cm (6.25 x 9.5ins), framed and glazed (1)

Lot 119

£150-200

123* Lafreri (Antonio, publisher). Six engravings from Speculum Romanae Magnificentiae, circa 1551, including Trajan's Column, Marble Column in the Capella della Pieta, St. Peter's (by Nicola Beatrizet), Sepulchre of P. Vivius Marianus, etc., 535 x 350 mm (21 x 13.75 ins) and slightly smaller, several mounted (6)

£150-200

124* Landseer (Sir Edwin Charles, 1802-1873). Two anatomical drawings, pencil on paper, one of a carnivorous animal skull and vertebrae, 10 x 16.5cm (4 x 6.5ins), the other with three studies of vertebrae, 11 x 20cm (4.5 x 8ins), both dusty and a little spotted, each sometime laid down on card and with an early manuscript label on verso ‘A Sketch by Sir Edwin Landseer. Belonging to Walter Lethbridge Esqr., 16 Albert St, Regents Park’ (2)

£200-300

Lot 125

Lot 127 125* Lombard (Pierre, 1612-1682). Twelve engraved portraits of figures from the court of Charles II, 1660s, 12 copper engravings by Pierre Lombard after Anthony Van Dyck, 347 x 260mm (13.7 x 10.25ins) mount aperture or similar, matching Hogarth style frames, glazed The subjects are: Henry, Earl of Arundel, Philip, Earl of Pembroke, Dorothea, Countess of Sunderland, Penelope, Lady Herbert, Lucy, Countess of Carlisle, Elizabeth, Countess of Devonshire, Margaret, Countess of Carlisle, Anna, Countess of Bedford, Anna Sophia, Countess of Carnarvon, Elizabeth, Countess of Castle Haven, Anna, Countess of Morton and Rachel, Countess of Middlesex. (12) £300-500

126* Molteno (Anthony). The Four Seasons, after F. Lauri, 1800, four uncoloured stipple engravings, slightly dust-soiled, small stain to ‘Spring’, 28 x 22cm (11 x 8.75ins), uniformly framed and glazed (4)

£150-200

127* Mortimer (John Hamilton, 1740-1779). Successful Monster, Musical Monster, Enrag’d Monster, Revengeful Monsters & Sleeping Monsters, 1778-80, together five etchings on wove paper, the first three published December 8, 1778, the final two published January 25, 1780, together with Banditti on the lookout, Reposo, Tragedy and Gerard Lairesse, together four etchings on wove paper, published December 8, 1778, plate size 305 x 205mm (12 x 8ins), or similar, with margins, some marks and soiling to edges (generally in good condition), similar sizes, plus three other similar etchings after John Hamilton Mortimer, including Joseph Haynes, R. Blyth (Conversing with a Captive, 1779), & C. R. Ryley, and one other similar depicting a nymph carried away by sea monsters, signed EE and dated 1790 in the plate See John Sunderland, John Hamilton Mortimer: His Life and Works, Walpole Society, volume 52, 1986. (13) £300-500

128* Continental School. Shepherd resting under a tree, & Cypress tree in landscape, late 18th century, two pencil drawings on laid paper, 44 x 35cm (17.25 x 13.75ins) and 43 x 27cm (17 x 10.5ins) respectively (2)

£100-150

129* Perret (Pieter, 1555-1639). Fountain with a Satyr holding a torso, 1581, engraving on laid paper, published by Hendrick van Schoel, circa 1580, trimmed to plate mark, 336 x 240mm (13.25 x 9.5ins), mounted on later paper Hollstein 40. A depiction of a fountain in the private gardens of Cardinal Bartolomeo Cesio. (1) £300-500

130* Piranesi (Giovanni Battista, 1720-1778). Muro interno della Stanza, costrutto di mattoni della stessa grandezza, etching on laid paper, plate size 560 x 395 mm (22 x 15.5 ins), with margins, mounted, together with thirteen other various large etchings by G.B. Piranesi of classical antiquities, including Haec epigraphe, quae in aedibus Farnesianis Romae servatur, edita olim fuit a Grutero; et Fleetwood, Dimostrazione delle mostre esterne, ed interne della Fenestra a campana del Tempio di Vesta, Pianta del Tempio di Vesta in Tivoli, etc., one or two mounted (mostly loose) (14)

£300-500

131* Piranesi (Giovanni Battista, 1720-1778). Veduta del prospetto principale della Colonna Trajana, circa 1774 [reissued 1836], the set of six etchings on heavy wove paper by Pietro Miliani Fabriano (watermarked P.M.Fabriano 1836), plate size 55 x 47.5cm (21.75 x 18.75ins), except first plate 20.5 x 47.5cm (8 x 18.75ins), sheet size 70.5 x 53cm (27.75 x 20.9ins), some minor marks and light marginal soiling, final two plates with waterstain towards upper left corner, stitch holes to extreme left hand margin, original plain pale blue paper wrappers, some soiling and marks (contents now loose), large folio Ficacci 703. (1)

Lot 129

£1000-1500

132* Piranesi (Francesco, 1758-1810). Dimostrazione in grande di alcune Parti del Pronao, o Portico del Panteon [from Raccolta de Tempi Antichi, Prima Parte], circa 1750-80, etching on laid paper, plate size 440 x 685 mm (19 x27 ins), with margins, together with other similar etchings by Francesco Piranesi, including Modinature in Grandi delle Parti del Tempio dell'Onore, e della Virtu, Prospetto del Tempio dell'Onore, e della Virtu fuori della Porta S. Sebastiano, and others similar, each mounted (11)

Lot 130

£200-300

Lot 131

135* Ruga (Pietro, active 1812-1838). Veduta della Piazza del Popolo nel mezzo della quale si vede un Grande Obelisco..., circa 1816, , etching with engraving on laid paper, with full margins, sheet size 520 x 665mm (20.5 x 26.25ins), window-mounted, together with three other similar etchings (two by Pietro Ruga, and one by Domenico Pronti) from Agapito Franzetti, Raccolta di XXXX. Vedute antiche e moderne della citta di Roma e sue vicinanze, Rome, [1796-1816], generally in very good condition, similar size, each window-mounted

133* Piranesi (Francesco, 1758-1810). Portrait of Giovanni Battista Piranesi, after Joseph Cades, 1779, etching on laid paper, a good impression with margins, plate size 42.5 x 31.2cm (16.75 x 12.25ins), sheet size 45.2 x 33cm (17.75 x 13ins), framed and glazed Wilton-Ely, page 327. (1)

Includes Veduta della Colonna eretta dal Senato Romano, by Ruga, Veduta del Tempio di Vesta, by Domenico Pronti & Veduta della Basilica di S. Maria ad nives..., by Pietro Ruga. These four engraved views are plates 3, 10, 17 & 28 from Franzetti's Raccolta di Vedute di Roma, published between 1796 and 1816. (4) £150-200

£300-400

136* Scacciati (Andrea, 1725-1771). The Entombment of Christ, after Ludovico Carracci, etching on laid paper, printed in green ink, plate size 475 x 335mm (18.7 x 13.2ins), with margins, framed and glazed From the series Disegni Originali d’Eccelenti Pittori Esistenti nella Real Galleria di Firenze (1766-1774). (1) £100-150

134* Rossi (Matteo Gregorio, active circa 1668-circa 1696). Disegno delle Tre Principala Colonne Antiche che si vedono in Roma cioe Traiana Antonina e Liberiana o di S. Maria Maggiore, nuovamente date in luce dalle Stampe di Matteo Gregorio Rossi Romano in Piazzo all’insegna della Stampa di Rame l’Anno 1689, copper engraving on paper, trimmed to margins, mounted (1)

Lot 137

£150-200

137* Stothard (Thomas, 1755-1834). Two original book illustrations, together two grisaille watercolours, one showing a sword fight between a gentleman in a kilt and a semi-naked native in a turban, with a young woman kneeling beside in supplication, 12 x 7cm (4.75 x 2.75ins), the other showing a monk in an attitude of devotion gazing up at sun rays emanating from the clouds, 9.5 x 2.5cm (3.75 x 2.75ins), signed lower left, both mounted, framed and glazed (1)

£200-300

138* Attributed to James Thornhill (1675-1734). The Triumph of Galatea, red chalk and grey wash on laid paper, showing Galatea seated on large shell drawn by two dolphins, accompanied by a cupid and two tritons, with another cupid holding up a swirling cloth, 175 x 240mm (6.9 x 9.5ins), period carved gilt frame, glazed (1)

£400-600

140* Victoria (Queen of England, 1819-1901). The infant Princess Victoria, 22nd February 1841, & Princess Victoria in profile and from behind, 26th February 1843, two etchings on india paper, mounted, light spotting, plate size 154 x 117mm (6.1 x 4.5ins), and 145 x 185mm (5.75 x 7.25ins) respectively

139* Van Dyck (Anthony, 1599-1641). A collection of 9 etchings from Van Dyck’s Icones Principum Virorum Doctorum, circa 1645 [or later], including Wenceslaus Coeberger by Lucas Vorsterman after Van Dyck, Alvaro de Bazan, by Paulus Pontius after Van Dyck, Anthony Van Dyck by Vorsterman after Van Dyck, Christoph van der Lamen, by Petrus Clouet after Van Dyck, Michel Mierevelt, by Wilhelm Delphius after Van Dyck, Frans Snyders by Jacobus Neefs, Peter Paul Rubens by Abraham Lutma after Van Dyck, Horatio Gentileschi by Vorsterman after Van Dyck, Antonio de Tassis by Jacobus Neefs after Van Dyck, printed on laid paper, mostly with watermark, including foolscap, wide or thread margins, generally in good condition, plate size 265 x 190mm (10.5 x 7.5ins), or similar, plus 4 other related etchings, including title page to Preisler’s Clarissimorum Virorum P.P. Rubens et Ant. van Dyk... Picturae quae olim in... Antwerpen sium templo fuerunt..., 1735, a portrait of Van Dyck by P.A. Pazzi after G.D. Ferretti, etc. (13)

Queen Victoria and Prince Albert took up etching in 1840 under the tutelage of the Royal portrait painter Sir George Hayter. Between 1840 and 1850 Queen Victoria etched some sixty-two plates and Prince Albert twenty-five. The plates were etched at Windsor Castle and some proof impressions were pulled from a small press there. Occasionally, however, the plates were entrusted to a local printer called Brown who had instructions to return all impressions and plates to the Castle. The Queen and Prince Albert never intended these very personal etchings to stray outside of a very tight circle of family and friends. However, in 1847, a local journalist, Jasper Tomsett Judge, who specialised in Royal reportage, managed to acquire sixty unauthorised prints for £5 from a journeyman employee of Brown’s called Middleton, with which he planned to launch an exhibition in London. The press releases in the newspapers advertising the event reached the attention of the Queen and Prince Albert and an injunction was obtained. As a consequence, very few etchings by either Royal exist outside of the royal collections at Windsor, and the set given to the British Museum by King George V. (2) £500-800

£200-300

MODERN ETCHINGS, WOODCUTS & LITHOGRAPHS 143* Bell (Vanessa, 1879-1961). Basket of Flowers, linocut in blue ink, Bloomsbury Workshop label to verso, 21 x 16cm (8.25 x 6.25ins), framed and glazed (1)

£70-100

144* Bracquemond (Felix, 1833-1914). Alphonse Legros, 1875, etching, showing head and shoulders, three quarter profile portrait, final state with text to lower margin, plate size 16 x 12 (6.75 x 4.75ins), framed and glazed Provenance: From the Roy Davids Collection. This fine etching depicts the young Alphonse Legros (1837-1911) in Paris at the age of twenty-four years, the year before Cadart and Bracquemond formed the Societe des Aquafortistes, which Legros was invited to join. Two years later, at Whistler’s suggestion, he moved permanently to London. (1) £100-150

141* Earlom (Richard). A Flower Piece, John Boydell, June 25th 1778, hand-coloured mezzotint-under-glass, after Van Huysum, stilllife of flowers in a Baroque vase decorated with putti, set on a ledge, with butterflies and birds nest, 72 x 51.5cm (28.25 x 20.25ins), framed (1)

£500-800

145* Buckland-Wright (John, 1897-1954). Pasiphae, 1950, seven copper engravings on paper, artist’s proofs, plate size 13.5 x 9.5cm (5.25 x 3.75ins) and similar, sheet size 28 x 19cm (11 x 7.5ins), together with a copy of the published volume containing the engraved illustrations by Buckland-Wright published by the Golden Cockerel Press in original two-tone cloth, plus publisher’s prospectus for the publication, limited 400/500 (9)

142* Glass painting. Saint Vincent Ferrer, mid 19th century, reverse painting on glass, showing a Dominican saint leaning on a book, holding a crucifix, and pointing heavenwards, some paint loss, 23 x 18cm (9 x 7ins), gilt moulded frame (1)

£80-120

£100-150

Lot 146 146* Buday (George, 1907-1990). An archive of woodblocks and other prints by George Buday and other artists, circa 1930s and later, the works by Buday including a window-mounted set of 6 woodblocks ‘The Tragedy of Man’, all but one titled, numbered 2/12 and signed in pencil to lower mounts, ‘England Looks to the Future’, 1941, 2 copies, 30 x 20cm (12 x 8ins), both titled in pencil, signed and dated to lower mount, one numbered 6/20, other signed woodblocks include Britannia (x 2, one numbered 49/50), ‘The Human Annunciation’, numbered 13/50, ‘Forest’, numbered 30/50, ‘Jeanne d’Angleterre’, 1939, 2 copies, numbered 3 and 14/20, 2 from The Timon of Athens series, first proof and 3/50, plus approximately 20 mostly unsigned large sheets of woodcuts including duplicates from Transylvanian Folk Ballads series, Life of Jesus, etc., plus 3 printed diplomas for Buday, a group of 6 large photographic portraits of the artist, plus a group of approximately 50 miscellaneous prints, Christmas cards with original designs, etc., many signed by the artists, including 2 etchings by Julius Komjati and 6 wood-engravings by George Carter, many dedicated to Buday, various sizes but many small format

147* Burgess (William Walter, 1856-1908). Five etchings from Bits of Old Chelsea, 1894, together 5 etchings printed on japanese vellum, including Carlyle’s House and Leigh Hunt’s House, printed for the artist by Frederick Goulding, and published in an edition of 100, each signed in pencil, some light toning, plate size 130 x 255mm (5.1 x 10ins) and similar, with margins, 4 framed and glazed (one unframed)

The Hungarian-born British printmaker George Buday emigrated to Britain in 1937 after training in Hungary. He worked as a book illustrator and author of a series of ‘Little Books’. The V&A Museum and the British Museum hold collections of his prints and designs for Christmas cards. (a folder) £500-800

Provenance: From the Roy Davids Collection. (5)

£200-300

150* Copley (John, 1875-1950). Self-portrait, lithograph on japan paper, signed lower left, 38 x 29.5cm (15 x 11.6ins) mount aperture, framed

148* Carter (Frederick, 1883-1967). Portrait of the writer Theodore Francis Powys (1875-1953), etching on laid paper, signed in pencil, with margins, plate size 222 x 183mm (8.75 x 7.25ins), framed and glazed Provenance: From the Roy Davids Collection. (1)

Provenance: From the Roy Davids Collection. (1)

151* Degas (Edgar, 1834-1917). Manet assis à gauche, etching on heavy wove paper, an impression from the cancelled plate [probably printed in Paris, circa 1917], plate size 170 x 120 mm (6.7 x 4.75 ins), mid-20th century gilt frame, glazed, with typewritten title label to verso, and printed label of the Musee d'Art International, 507 Francisco Boulevard, San Raphael, California, to verso

149* Christy (Beatrice M., 1910-2003). Pump Court, London, 1938, wood engraving on vellum paper, signed and numbered 40/60, image size 229 x 160mm (9 x 6.3ins), with good margins, framed and glazed (1)

£150-200

Delteil 15. Reed & Shapiro 17. (1)

£70-100

£200-300

154* Desmazieres (Erik, 1948-). Coliquintes devant un ville, 1983, etching on buff laid paper, a very good impression from the edition of 90, signed, dated and numbered 33/90, plate size 196 x 248 mm (7.7 x 9.8 ins), framed and glazed (1)

152* Desmazieres (Erik, 1948-). Les Tulipes, 1983, etching on thick wove paper, artist’s proof, a very good impression, printed in an edition of 25, signed, dated, and numbered EA x/xxv, plate size 30 x 21cm (11.75 x 8.25ins), framed and glazed Fitch Febvrel 74. (1)

£250-300

155* Desmazieres (Erik, 1948-). Chronique maritime, 1980, etching on thick wove paper, a very good impression from the edition of 90, signed, dated and numbered 80/90, plate size 295 x 227 mm (8.9 x 11.7ins), framed and glazed Fitch-Febvrel 60. (1)

153* Desmazieres (Erik, 1948-). Le vent souffle ou il veut, 1989, colour etching on thick wove paper, a very good impression from the edition of 90, signed, dated, and numbered 66/90, plate size 41.6 x 30cm (16.4 x 11.8ins), framed and glazed (1)

£250-350

£200-300

156* Desmazieres (Erik, 1948-). Le petit Jardinier, 1983, etching on thick wove paper, a very good impression from the edition of 90, signed, dated and numbered 16/90, plate size 19.8 x 11cm (7.75 x 4.25ins), framed and glazed (1)

158* Gill (Eric, 1882-1940). The Creation, The Visitation, Peter’s Cock, Christ and the Leper, Naked man making an Outcry, Woman in Black Frightened, Hamlet and the Ghost, together 7 woodengravings, printed from the original blocks by Hague and Gill for publication in Eric Gill, Engravings 1928-1933, published by Faber & Faber in 1934, sheet size 320 x 250mm (12.5 x 9.75ins)

£150-200

(7)

159* Gill (Eric, 1882-1940). Hamlet and the ghost, 1932, woodcut on handmade laid paper, signed and numbered 9/12 in pencil, one or two small marks, image size 94 x 76mm (3.7 x 3ins), sheet size 175 x 149mm (6.9 x 5.9ins), framed and glazed

157* Gibbings (Robert John, 1889-1958). Illustration to Sweet Thames Runs Softly, wood engraving, circa 1940, signed in pencil, 102 x 102mm (4 x 4ins) mount aperture, old frame, glazed (1)

£150-200

£100-150

Physick 833. (1)

£200-300

160* Gill (Eric, 1882-1940). Female Nude, seated, 1937, & Female Nude standing, 1937, two wood engravings, as published in TwentyFive Nudes (1938), both 224 x 138mm (8.8 x 5.3ins)

162* Gill (Eric, 1882-1940). Female Nude, seated, 1937, together two wood engravings, published in Twenty-Five Nudes (1938), 225 x 138mm (8.9 x 5.4ins)

Physick 939 & 942. (2)

Physick 959 & 953. (2)

£150-200

163* Gill (Eric, 1882-1940). Female Nude, reclining, 1937, wood engraving, as published in Twenty-Five Nudes (1938), 234 x 138mm (9.25 x 5.4ins), together with another similar wood engraving of a female nude Physick 943 and 954. (2)

161* Gill (Eric, 1882-1940). Female Nude, seated, 1937, wood engraving, as published in Twenty-Five Nudes (1938), 224 x 138mm (8.8 x 5.3ins), together with another similar female nude, kneeling, 1937, wood engraving, 225 x 137mm (8.9 x 5.4ins) Physick 955 & 947. (2)

£150-200

167* Kirkpatrick (Ethel, circa 1891-circa 1941). Brixham Trawlers, colour woodcut on laid paper, signed in pencil and additionally titled by the artist to lower margin, from the edition of around 50, image size 215 x 350mm (8.5 x 13.75ins), sheet size 270 x 395mm (10.6 x 15.5ins) (1)

£100-150

164* Gosse (Laura Sylvia, 1881-1968). The Conductor, Bath, 1919, etching on thick wove paper, signed in pencil, plate size 139 x 80mm (5.5 x 3.2ins), with margins, framed and glazed, with old handwritten label in pencil to verso ‘The Conductor, Bath. Original etching by Miss Sylvia Gosse A.R.E. 1919’ (1)

£100-150

165* Hayden (Francis Seymour, 1818-1910). Battersea Bridge, 1868, etching, signed in pencil to lower margin, Frost & Reed label to verso, plate size 18 x 25cm (7 x 10ins), framed and glazed (1)

£100-150

168*AR Knight (Dame Laura, 1877-1970). Putting on tights, [1926], etching with contemporary hand colour on laid paper, signed in red pencil to lower right, additional signed in pencil by David Strang (etcher) to lower left, plate size 20 x 17.5cm (8 x 7ins), framed and glazed Provenance: From the Roy Davids Collection. (1)

166* Kent (Florence, 1917-1989). Two Turtles, colour woodblock print on thin paper, signed and titled in pencil to lower margin, plate size 24 x 34cm (9.5 x 13.5ins), together with Gibrow (Ruth, 20th century), Thru’ 2 windows, colour linocut on thin paper, signed and titled in pencil to lower margin, two small pin holes to upper margin, sheet size 39.5 x 32cm (15.5 x 12.5ins), plus a similar colour screen print (3)

£200-300

£400-600

169* Knight (Dame Laura, 1877-1970). Country Girls, etching with drypoint on watermarked laid paper, titled, signed and additional unidentified signature in pencil to lower margin, toned to verso, plate size 23 x 17cm (9 x 6.75ins) (1)

£200-300

170* Knight (Laura, 1877-1970). A group of 5 printed diplomas awarded to Laura Knight, including a diploma for the Royal Society of Painters in Water Colour, 10th June 1929, signed by King George V (George R.I.), Honorary Graduate at St. Andrews University, 1931, numerous signatures at foot, a diploma with honorable mention for ‘Boxing Sketch’ at the Olympic Games London 1948, marginal splits, plus 2 certificates from the Societe des Artistes Francais, 1928 (honorable mention) and 1939 (gold medal), with a sixth certificate for a gold medal at the same Salon awarded to Laura Knight’s husband Harold, all completed in manuscript, various sizes (6)

£150-200

171* Lawrence (Peter, 1951-). Black Quay, 1998, wood engraving on japan tissue, signed, dated, titled and numbered 4/50, sheet size 194 x 241mm (7.7 x 9.5ins), together with Composition, 1995, black ink and watercolour on card, signed and dated, 150 x 106mm (5.9 x 4.2ins), mounted on backing card, plus The Quay, 1995, wood engraving on wove paper, signed, dated, titled and numbered 12/50, and a colour reproduction of a collage by the same artist, dated 1999, printed in an edition of 25 (two copies), plus two other wood engravings (Ian Stephens, The Causeway Chill, 1997 & Edwina N. Ellis, Spots Bit), each signed, titled and numbered from editions of 50 and 10 respectively (7)

£100-150

Lot 169

172* McBey (James, 1883-1959). Ranstorp, 1910, etching on laid paper, only state, from the edition of 41, signed in ink, and numbered XXVI, with margins, some toning, plate size 127 x 230mm (5 x 9ins), together with another etching from McBey’s Dutch Set, signed and numbered X in ink, toned, plate size 165 x 121mm (6.5 x 4.75ins), matching frames, glazed Hardie & Carter 75 for the first work. (2)

Lot 171

£200-300

173* Millais (John Everett, 1829-1896). Summer Indulgence, 1861, etching on chine collé, published by Day & Son, December 1st 1861, slight surface indentations to extreme upper left corner, plate size 18 x 25cm (7 x 9.75ins), framed and glazed (1)

£150-200

175* Pytlak (Leonard, 1910-1998). Stage Hands, colour woodblock print on japan, signed and titled, plate size 30.5 x 36xm (12 x 14ins), together with four similar colour screen prints (including one duplicate) (5)

£200-300

174* Olive (Theo, 1914-1998). Harvest Moon, 1988, colour etching, printed on thick wove paper, signed, dated, titled and numbered 10/30, plate size 174 x 123mm (6.8 x 4.8ins), sheet size 280 x 190mm (11 x 7.5ins), together with six other etchings and similar works by the same artist, including Snow Drift, 1982, Loch Garden, 1993, The Weir, 1993, and The Protest, 1997, each signed, dated, titled and numbered from editions of 10, 20 or 30, one unsigned colour etching, and one unsigned monoprint landscape, various sizes (the largest sheet size 290 x 385 mm), and two other colour etchings by contemporary artists (Caroline Dobson, Doppelganger & Jennifer Mathison, Barn Owl), each signed and numbered 10/40 and 1/6 respectively (9)

Lot 176

£100-150

177* Renoir (Pierre-Auguste, 1841-1919). Berthe Morisot, drypoint on laid paper, slightly later impression, circa 1920s, signed (in reverse) in the plate, platemark 11 x 9cm (4.25 x 3.5ins), framed and glazed

176* Raverat (Gwen, 1885-1957). Summer on the Mountain, 1928 (from Les Amours Pastorales de Daphnis et Chloe, published by the Ashendene Press, 1933), wood engraving on japan paper, a proof of the first state, signed, and marked 1 Proof First State in pencil, image size 152 x 100mm (6 x 4ins), with margins, framed and glazed, with certificate of authentication to verso (1)

Provenance: From the Roy Davids Collection. Delteil 4; Stella 4. Originally published in Theodore Duret’s Renoir in 1892. (1) £100-150

£300-400

178* Richards (Frederick Charles, 1887-1932). Modern Education, & Venice from the Lido, 1917 & 1914, together two etchings, each signed and titled in pencil by the artist to lower margin, plate sizes 22.5 x 18cm (9 x 7ins) and 22 x 20cm (8.75 x 8ins) respectively (2)

£100-150

179* Schanker (Louis, 1903-1981). Ice Hockey, colour woodblock print on paper, signed in pencil to lower margin, corner stapled to mount, 31 x 40.5cm (12 x 16ins), image size, with good margins

Lot 177

Louis Schanker was born into an orthodox Jewish environment in the Bronx, New York to parents of Romanian descent. From an early age he took an interest in both art and music, taking art courses at Cooper Union, the Educational Alliance and the Art Students League with Barnett Newman, Mark Rothko and Milton Avery amongst others. During this time he shared a studio with the Soyer brothers, Chaim Gross and Adolph Gottlieb. In 1920 he traveled across the USA, joining the Sparks and then Barnum and Bailey circuses, later working as a thresher in the wheat fields of the Great Plains. He participated in the government sponsored Federal Art Scheme and went on to become a key figure in the New York gallery scene. (1) £200-300

Lot 178

Lot 181

180* Strang (William, 1859-1921). Thomas Hardy, etching, with margins, plate size 137 x 90mm (5.4 x 3.5ins), framed and glazed, together with other various British etchings, mostly early 20th century, including John Laviers Wheatley (1892-1955), portrait of a man seated, 1920, signed and dated in pencil, Enoch Fairhurst (18741945), The Violinist (Albert Sandler), 1937, etching, with drypoint on wove paper, signed, titled, dedicated and numbered 2/50, with full margins, Francis Dodd, an unsigned etching of an artist at work, Marion Willis Stanfield (1891-1965), 7 lithographed portraits by William Rothenstein, from English Portraits [1898], including Robert Bridges, W.E. Henley, a lithograph portrait of Elizabeth Yeats, by John Butler Yeats, May 1908, with later additional ink signature of Liz Yeats, dated June 3rd 1942 (some closed tears and discolouration), a lithographed portrait of a young man by Wyndham Lewis, 1932, woodcut portraits of Rudyard Kipling and Alfred Lord Tennyson, etc. Provenance: From the Roy Davids Collection. (17)

£150-200

181* Thornton (Valerie, 1931-1991). Capitals, Elne, 1980, colour aquatint, numbered 36/70, titled, signed and dated ‘80 to lower margin, plate size 220 x 132mm (8.75 x 5.5ins), sheet size 436 x 330mm (17.25 x 13ins), framed and glazed (1)

£100-150

182* Thorpe (Hall, 1874-1947 ). “The Chinese Vase”, colour woodblock print, signed and titled in pencil to lower edge, 48.5 x 33cm (19 x 13ins), framed and glazed (1)

£200-300

Lot 182

183* Verpilleux (Emile Antoine, 1888-1964). St Pauls from Cheapside, 1912, colour lithograph on paper, signed and dated in pencil to lower margin, plate size 35.5 x 46cm (14 x 18ins), framed and glazed (1)

£150-200

184* Vogel (Joseph, 1911-1995). None so blind, uncoloured lithograph, signed in pencil to lower margin, 28 x 39cm (11 x 15.5ins) image size, with good margins, together with Football, colour lithograph, signed in pencil to lower edge, lightly creased to lower right corner, 33 x 48cm (13 x 19ins) (2)

185* Whistler (James Abbott MacNeill, 1834-1903). Billingsgate, etching on pale cream laid paper, plate size 152 x 226mm (6 x 8.9ins), sheet size 215 x 305mm (8.5 x 12ins), together with etchings by Seymour Haden (The Complete Angler) and Samuel Palmer (Sunset or The Herdsman’s Cottage) and other artists as contained in Philip Gilbert Hamerton’s Etching & Etchers, 3rd edition, published by Macmillan & Co., 1880 [in an editon of 1000 copies], original publisher’s quarter leather binding, with gilt coat of arms of the Signet Library to centre of each cover, rubbed and a little wear to spine, folio

£150-200

Kennedy 47; MacDonald 9th state/9 for the etching by Whistler. (1)

£500-800

TWENTIETH CENTURY POSTERS 186* Anonymous. Greece. Island of Andros, 1949, colour lithograph poster, printed by M. Pechlivanides & Co., Athens, published by the Tourist Department of Greece, sheet size 800 x 600mm (31.5 x 23.5ins) (1)

£150-200

187* Anonymous. Greece. Island of Mykonos, 1949, colour lithograph poster, printed by Phoenix Co Ltd., Athens, published by the Tourist Department of Greece, sheet size 800 x 600mm (31.5 x 23.5ins) (1)

£150-200

Lot 186

188* Anonymous. Greece. Island of Corfu, 1949, colour lithograph poster, printed by M. Pechlivanides & Co., Athens, published by the Tourist Department of Greece, sheet size 800 x 600mm (31.5 x 23.5ins) (1)

Lot 187

£150-200

189* Anonymous. Greece. Aegean Island Jetty, 1948, colour lithograph poster, printed by Aspioti-Elka Co Ltd., published by the Tourist Department of Greece, sheet sizer 800 x 600mm (31.5 x 23.5ins), together with Hellas. Delphi-Wagen Lenker, printed by B. Papachrysanthou, Athens, published the Greek Tourist Department, March 1958, sheet size 800 x 600mm (31.5 x 23.5ins) (2)

£150-200

190* Art Deco. ‘A well-dressed couple’, 1933, original drawing in black chalk and gouache on laid paper, possibly a design for a poster, signed with the initial S and dated ‘33 lower left, some minor marginal marks, and light central horizontal crease, sheet size 600 x 460mm (23.5 x 18ins) (1)

£100-150

Lot 189

191* Hassall (John, 1868-1948). An original GNR poster, circa 1908, colour lithograph, showing a boy on a sand dune with hands raised having buried a man, logo of GNR top left and printed caption “A passive resister” printed along with signature in lower margin, some letterpress offsetting to upper margin, several creases and mostly closed marginal tears, 78 x 56.5cm (30.75 x 22.25ins) This poster was presumably created at a similar date to the famous ‘Skegness is so bracing’ poster, also designed for GNR. No other copy of this poster has been located. (1) £100-150

Lot 190

192* Perakis-Theocharis (Helen, 20th century). Greece. Crete Palace of Cnossos, 1949, colour lithograph, printed by Phoenix Company Ltd., Athens, published by the Tourist Department of Greece, 1949, in very good condition, sheet size 800 x 600mm (31.5 x 23.5ins) (1)

£150-200

193* Tetsis (Panayiotis, 1925-). Greece. Aegean Seacoasts, 1948, colour lithograph poster, printed by Aspioti-Elka Co Ltd., published by the Tourist Department of Greece, 1948, sheet size 815 x 600mm (32 x 23.5ins) (1)

£150-200

Lot 192

194* Vassiliou (Spyros, 1902-1985). Greece. Island of Poros, 1948, colour lithograph poster, printed by Aspioti-Elka Co Ltd., published by the Tourist Department of Greece, in very good condition, sheet size 800 x 600mm (31.5 x 23.5ins) (1)

Lot 193

£150-200

MODERN PRINTS

Lot 197

195* Beaver (Tessa, 1932- ). Hemlock Branch, etching printed in green on heavy handmade paper, signed, titled and numbered 107 from the edition of 150, publisher’s blindstamp to lower right corner, plate size 400 x 365mm (15.75 x 14.3ins), sheet sizse 630 x 570mm (24.75 x 22.5ins), window-mounted, together with another similar etching with aquatint entitled ‘Houses of Parliament’, printed in brown and pale pink on handmade paper, watermarked Somerset, signed (artist’s name indistinct), titled and numbered 67 from the edition of 75, plate size 355 x 505mm (14 x 20ins), sheet size 570 x 755mm (22.5 x 29.75ins), window-mounted (2)

196* Beer (Richard, 1928-). Conolly’s Folly, 1971, colour lithograph, signed, titled and numbered 53 from the edition of 70, image size 640 x 465mm (25.25 x 18.3ins), sheet size 765 x 575mm (30 x 22.5ins), window-mounted, together with Thirsk (John, 1945-), The Deer House, 1971, colour lithograph, signed, titled and numbered 45 from the edition of 70, sheet size 570 x 775mm (22.5 x 30.5ins), window-mounted Both works from a series entitled Follies, printed by the Curwen Press, including works by Richard Bawden, Barbara Jones and Leonard Rosoman. (2) £100-150

£100-150

197* Brunsdon (John, 1933-2014). Suffok Coast at Minsmere, colour etching, printed on handmade paper, watermarked Somerset, circular blindstamp of CCA Galleries London to lower right corner, signed, titled, and numbered 38 from the edition of 150, plate size 450 x 605mm (17.7 x 23.75ins), sheet size 560 x 765mm (22 x 30ins) (1)

£100-150

198* Frink (Elisabeth, 1930-1993). Etchings illustrating Chaucer's 'Canterbury Tales', Waddington, 1972, 19 etchings with aquatint on handmade paper, watermarked Barcham Green, signed by the artist in brown ink to final blank leaf, and numbered C.221, sheet size 655 x 450mm (25.75 x 17.75ins), some sheet edges a little browned, contents loosely contained in original publisher's olive green cloth portfolio, rubbed and marked with some staining and light discolouration to pastedowns, folio (665 x 465mm, 26.2 x 18.25ins) Limited edition of 175 copies boxed, from a total edition of 300. (1) ÂŁ1500-2000

Lot 200

199* Hitchens (Ivon, 1893-1979). Still Life, circa 1938, colour lithograph on lithographic cartridge paper, printed by Curwen Press, published by Contemporary Lithographs Ltd., London, closed vertical tear to top margin and centre, some creases, sheet size 69.5 x 53cm (27.3 x 20.8ins), framed and glazed Artmonsky, Contemporary Lithographs, 16. (1)

£300-500

201* Hockney (David, 1937-). Towards Art, 1962, offset colour lithograph poster, sheet size 76 x 51cm (30 x 20ins)

200* Hitchens (Ivon, 1893-1979). Untitled, colour reproduction, published by The Pallas Gallery Ltd., London, circa 1965, signed in pencil by the artist, and dated 3.3.65 lower right, 385 x 960mm (15 x 37.75ins), framed (1)

Baggott, Hockney Posters 3. (1)

£200-300

Lot 203

202* Leech (Kenneth, 20th century). Long Meg and her Daughters & Winter Pasture, two colour screen prints, each signed and titled in pencil, and numbered 65/95 and 21/50 respectively, sheet size 480 x 530mm (19 x 21ins), framed and glazed, together with Ferguson (Roy Young, 1907-1981), Valley of the Dochart, watercolour on paper, signed lower right, with artist’s handwritten label to verso, 240 x 350mm (9.5 x 13.75ins) mount aperture, plus Parkin (Ione, 1965-), Emergence, 1999, monoprint, signed and dated lower margin, 243 x 195mm (9.75 x 7.75ins), framed and glazed, plus a pen, ink, and watercolour on paper laid on mount board of irises in a vase by Donatella Merlo (b.1927), signed and dated 1956 lower right, sheet size 52 x 36cm (20.5 x 14ins), and a pen & ink drawing of trees and cottages by Maria Antoniette Salazar, signed and dated 1965 lower left, sheet size 46.5 x 33cm (18.25 x 13ins), plus prints various (10)

Lot 204

£150-200

203* Lowry (Laurence Stephen, 1887-1976). Level Crossing, offset colour lithograph, printed in 1973, signed in pencil, from the edition of 750 published by Patrick Seale Prints, for Salford Museum and Art Gallery, with margins, image size 460 x 560mm (18.2 x 22ins), framed and glazed (1)

£700-1000

204* Lowry (Laurence Stephen, 1887-1976). St. Lukes, London, colour lithograph, signed in pencil lower right margin, blindstamped and numbered 683/850 in pencil lower left margin, Cheshire Fine Arts label to verso 64.5 x 47cm (25.5 x 18.5ins), framed and glazed (1)

£500-800

205* Marceau (Marcel, 1923-2007). Bip the Clown, seven uncoloured lithographs on thick wove paper, each signed in pencil, and numbered from an edition of 200 or 250, sheet size 475 x 523 mm (18.7 x 20.6 ins), and similar, loosely contained in original portfolio (7)

£200-300

Lot 205

206*AR Miro (Joan, 1893-1983). Le Lezard aux Plumes d'Or (Plate X), 1971, colour lithograph on Kochi japan paper, signed, and numbered XV/XX, with Thornhill Gallery label to verso, printed by Mourlot for Louis Broder, Paris, image size 340 x 477mm (13.5 x 18.75ins), sheet size 410 x 560mm (16 x 22ins), framed and glazed Mourlot 815. See Cramer, Miro Illustrated Books 148. (1)

ÂŁ2000-3000

207*AR Miro (Joan, 1893-1983). Le Lezard aux Plumes d'Or (Plate VI), 1971, colour lithograph on Kochi japan paper, signed, and numbered XV/XX, printed by Mourlot for Louis Broder, Paris, image size 337 x 482mm (13.25 x 19ins), sheet size 410 x 560mm (16 x 22ins), framed and glazed Mourlot 811. See Cramer Miro Illustrated Books 148. (1)

ÂŁ2000-3000

210* Thorgerson (Storm, 1994-2013). Atom Heart Mother, 2003, screenprint in colours on wove paper, of the Pink Floyd album cover, image size 48.5 x 48.5cm (19 x 19ins), signed and numbered 257/295 in pencil by the artist to lower margin, neat paper repair to left margin, paper size 82.5 x 64cm (32.5 x 25ins) (1)

£150-200

208* Mr. Brainwash. Opera Gallery presents new works by Mr. Brainwash, Opera Gallery, London, October 2011, 28 pp. with colour reproductions of original artworks, signed vertically downwards ‘Mr. Brainwash’ to left-most image on page 6, ‘To Tony’ [the vendor], a few minor marks and creases, original colour pictorial wrappers, slim folio Mr. Brainwash is the moniker of Los Angeles-based filmmaker and pop artist Thierry Guetta (born 1966). (1) £100-150

209* Peiffer-Watenphul (Max, 1896-1976). Houses in Ischia, colour lithograph on BFK Rives paper, signed and numbered 23/110, image size 26.5 x 48.5cm (10.5 x 19ins), sheet size 50 x 65cm (19.75 x 25.5ins) (1)

211* Thorgerson (Storm, 1994-2013). Meddle, 2003, screenprint in colours on wove paper, of the Pink Floyd album cover, image size 62 x 38cm (24.5 c 15ins), signed, titled and numbered 5/295 in pencil by the artist to lower margin, paper size 82.5 x 65cm (32.5 x25.5ins)

£100-150

(1)

£150-200

214* Thornton (Valerie, 1931-1991). The Tower of London, 1979, colour etching with aquatint, printed on heavy handmade paper, signed, dated, titled and numbered 12 from the edition of 90, plate size 375 x 587mm (14.75 x 23.1ins), sheet size 565 x 780mm (22.2 x 30.75ins), in excellent condition, window mounted (1)

£200-300

212* Thorgerson (Storm, 1994-2013). Tree of Half Life, 2003, screenprint in colours on wove paper, of artwork used for a Pink Floyd T-shirt and book frontispiece, image size 51.5 x 46.5cm (20 x 18.25ins), signed and numbered 14/295 in pencil by the artist to lower margin, small tear with loss to upper left margin extremity, paper size 82.5 x 65cm (32.5 x 25.5ins) (1)

£150-200

215 Warhol (Andy, 1928-1987). Andy Warhol’s Exposures, Photographs by Andy Warhol, Text by Andy Warhol with Bob Colacello, 1st edition, Hutchinson, 1979, black and white illustrations from photographs throughout, signed presentation inscription to the vendor in black felt tip pen to half-title, ‘To Tony, love Andy Warhol’ with an artist’s palette as a paraph, original black cloth with some surface marks in dust jacket with marginal split and one small tear with loss to upper margin of upper wrapper, additionally signed ‘Andy’ in black felt tip to lower lighter area of upper panel, now partly indistinct, 4to

213* Thorgerson (Storm, 1994-2013). Division Bell - Stone Heads, 2003, screenprint in colours on wove paper, of the Pink Floyd album cover, image size 47.5 x 48cm (18.75 x 19ins), signed and numbered 75/295 in pencil by the artist to lower margin, paper size 82.5 x 65cm (32.5 x 25.5ins) (1)

(1)

£200-300

£400-600

Lot 216

216* The Beatles. A set of 4 vintage life-size posters of The Beatles from Fan Fotos, London, black and white half-tone images of each performing musician against a plain background, reproduced from photographs taken for ABC TV, all with some marks, small marginal tears and sellotape remains to versos of upper and lower margins, John Lennon with closed tears and repairs to verso stretching vertically from centre of lower margin up to lower leg, George Harrison and Ringo Starr each with tea or coffee stains, drips and splashes, each 158 x 61cm (62 x 24ins) Very rare. Sold as seen, not subject to return. (4)

ÂŁ500-800

ORIGINAL ILLUSTRATIONS & ARTWORK

217* Aldin (Cecil Charles Windsor, 1870-1935). The Empty Mug, circa 1921, pencil with colour pastel, titled "The Empty Mug (not apropos of the Lygon's hospitable doors)" and signed lower left, drawn onto the front endpaper of the book Old Inns, by Cecil Aldin, published by William Heinemann, 1921, with additional signed presentation inscription "To my friend S. B. Russell, Cecil Aldin" to upper right corner, sheet size 25.5 x 19cm (10 x 7.5ins) The drawing depicts one of the regulars at the Lygon Arms, Brodway, which is described in Aldin's book on pages 104 to 112, of which the dedicatee, S.B. Russell, was the owner. (1) ÂŁ300-500

Lot 217

221* English School. The Rat Catchers, 1914-15, a pair of pen and ink drawings on paper, each signed J.K.B. and dated 12.11.14 & 13.4.15 to lower right, 20.5 x 25.5cm (8 x 10ins) and slightly smaller, framed and glazed (2)

£100-150

218* Butcher (Enid Constance (active 1930s). A small archive of drawings and prints, approximately thirty pencil, pen & ink, and watercolour drawings, including book illustrations, figure studies, and designs for book covers, borders, greetings cards etc., some initialled, together with several printed endpaper designs, and seven signed limited etchings, three showing nuns, the others titled ‘The Well’, ‘Swiss Peasants’, ‘In a Costwold Garden’, and ‘A Breton Peasant’, latter accompanied by the original pencil drawing for the etching, and another drawing similar of a peasant woman with a basket on her back resting on a wall, 30 x 23cm (12 x 9.25ins) and smaller Enid Butcher studied at the Chelsea School of Art and at the Royal College of Art. She exhibited at the Royal Academy and in the provinces. (a folder) £150-200

219* Collyer (Peter, 1952-). Four original watercolour illustrations for South by Southwest, Painting the Channel Islands, Thomas Reed, 2000, 20.5 x 39cm, and similar, each framed and glazed, together with the published book, signed by the author to title page, original cloth in dust jacket, 4to (5)

222* First World War. Step Into Your Place, circa 1915, colour lithograph poster, published by The Parliamentary Recruiting Committee, London, printed by David Allen & Sons Ld., one or two minor marks, and several pinholes to corners, sheet size 505 x 755mm (20 x 29.5ins)

£150-200

220* Collyer (Peter, 1952-). Three original watercolour illustrations for Encompassing Britain, Painting at the Points of the Compass, Thomas Reed, 2002, 19 x 27cm, and similar, each framed and glazed, together with the published book, signed by the author to title, original publisher's cloth in d.j., 4to (4)

A recruiting poster for the army, possibly issued in May 1915 (the poster bears a printed code to the lower right corner 5/15), attempting to bolster recruitment into the army, before the passing of the Military Services Act in 1916, which introduced conscription. (1) £100-150

£150-200

223* Goble (Warwick, 1862-1943). Drury Lane, watercolour, showing an evening street scene with figures and a horse-drawn carriage, signed lower left and titled lower right, 34.5 x 28cm (13.5 x 11ins), titled mount, framed and glazed (1)

£150-200

224* Hull (William, 1820-1880 & Edward, 1823-1906). Dickens & Rochester, Original Drawings by E. & W. Hull, 1879-83, an album containing 22 drawings in watercolour, grey wash, pencil and black ink, all illustrating scenes and locations relating to the early life of Charles Dickens in Rochester, of which 11 are signed or initialled by Edward Hull and 7 are signed by William Hull, 230 x 340mm (12 x 13.3ins), or smaller, each with old caption in pencil, and page reference to facing leaf, each mounted on thick card leaves, two with upper outer blank corner damage, bookplate of F. Reddaway to front pastedown, all edges gilt, contemporary maroon full morocco gilt, a little rubbed and outer corners bumped, contained in slightly later cloth portfolio An interesting group of original illustrations on the theme of the early life of Charles Dickens, published in Robert Langton’s Childhood and Youth of Charles Dickens (1883). Edward Hull (1823-1906) was an illustrator and watercolour artist, who exhibited at the Royal Academy but was chiefly employed as an illustrator by The Illustrated Times. William Hull (1820-1880), the English watercolour artist and illustrator, provided illustrations for Langton’s Charles Dickens and Rochester, as well as The Childhood and Youth of Charles Dickens. In his preface to the enlarged and revised edition of the latter work, published in 1891, the author states that he visited Rochester in August 1879 ‘in company with the late Mr. William Hull, in order to make the sketches’. On page 148, the author comments on Dickens’ description of the ballroom at the Bull Hotel, Rochester, in Pickwick Papers: ‘“It was a long room, with crimson-covered benches, and wax-candles in glass chandeliers. The musicians were securely confined in an elevated den” ... Mr. Hull’s sketch is a capital representation of the entrance end of this room, and shows the little orchestra as it was and is to the present day’, the illustration for which is included in this album. (1) £300-500

Lot 224

225* Pearse (Susan Beatrice, 1878-1980). Portrait of a young girl, watercolour on paper, showing a blonde-haired child in a Grecianstyle tunic wearing a wreath of leaves on her head, standing between tall wrought iron gates with stone urns and flowers either side and a vista of houses beyond, signed lower right, pencil inscription on verso ‘Norah Pearse?’, 42 x 27.5cm (16.5 x 10.75ins), mounted British illustrator of children’s books, Susan Beatrice Pearse was best-known for her images of Ameliaranne. (1) £300-400

226* Wain (Louis, 1860-1939). “Poor Man’s Gout”, watercolour and bodycolour, showing a grey and white cat sitting in a chair in humble surroundings, his foot bandaged, smoking a clay pipe and looking in astonishment at a mouse who has had the temerity to appear before him, signed lower left, 46 x 34cm (18 x 13.25ins), mounted, framed and glazed Provenance: Sold in these rooms, 16th June, 2005. (1)

£1000-1500

Lot 225

227* Attributed to Louis Wain (1860-1939). ‘Where the good cats go to’, circa 1900, well-executed pen and ink drawing with numerous cats, playing, hunting and fighting in a large yard, several ink-lettered signs within the picture, titled to lower margin, drawn on an old album leaf, 135 x 165mm (5.25 x 6.5ins), now detached but still loosely contained within the original album, now with largely blank and detached leaves, pen and ink and watercolour drawing by the album’s owner Winifred M.M. Dowding to first leaf verso and a handwritten notice from her pasted to front free endpaper, ‘Notice: The owner of this book invites contributions in the shape of works of art only. With the profoundest respect she declines the admission of written verses, texts, and others of the like. To the clever artists to whom she cannot acknowledge them personally she extends her warmest thanks for their extreme kindness. This book must be returned to Miss W.M.M. Dowding, 117 Cambridge Road, Seven Kings, Essex’, original padded morocco, a few splits, oblong 8vo (1)

Lot 226

£400-600

228* Whitaker (Harold, 1920-2013). A large and voluminous archive of artwork including animation, plus related correspondence, printed and other assorted ephemera, circa 1950s/1990s, the artwork including original cells and drawings from animated films including Animal Farm, most with some old water damage, plus scripts, related correspondence, books, photographs and rolls of negatives (mostly personal), casettes, artistâ&#x20AC;&#x2122;s materials, an Aldis projector in box, plus sundry ephemera Harold Jackson Whitaker was a British animator, whose credits included Animal Farm (1954), the first full-length animated feature to be made in Britain. Harold specifically animated Farmer Jones and Napoleon. He first worked for Anson Dyer, before spending thirty years as an animator for Halas & Batchelor. Yorkshire born, Whitaker spent most of his working life in Stroud, Gloucestershire. This unsorted archive was salvaged from the garage of Whitakerâ&#x20AC;&#x2122;s home earlier this year. (an archive) ÂŁ300-500

TWENTIETH CENTURY WATERCOLOURS 233* Bramley (Frank, 1857-1915). Coastal Scene in Evening Light, watercolour, initialed lower right, 17 x 25cm (6.75 x 10ins), framed and glazed (1)

£70-100

229* Apperley (George Owen Wynne, 1884-1960). Panoramic summer landscape in Granada, Spain, 1924, watercolour on thick paper, laid down on card, signed and dated lower left, image size 35.5 x 53.5cm (14 x 21ins), sheet size 38 x 56cm (15 x 22ins) George Owen Wynne Apperley (1884-1960) was born in Ventnor on the Isle of Wight and moved to Granada in 1917, where, inspired by the city and surrounding landscape he painted many scenes. He first exhibited at the Royal Academy in 1904, and was the only British artist to be awarded the Encomienda de Alfonso X El Sabio (the Order of Alfonso the Wise) by the Spanish government during his lifetime, among other honours. (1) £300-500

234* Cadman (Michael Lawrence, 1920-2010). Cornish Coastal Scene, 1982, watercolour with bodycolour, signed and dated lower left, 31.5 x 47cm (12.5 x 18.5ins), framed and glazed Michael Lawrence Cadman trained at Wimbeldon and Royal College of Art, going on to have a number of solo exhibitions in London. He spent much of his life in Cornwall and Dorset and many of his paintings consentrate on the vernacular architecture of this area. (1) £200-300

230* Beaton (Penelope, 1886-1963). Wild Flowers, watercolour, showing a vase of flowers, signed lower right, 43 x 55.5cm (17 x 21.75ins), mounted, framed, and glazed, backboard with Aitken Dott & Son gallery labels and Society of Scottish Artists exhibition label (1)

£400-600

231* Birch (Samuel John Lamorna, 1869-1955). Cornish Cove, 1920, pencil on paper, signed and dated 11.4.1920 lower right, laid down into later card, 14 x 19.5cm (5.5 x 7.75ins) Provenance: Roy Davids Collection (1)

£100-150

232* Bradbury (Arthur Royce, 1892-1977). Brown Sea Island, Poole; Farm, Sark & Mrs Pevie’s Well, Sark, circa 1938, together three watercolours on paper, each signed lower corner, 18 x 26cm (7 x 10ins)

235* Continental School. Elderly couple in the Shtetl, 1936, pencil and watercolour on paper, signed in pencil ‘K. S., 36’ lower righthand corner, framed and glazed, 32 x 38cm (12.5 x 15ins)

(3)

(1)

£70-100

£100-150

239* Glover (Sybil Mullen, 1908-1995). Contemplation, watercolour, signed lower left, aperture size 28 x 50cm (11 x 19.75ins), framed and glazed (1)

£70-100

236* Belsize Park Group. Portrait of a Man, circa 1959, red chalk on Whatman paper, watermarked 1959, 63 x 49cm (25 x 19ins), framed and glazed (1)

£150-200

240* Hall (Clifford, 1904-1973). Study of a Young Girl, 1927, charcoal on orange paper, heightened with chalk, signed and dated lower left, 33 x 23.5cm (13 x 9.25in), framed and glazed (1)

£100-150

237* French School. The Sunbathers, 20th century, watercolour and gouache on paper, signed lower right, 38 x 45cm (15 x 17.5ins), framed and glazed (1)

£150-200

238* Gertler (Mark, 1891-1939). Study of a Jewish Elder, 1924, charcoal on artist’s board, inscribed by the artist lower right ‘To Siegfried from Mark, 1924, Xmas’, further inscribed by Siegfried Sassoon in pencil to verso ‘Given me by Mark Gertler, Xmas 1924 at Garsington’, slightly frayed at corners, 41 x 28cm (16 x 11ins) Provenance: From the Roy Davids Collection. Siegfried Sassoon and Mark Gertler (both of Jewish origin) met frequently in the years following the First World War at Garsington Manor, the home of society hostess Lady Ottoline Morrell. (1) £700-1000

241* Hooper (George, 1910-1994). Seated Nude, black chalk, pen and ink with watercolour and crayon, signed lower left, 78 x 56cm (31 x 22ins), framed and glazed (1)

£150-200

Lot 238

242 John (Gwen, 1876-1939). Reclining Nude, charcoal on laid paper, inscribed in pencil to verso ‘Gwen John, Reclining Nude, 7800’, Ernest Brown & Phillips label pasted to verso, and remover’s label with type written name Dame Cicely Andrews, aperture size 17 x 25cm (6.75 x 10ins), framed and glazed Provenance: Dame Cicely Andrews (better known as Rebecca West). Roy Davids Collection. (1) £1000-1500

243* Meninsky (Bernard, 1891-1950). Seated baby, circa 1920-25, red and black chalk on wove paper, signed lower right, 460 x 320mm (18 x 12.5ins), together with four other similar studies of a young baby in red and black chalk, each signed, contemporary frames, glazed, with old framer’s label of Rowley Frames, 140 Church Street, Kensington to verso (5)

£500-700

245* Monnington (Sir Thomas, 1902-1976). Study of olive leaves and branches for The Allegory, pencil on tracing paper, 53.5 x 41cm (21 x 16ins), framed and glazed, with Paul Liss gallery label to verso, together with a similar study, of brown ink and pencil on tracing paper, 46 x 34cm (18 x 13.5ins), framed and glazed, with Paul Liss gallery label to verso

244* Meyer (Astrid, 20th century). Maid in a Kitchen, 1932, watercolour over pencil on laid paper, signed with initials and dated lower right, 40.5 x 31cm (16 x 12.25ins) sheet size, framed and glazed (1)

Provenance: The artist’s estate. (2)

£250-350

£100-150

246* Morgan (Baxter, active 1905-1932). Early morning landscape with sheep, pastel on board, showing a sunlit landscape with trees and a stream, and a flock of sheep with a traveller seated nearby, signed lower left, 32 x 41.5cm (12.75 x 16.25ins), gilt mount and frame, glazed (1)

£150-200

247* Morisot (Berthe, 1841-1895). Sketch of Julie Manet, circa 1890, pencil drawing, on the verso of a leaf of squared paper with rounded corners taken from a sketchbook, showing a young girl reclining with her head on a pillow, inscribed by the artist in pencil below the image ‘Mezy dernier[?] soir’, partially toned (from mount aperture), recto with pencil sketch of a seated female figure, leaf size 148 x 83mm (6 x 3.25ins), tipped onto card, mounted, framed and glazed Provenance: From the Roy Davids Collection. Julie Manet was the only child of Berthe Morisot and her husband Eugene Manet, brother of Edouard. She frequently posed as a model for her mother and other artists, including Renoir and her uncle Edouard. The Musee Marmottan in Paris houses an important collection of works by Berthe Morisot, including seven sketchbooks; one of these is a small notebook used by Morisot at Mezy between 1890 and 1892, which has squared leaves with rounded corners matching the format of our leaf (see Bridgeman Art Library). The majority of the collection was bequeathed to the Museum by Julie Manet’s son Denis Rouart, with a further bequest from Julien Rouart (also Morisot’s grandson) and his wife Therese. Mezy is a small village in the valley of the Seine to the northwest of Paris. Berthe and Eugene first rented a house in Mezy in 1890, the Maison Blotiere, and then in 1891 purchased the seventeenth century Chateau du Mesnil there. Renoir stayed with Morisot and her family at Mezy at least once in 1890, and both he and Berthe used Julie as a model during this time. (1) £1000-1500

Lot 247

249* Pannett (Denis, 1939-). Oriental figure fishing, watercolour on textured paper, showing a figure standing on a wooden raft, wearing a coolie hat, and wielding a fishing net, signed lower right, 33.5 x 53cm (13 x 21ins), mounted, framed and glazed (1)

£150-200

250* Pierce (Janet, 1947-). Treasna 12, watercolour on paper, signed and dated, overall size 44 x 37cm (17.25 x 14.5ins), framed and glazed, with printed label to verso (1)

251* Ricketts (Charles, 1866-1931). Cherubs chasing a Centaur, grey-brown ink over pencil and red chalk on handmade wove paper, signed lower left, apperture size 26.5 x 18cm (10.5 x 7ins), framed and glazed

248* Pannett, (Denis, 1939-). Three pictures, together with three other similarly-sized watercolours by the same artist, comprising a wooded landscape, a river landscape with boats and houses, and a country landscape with track and gate, each signed, each mounted, framed and glazed (3)

£100-150

Provenance: From the Roy Davids Collection. (1)

£200-300

£400-600

253* Ruben (Richards, 1925-1998). Untitled, 1962, crayon, black ink, and watercolour wash on paper, signed and dated in pencil lower right, sheet size 518 x 329mm (20.4 x 13ins), mounted The abstract expressionist artist Richards Ruben was born in Los Angeles, California, exhibited across America and is represented in numerous American museums, including San Diego, Santa Barbara, San Francisco, Brooklyn, Los Angeles County, and the Norton Simon. A similar work of the same year is in the Smithsonian American Art Museum. (1) £300-500

252* Julius Rosenbaum (1897-1956) & Adele Reifenberg (18931986). An archive of watercolours, drawings and etchings by Julius Rosenbaum and Adele Reifenberg, circa 1903-50, consisting of approximately 55 works on paper by Julius Rosenbaum, and 15 works on paper by Adele Reifenberg, many in watercolour, but including pencil and black crayon drawings, and six etchings by each artist, many signed, and some dated, some mounted, various sizes (480 x 610 mm, 19 x 24 ins, and smaller) An unusual archive of studies and sketches by the Jewish artists Julius Rosenbaum and Adele Reifenberg, who married in 1930, and left Germany for London in 1939. Rosenbaum studied in Paris, Munich and in Berlin, as did Reifenberg, under Lovis Corinth (1911-15). From 1948 they ran a private painting school in London, and exhibited as the Belsize Group (along with David Bomberg). Examples of their work are held at the Ben Uri Art Gallery, London. (70) £500-800

254* Suddaby (Rowland (1912-1972)). Still life of flowers and fruit, circa 1942, pen, black ink & watercolour on handmade paper, unsigned, but with an additional unfinished landscape watercolour by Suddaby to verso, signed and dated ‘42 (a little indistinct) (1)

£150-200

256* Suddaby (Rowland (1912-1972)). Moorland road near Penistone, Yorkshire, 1949, watercolour and gouache with black ink on wove paper, signed and dated lower right, inscribed in pencil with title to verso, few marks to edges, sheet size 345 x 560mm (13.5 x 22ins) (1)

£150-200

257* Suddaby (Rowland (1912-1972)). On the borders of Wales, 1946, pen, black ink, watercolour and gouache on wove paper, signed and dated lower right, sheet size 330 x 560mm (13 x 22ins) (1)

£150-200

258* Walker (Ethel, 1861-1951). A group of 16 photographic reproductions of paintings by Walker, circa 1930s, all but 4 with pencil (or ink) titles and artist’s signature in pencil to lower mount, many giving original date of picture, subjects include portraits and nudes, various sizes, mounts with photographer’s credit stamp for Paul Laib to versos, plus 3 vintage photographs of Walker, two at work and one with two dogs, plus a small portfolio of ephemera including photographs and cuttings, mostly relating to Colin Sealy (1891-1964) and including one unsigned pencil sketch on paper, 32 x 25cm (12.5 x 10ins)

255* Suddaby (Rowland (1912-1972)). Still life of fruit in a bowl, circa 1940, coloured pastels on wove paper, with watermark S O and King George VI crown, and ‘semi absorbent’, unsigned, sheet size 330 x 405mm (13 x 16ins)

(a folder)

£150-200

259* Webb (Clifford Cyril, 1895-1972). Seascape with rocks and mountains, watercolour, showing a rocky beach against mountains and a stormy sky, signed lower right, 48 x 58cm (19 x 23ins), framed and glazed, together with Landscape with village church, watercolour, showing a church steeple rising above cottages, signed lower right, 36.5 x 54.5cm (14.25 x 21.25ins), mounted, framed and glazed

The S O watermark was in use in England during the late 1930s and early 1940s. (1) £150-200

(2)

£100-150

Lot 256

Lot 257

260* Wilson (Peter, 20th century). Gardening, charcoal on paper, some slight discolouration, 62 x 52cm (24.5 x 20.5ins), framed and glazed (1)

£100-150

SUE READ

261* Read (Sue, 20/21st century). Pears, watercolour on paper, signed with initials lower right, 178 x 210mm (7 x 8.25ins), framed and glazed

262* Read (Sue, 20/21st century). Cherries, watercolour on paper, signed with initials lower right, 155 x 168mm (6.2 x 6.6ins), framed and glazed

The Suffolk-based watercolour painter Sue Read is known for her small-scale delicate still lifes in watercolour of fruit, flowers, oriental bowls, eggs and shells. She was elected a member of the Royal Institute of Painters in Watercolours in 1985. (1) ÂŁ150-200

(1)

Lot 263

ÂŁ150-200

263* Read (Sue, 20/21st century). Tulips, watercolour on paper, signed with initials lower right, 117 x 197mm (4.6 x 7.75ins), framed and glazed (1)

£150-200

264* Read (Sue, 20/21st century). Cream Bowl, watercolour paper, signed with initials lower right, 130 x 135mm (5.1 x 5.25ins), framed and glazed (1)

£120-180

265* Read (Sue, 20/21st century). Kumquats, watercolour on paper, signed with initials lower right, 125 x 115mm (5 x 4.5ins), framed and glazed (1)

£120-180

266* Read (Sue, 20/21st century). Orchid, watercolour on paper, signed with initials lower right, 120 x 107mm (4.75 x 4.25ins), framed and glazed (1)

£120-180

Lot 264

Lot 265

Lot 266

REGINALD JAMES LLOYD

267* Reginald James Lloyd (1926-) & Ted Hughes. Conger Eel, 1988, pen, ink and brown wash drawing on handmade paper, signed and dated lower left, 165 x 120mm (6.5 x 4.75ins), together with the autograph manuscript by Ted Hughes of his poem Conger Eel, signed at foot, on similar handmade paper, 230 x 190mm (9 x 3.5ins), mounted together, framed and glazed

268* Reginald James Lloyd (1926-) & Ted Hughes. Sea Monster, 1998, pen, brown ink and wash on handmade paper, signed and dated lower right, 130 x 100mm (5.1 x 4ins), together with the autograph manuscript poem Sea Monster by Ted Hughes, handwritten in ink on similar handmade paper, signed at foot, 230 x 106mm (9 x 4.2ins), mounted together, framed and glazed

The original drawing by Reg Lloyd, together with a holograph poem by Ted Hughes for page 18 of The Mermaids Purse, published by the Sunstone Press in May 1993 in an edition of 100 copies. With label for the R. J. Lloyd and Ted Hughes exhibition at Shellhouse Gallery, Ledbury Poetry Festival Exhibition 1997, to verso. (1) £500-700

The original preliminary drawing by Reg Lloyd together with the holograph poem by Ted Hughes for page 11 of The Mermaid’s Purse, published by the Sunstone Press in May 1993, in an edition of 100 copies. With printed label for the R. J. Lloyd and Ted Hughes exhibition at Shellhouse Gallery, Ledbury Poetry Festival, 1997 to verso. (1) £500-700

270* Hughes (Ted, 1930-1998). Five poems from the Cat and the Cuckoo, 1987, five printed poems each with colour printed illustrations by Reginald J. Lloyd, four signed in ink by both Hughes and Lloyd, and dated in pencil 18/4/87, artist’s proof, 30 x 21cm (12 x 8.25ins), together with another printed poem by Hughes with illustration by Lloyd, artist’s proof in three states, 38 x 20cm (15 x 8ins), plus a collection of six poems by Ted Hughes, printed and published by Ronald D. Yates, limited 21/54, in original mock leather folder (9)

£150-200

269* Lloyd (Reginald J., 1926-). The Carp, 1982, monotype, signed and dated to lower margin, additionally inscribed in pencil ‘What is the Truth by Ted Hughes and R.J. Lloyd’ to lower edge of mount, 265 x 400mm (10.5 x 15.75ins), together with manuscript facsimile and printed versions of the original poem by Ted Hughes accompanying Lloyd’s image, each sheet marked 99 in blue pencil to upper right corner, 265 x 195mm (10.5 x 7.75ins) and slightly smaller, mounted together, matching gold-painted frames, glazed The original monotype for page 98 of What is the Truth by Ted Hughes and R.J. Lloyd, published by Faber & Faber in 1984. (2) £200-300

271* Lloyd (Reginald J., 1926-). Clay Tips, 1969, colour silkscreen print, artist’s proof, signed and dated in pencil to lower margin, titled with artist’s details to verso, 51 x 63cm (20 x 25ins), framed and glazed (1)

£150-200

272* Lloyd (Reginald J., 1926-). Standing stones and reclining figure, 1970, monotype on laid paper, signed and dated 1970 lower right, 305 x 445mm (12 x 17.5ins) mount aperture, framed and glazed (1)

Lot 270

£150-200

273* Lloyd (Reginald J., 1926-). Seagull, 1993, watercolour on wove paper, signed and dated lower right, 40 x 25cm (15.75 x 9.75ins) mount aperture, framed and glazed (1)

£70-100

276* Lloyd (Reginald J., 1926-). Maiden Castle, 1983, etching, signed and dated in pencil, and marked Proof, together with four other etchings on a similar theme by the same artist, each signed, dated 1983, and marked proof, plate size 7.5 x 14.5cm (3 x 5.7ins), and similar, sheet size 34.5 x 26cm (13.5 x 10.25ins), and slightly smaller (5)

£150-200

274* Lloyd (Reginald J., 1926-). Coastal Landscape, 1997, watercolour on paper, signed and dated lower left, 25 x 18cm (10 x 7ins), framed and glazed (1)

£100-150

277* Lloyd (Reginald J., 1926-). Teach Me to Heare Mermaides Singing, 1996, etching, signed, dated and marked Proof in pencil, together with five other similar etchings by the same artist, each signed and dated 1996, and marked proof, plate size 97 x 118mm (3.8 x 4.6ins), sheet size 343 x 258mm (13.5 x 10.2ins)

275* Lloyd (Reginald J., 1926-). Fishing boat PZ75, 1997, etching on wove paper, signed and dated, artist’s proof, plate size 14.8 x 20cm (5.75 x 8ins), sheet size, 26 x 39cm (10 x 15.25ins) (1)

£70-100

(6)

£200-300

MODERN PAINTINGS

281* Burman (John Reginald, 1936-). Evening, River Orwell, oil on board, river landscape with boats and figures on the shore, signed lower left, 37.5 x 57.5cm (14.75 x 22.75ins), glazed linen mount, framed, titled on verso (1)

278* Barnes (David, 20th century). Village Gossips, oil on board, signed to verso, 25 x 30cm (10 x 12ins), framed (1)

£150-200

282* Burman (John Reginald, 1936-). Cattle by the River, oil on board, river landscape with trees and cattle, signed lower left, 33 x 50.5cm (13 x 20ins), glazed linen mount, framed, titled in pencil on verso (1)

279* Barnicoat (John, b.1924). Red Composition, 1961, oil on canvas, signed and dated on verso, and with Molton Gallery label, 51 x 61cm (20 x 24ins) (1)

£300-400

280* Barrett (Elsie M., 20th century). Fire at Sea, oil on board, signed lower left, additionally signed and titled to verso, 50 x 62cm (20 x 24.5ins), framed (1)

£150-200

284* Burman (John Reginald, 1936-). Riverside Cottages, oil on board, river landscape with boats and cottages, signed lower left, 25.5 x 40cm (10 x 15.75ins), glazed linen mount, framed, titled on verso, together with Trees By the Stour, watercolour, signed lower right, 46 x 55cm (18 x 21.5ins), mounted, framed and glazed (2)

£150-200

283* Burman (John Reginald, 1936-). The Strand, oil on board, coastal landscape with figures on a beach, signed lower left, 32 x 42.5cm (12.75 x 16.75ins), glazed linen mount, framed, titled in pencil on verso (1)

£100-150

285* Burman (John Reginald, 1936-). Weather Encounter, Stiffkey, oil on board, landscape with dramatic overcast sky, signed lower right, 54 x 79cm (21.25 x 31ins), glazed linen mount, framed, titled in pencil on verso (1)

£200-300

286* Burman (John Reginald, 1936-). First Snow River Orwell, oil on board, snowy river landscape with fields and trees, signed lower left, 50.5 x 76cm (20 x 30ins), glazed linen mount, framed, titled in pencil on verso (1)

Lot 284

£200-300

287* Davies (Ashley, 1964-). Yellow and White, after Rothko, 1994, oil on canvas, signed and dated to verso, 56 x 56cm (22 x 22ins) (1)

£100-150

288* Dorleans (Raymond, 1947-). Surreal Landscape, 1988, oil on canvas, signed and dated ‘88 to lower right, 49 x 56cm (19.25 x 22ins), framed (1)

£100-150

289* Ehlers (Ernest Herman, 1858-1943). Bluebell Wood, oil on board, signed lower right, 50 x 38.5cm (19.75 x 15ins), framed and glazed, with framer’s label of W. Jewell, 3 Lower Park Road, Bristol to verso (1)

£100-150

Lot 287

290* Farleigh (Elsie, 1900-1981). Young girl with baby, 1930, oil on canvas, showing a young girl in a cloche hat, sitting in a chair and cradling a baby, initialled and dated lower right, 64 x 52cm (25.25 x 20.5ins), framed Elsie Farleigh was a landscape and portrait painter in oil. She studied at the Central School of Art under Bernard Meninsky and James Grant between 1917 and 1921, marrying wood engraver and painter John Farleigh in 1925. She exhibited at the Leicester Galleries. (1) £200-300

Lot 289

291* Ferguson (John Kenneth, 1885-1967). “Xosa Girl” from Mazeppa Bay, Transki, South Africa, 1950; “Inyanga” Native Doctor “Zulu”, Natal, South Africa, together a pair of portraits, oil on canvas, one a head and shoulders portrait of a young woman wearing a yellow wrap dress, green cloth turban, beaded collar necklace, and arm bangles, and carrying an earthenware pot, signed lower right, verso with signature, title, and date in the artist’s hand, the other a head and shoulders portrait of a man wearing a necklace of teeth, with small area of surface loss, signed lower right, verso with signature and title in the artist’s hand, each 56 x 46cm (22 x 18ins), matching gilt moulded frames (2)

£300-500

292* Font Bellabona (Jose, 1925-). Spanish bullfighters in the arena, oil on board, circa 1960s, signed lower left, 125 x 250mm (5 x 9.75ins), framed and glazed, with Ernest Wheatley framer’s label to verso (1)

£70-100

293* Fontené (Robert, 1892-1980). W30, 1969, oil on printed newspaper, laid down on board, signed and dated lower left, 215 x 210mm (8.5 x 8.25ins), framed, marked W30 to verso, together with another similar abstract composition by the same artist, unsigned, but marked to verso W.8 1969, oil on paper, 310 x 220mm (12.2 x 8.75ins), framed (2)

£200-300

294* French School. Blue Jugs, circa 1940s, oil on canvas, 17 x 23cm (6.75 x 9ins), gilt frame (1)

£100-150

295*AR Gear (William, 1915-1997 ). Triple Form, August 1968, oil, pastel and acryclic, signed and dated lower right, 58 x 73cm (23 x 29ins), framed and glazed (1)

Lot 291

£1000-1500

Lot 295

296*AR Gear (William, 1915-1997 ). Untitled, 1959, mixed media on paper, 48 x 67cm (19 x 26.25ins), framed and glazed (1)

297*AR Gear (William, 1915-1997 ). Two Forms; Yellow, Blue, August, 1967, mixed media on paper, signed lower right, 47 x 59cm (18.5 x 23.25ins), framed and glazed

ÂŁ500-800

(1)

ÂŁ700-1000

298* Hague (Joshua Anderson, 1850-1916). Figures in a Park, oil on wooden panel, signed lower left, 9.5 x 21cm (3.75 x 8.25ins), framed (1)

301* Klar (Otto, 1908-1994). Afican women and children, oil on board, showing three African women, two carrying babies, and two small children, before a crude timber structure, signed lower right, 40.5 x 53.5cm (16 x 21ins)

£100-150

Otto Klar was born in Vienna, and he studied there at the Academy of Arts. He exhibited in Vienna, Munich and Berlin before travelling to South Africa in 1939. Klar settled in Pretoria, where he painted and taught art. He was interested in local landscape and figure subjects, and his works were praised for their bold palette, energy and strength; his style has been likened to the hurling of thunderbolts across the canvas. (1) £1000-1500

302* Leder (Montague, circa 1900-1972). Still life of flowers, oil on board, signed lower right, 76 x 56cm (30 x 22ins), framed (1)

£70-100

299* Haslehurst (Ernest William, 1866-1949). ‘A Sussex Garden’, oil on board, signed and inscribed to verso, 23 x 32cm (9 x 12.5ins), framed (1)

£100-150

303* Lloyd (Norman, 1895-1983). Warships under camouflage, Le Havre, 1916, oil on canvas board, signed lower left, additionally inscribed in red to verso ‘Havre/16’, and with later handwritten full inscription, possibly in the artist’s hand, below, board manufacturer’s stamp of G. Roberson & Co to verso, 203 x 255mm (8 x 10ins), framed Provenance: Private Collection, Gloucestershire. The Australian artist Norman Lloyd was born near Newcastle in New South Wales, Australia in 1895, and left school in 1911 to study painting with the artists Julian Ashton and James R. Jackson in Sydney. He enlisted with the Australian Imperial Forces in 1916, and was transported to Europe where he was seriously wounded at Polygon Wood on 20th September 1917. He returned to Sydney in February 1918, and from the 1920s onwards exhibited with various galleries in Sydney and Melbourne. In the 1930s Lloyd moved to London where he became a member of the Royal Institute of Oil Painters (in 1936) and the London Sketch Club, of which he was president between 1941 and 1942. The present work is therefore an unusual early example of his output and documents his arrival from Australia at Le Havre in 1916. (1) £300-500

300* Heriot (Caroline Isabel Robertine, 1869-1962). ‘From my roof’, circa 1905-10, oil on canvas, unsigned, 305 x 380mm (12 x 18ins), inscribed to verso of stretcher in old crayon Heriot, and with contemporary framer’s label of James Bourlet & Sons Ltd, contemporary ebonised wood frame, with artist’s handwritten label giving the title of the work, the artist’s name and address 108 St. George’s Square, S.W.1 Provenance: Private Collection, Bath, Wiltshire. Robertine Heriot was a pupil of Theodore Roussel (1847-1926) who produced landscapes and still lifes in oil and colour etching. Roussel painted a halflength portrait of her in 1912 (Bonhams, London 10 July 2012, lot 48). A similar scale painting of Buckingham Palace, dated 1907 was sold by Christie’s, London, 26 November 1999, lot 90. The present work shows a view of the Thames along the Embankment, from the roof of the artist’s home. (1) £300-500

Lot 298

Lot 301

307* Mellor (Oscar, 1921-2005). “String Theory”, 1973, oil on canvas, signed and dated ‘73 lower left, 25.5 x 36cm (10 x 14ins), framed (1)

£150-200

304* Marek (Jerzy, 1925-). Junior League, 1969, oil on board, signed and dated lower right, titled to verso, 30.5 x 41cm (12 x 16ins), framed (1)

£200-300

305* Mellor (Oscar, 1921-2005). Standing Nude, 1958, a pair of oils on board, each signed and dated ‘58 to lower edge, few minor surface marks to one image, Taurus Gallery labels to verso, 38 x 24cm (15 x 9.5ins) and slightly smaller, uniformly framed

308* Mellor (Oscar, 1921-2005). Moeurs Contemporaines, 1973, oil on canvas, signed and dated lower right, titled and additionally signed and dated to verso, 36 x 46cm (14 x 18ins), framed

(2)

(1)

£300-400

309* Mellor (Oscar, 1921-2005). Curtain Raiser, 1972, oil on canvas, signed and dated lower right, titled and additionally signed and dated to verso, 51 x 36cm (20 x 14ins), framed

306* Mellor (Oscar, 1921-2005). La Grande Perche, 1972, oil on canvas, signed and dated lower left, titled and additionally signed and dated to verso, Taurus Gallery label to verso, 46 x 34cm (14 x 18ins), framed (1)

£200-300

(1)

£200-300

£150-200

310* Mellor (Oscar, 1921-2005). Seated Nude, 1958, oil on card, signed and dated lower right, 35.5 x 28cm (14 x 11ins), framed (1)

312*AR O’Casey (Breon, 20th century). ‘Waterfall’ III (after Hokusai), 1992, mixed media on board, 32 x 25cm (12.75 x 9.75ins), framed and glazed, signed, titled, and dated on backboard

£100-150

(1)

311* Newman (P., early 20th century). Perrys Watercress Beds Near Bromley; Allotment Gardens; Near Shooters Hill; Near Well Hall, Eltham; Eltham, circa 1900, together five landscape oils on board, variously with figures and cottages, two signed in pencil on verso and each titled in the artist’s hand, dusty and some spotting, each approximately 27 x 35cm (10.5 x 13.75ins), together with a slightly earlier landscape oil on wood panel, showing a male figure by a river with trees, 35.5 x 24cm (14 x 9.5ins) (6)

£150-200

£500-800

Lot 313

313* Olsson (Julius, 1864-1942). Sunrise Over the Sea, oil on canvas, showing a panoramic seascape bathed in early morning light, signed lower left, with David Cross Gallery label on verso, 41 x 61.5cm (16.25 x 24ins), framed (1)

ÂŁ1500-2000

314* Pajdic (Predrag Sebastian, 1965-). No. 6, 2001, pen and ink on canvas, signed lower right, additional signed, titled and dated to verso, Catto gallery label to verso, 101.5 x 76cm (40 x 30ins) (1)

ÂŁ200-300

Lot 314

315* Parker (S. J., 20th century). Tree Lined Avenue, 1963, oil on artist’s board, signed and dated lower right, 50 x 60cm (20 x 23.5ins), framed (1)

£100-150

318* Preston (Edward Carter, 1885-1965). Bathers Resting, oil on canvas, showing three female and two male nude figures, variously seated and standing, beside a tree on the edge of a sunlit lake before mountains, signed to right-hand side, occasional minor surface flaking, 76.5 x 69cm (30 x 7ins), with title, and artist’s name and address, in manuscript on verso, framed

316* Pisami (Nino). Street Scenes, 20th century, a pair of oils on canvas, each signed lower right, artist’s label to verso, 30.5 x 41cm (12 x 16ins), matching frames (2)

£150-200

Provenance: Private Collection, Germany. (1)

£300-500

317* Pratt (Joan Abello (1922-2008). The Plaza, Antwerp, 1964, mixed media, signed and dated to lower margin, mounted, framed and glazed (1)

£200-300

319* Robbins (Richard, 1927-2009). Pictures Influenced by Music 17, oil on canvas, signed lower right, contemporary typed gallery label to verso, 51 x 56cm (20 x 22ins), framed After reading English Literature at New College, Oxford, Robbins studied at Goldsmiths College and Slade School of Art. He taught at Belmont, Camberwell and Hornsey before going on to become head of Fine Art at Middlesex University. His work has been exhibited in London as well as Hong Kong and Tokyo. (1) £100-150

Lot 322

320* Savain (Petion, 1906-1973). Haitian Women Chatting & The Bean Vendors, together two oils on board, each signed Savain, Haiti to lower corner, 41 x 20cm (16 x 8ins), matching carved wooden frames (2)

£100-200

321* Sharpe (Philip, 20th century). The Ramblas, Barcelona, oil on canvas, signed lower left, New English Art Club label to verso, 36 x 41cm (14 x 16in), framed (1)

£100-150

322* Singh (Sushila, 1909-1994). Illuminations, San Giorgio, oil on canvas, signed lower edge, gallery label to verso, 56 x 76cm (22 x 30ins), framed Provenance: Exhibited John Wibley Gallery, London, June 1962. Sushila Singh was married to the artist Arthur Henry Andrews (1906-1966), having been fellow students at Hornsey School of Art and the Royal College of Art under William Rothenstein, graduating in 1929. (1) £300-500

Lot 320

100

323* Stenhouse (Charles, 1878-1946). Two views of the Scottish Coast, possibly Shell Bay, Fife, together a pair of oils on canvas, one signed lower left, the other with two small repairs to verso, 51 x 76cm (20 x 30ins) 324* Woodlock (David, 1842-1929). “The Colleoni Monument”, Venice, oil on board, showing an equestrian monument and part of the Ospedale Santi Giovanni e Paolo, with a young woman in the foreground, faintly signed in red lower right, 24 x 16.5cm (9.5 x 6.5ins), titled gilt mount, framed and glazed, with artist’s printed label on backboard titled in manuscript

A landscape artist born in Dundee, Stenhouse studied at the Glasgow School of Art. He exhibited between 1906 and 1937 at the Royal Scottish Academy and at the Glasgow Institute. (2) £200-300

David Woodlock was born in Ireland, but is better known as a Liverpool artist. He studied at the Liverpool School of Art and exhibited many works at the Walker Gallery. He was a member of the Liverpool Academy of Arts and a founder member of the Liverpool Sketching Club. (1) £150-200

101

Lot 325

325* Yang (Xingsheng, 1938-). Private Land, 1990, oil on canvas, captioned ‘private land, 1990, London’ faintly to verso, British Council Art Department label to verso, Royal College of Art stamp to stretcher, 61 x 76cm (24 x 30ins), framed (1)

£700-1000

102

ANTIQUE & MODERN FURNITURE SILVER, CERAMICS, GLASS & JEWELLERY

103

CERAMICS & GLASS 350* Delft. A blue and white pottery vase probably late 18th/early 19th century, decorated with a bird perched on a fence surrounded by flowers, the slender neck with a geometric design, 12cm high (1)

£200-300

351* Decanters. A pair of Victorian glass spirit flagons, each with engraved decoration for Brandy and Whiskey amongst floral garlands, each with white metal cherub stopper, 22cm high (2)

£80-120

352* Blue & White. A collection of Victorian pottery including a Tyrolean pattern meat plate with transfer-printed decoration, impressed and printed marks to base, 43cm wide, two further meat plates, side plates, bowls, plus a Delft pottery vase painted with European figures within cscroll border, the reverse painted with a bird perched on a branch, 22cm high, various damage throughout (16)

£70-100

353* Flagon. A Verwood pottery Owl from Dorset, of ovoid form with shaped handles, 15cm high Verwood was the main Dorset pottery making area with kilns dating back to the medieval times. The most famous product was the Dorset Owl or Costrel which was used by labourers for taking cider or cold tea into the fields when working. (1) £80-120

Lot 350

354* Keeler (Walter, b. 1942). A blue salt glaze “bottle” form jar, with raised finial, the base with concentric circles mark, 14cm high Walter Keeler first developed a passion for pottery as a boy, when he would find ancient fragments and pots on the banks of the River Thames. He was educated at the Harrow School of Art (1958-63), and became Professor of Ceramics at UWE Bristol (1994-2003), various exhibitions including Contemporary Applied Arts, London 1989. His works are exhibited in museums across the globe including the V&A Museum, Los Angeles Museum of Art and Museum of Modern Art, Tokyo. (1) £150-200

Lot 351

104

355* Keeler (Walter, 1942-). A blue salt glaze lidded pot, with stepped finial, sloping base and concentric circles, 14cm high, together with a matching milk jug, 10cm high (2)

£150-200

356* Keeler (Walter, 1942-). A blue salt glaze teapot, with raised finial, large loop handle and spout, 27cm long (1)

357* Keeler (Walter, 1942-). A “Whieldon” type glaze “bottle” form jar, with raised finial, the base with contectric circles mark, 16cm high (1)

Lot 356

£500-700

£150-200

358* Majolica. A Victorian Mintons Majolica jug, decorated in relief with medieval figures amongst ivy leaves and branches, the cover with jester head knop, copper scroll handle and mounts, impressed ‘Mintons’ marks to base ‘1231’ with triangular marks, 34cm high (some damage) (1)

£100-150

105

359* Prattware. An early 19th-century pearlware pottery church, circa 1820, modelled with central spire flanked by adjoining wings on a naturalistic polychrome base, 26cm high (1)

£200-300

Lot 360

360* Ravilious (Eric). A mixed part dinner service by Wedgwood, decorated in Garden and Persephone patterns, 19521953, comprising a tea plate, a 10” dinner plate, a 9” dinner plate, a salad plate, and an oval serving plate in the Garden pattern, together with six teacups and sauces and a teapot in Persephone pattern (teapot lid replaced with another decorated in the Garden pattern), plus four covered tureens, a large oval serving plate and a medium oval serving plate also in the Persephone pattern, white earthenware, underglazed transfer printed decoration, some hand finished with green, blue or yellow, printed, painted and impressed marks to base, occasional repaired crack and few chips, 35cm (14.5ins) wide and smaller (24)

Lot 363

361* Royal Doulton Figures. “The Old Balloon Seller” HN1315, “The Balloon Man” HN1954 (A/F), plus “Lorna” HN 2311, together with various decorative ceramics and ornaments (a carton)

363* Saltglaze. Three salt glaze stoneware pieces, including a tobacco jar with moulded oak leaf decoration and pewter cover, 14cm high. (3)

£100-150

£70-100

362* Ruskin Pottery. A Ruskin pottery orange lustre baluster vase, circa 1920s, impressed marks to base, 23cm high together with a shoulder vase with blue, orange and turquoise running glaze, 21cm high plus an orange lustre glaze ginger jar and cover (damaged), 17cm high (3)

364* Staffordshire. A pair of 19th-century pottery recumbent greyhounds, circa 1840, one modelled scratching its ear with hind leg, each on a cobalt blue pillow with traces of gilt-painted decoration (general signs of wear commensurate with age), approx. 12cm long (2)

£200-300

£70-100

365* Staffordshire. A pair of 19th-century pottery dalmatians, each modelled wearing a chain on an oval, 13cm high

£150-200

(2)

Lot 364

£100-150

Lot 365 106

Lot 366

Lot 367

366* Studio Ceramics. A collection of studio pottery, including a large slipware bowl decorated with repeating bands on a brown ground, 35.5cm diameter, another with a galleon and bird border, 28cm diameter, a bowl, a mug, plus three jugs (7)

£100-150

367* Studio Pottery. A pottery jug by Ursula Mommens (1908-2010), of ovoid form with brown scrolls on a grey ground, seal mark to base, 22cm high Ursula Frances Elinor Mommens was an English potter who studied at the Royal College of Art under William Staite Murray and later worked with Michael Cardew at Winchcombe Pottery and Wenford Pottery. (1) £80-120

368* Wain (Louis). The Aeroplane Journey, Tinker Tailor Series, Paragon, circa 1918, porcelain heavy baby’s plate with a hand-finished transfer design by Louis Wain, showing two cats in suits steering an early flying machine, Louis Wain’s signature lower right, ‘Baby’s Plate’ lettered in black on rim, prop marks and discoloured crazing to interior edge, diameter 17.5cm (7ins), together with another porcelain plate in a similar design, circa 1918, diameter 18cm (7ins), plus The Busy Tailor, porcelain plate, circa 1918, with captioned hand-finished transfer design of a seated clothed cat, threading a needle, with Louis Wain’s signature lower left, green rimmed, some minor rubbing and marks, diamater 15cm (6ins), and Off for a Ride, porcelain plate, circa 1918, with captioned hand-finished transfer design of a clothed cat mounted on the back of a larger cat, with a string in its mouth for reins, with Louis Wain’s signature lower left, green rimmed (rubbed), diameter 15cm (6ins), all with maker’s star mark (including star mark) on base See Batkin, Gifts for Good Children, II, page 120. (4)

£200-300

Lot 368

107

Lot 372 369* Art Deco. A painted spelter table lamp in the form of a seated sorceress in the chryselephantine style, lacking shade, mounted on an alabaster plinth, 19cm high x 25.5cm wide (1)

£70-100

370* Bakelite. A collection of 1930/40s Bakelite, including a faux tortoiseshell tea caddy, 9cm high x 12cm wide x 9cm deep, a Coronation of George VI brown Bakelite trefoil shape box, 13.5cm wide, inkstand gaming counter etc. (16)

£100-150

371* Boxes. A Victorian papier maché work box, decorated in the Chinoiserie style, the hinged lid enclosing lift-out tray, various ivory accessories including spool and clamp, 12cm high x 28cm wide x 20cm deep (worn), together with an Anglo-Indian stationery box, inlaid with mosaic work and ivory panels, 10cm high x 20cm wide x 14cm deep, plus a white wooden rectangular box with steel mounts, 7cm high x 25.5cm wide x 9.5cm deep (3)

£100-150

372* Cane. A 19th-century marine ivory walking stick, with horn segments to the handle, 80.5cm long (1)

375* Dolls’ House Furniture. A miniature cylinder bureau bookcase in the Sheraton style, painted with flowers and black lined decoration, the top with astragal glazed doors enclosing various ornaments, 23cm high x 10.5cm wide x 7cm deep, together with a miniature Windsor chair, 13cm high

£200-300

(2)

£70-100

376* Dominoes. A Napoleonic prisoner of war bone box containing dominoes, decorated with geometric shapes, 15.5cm long (1)

373* Chatelaine. A George III cut steel chatelaine, with five chains supporting an acorn pin cushion, needle holder, pair of scissors, thimble plus a tape measure, approx. 42cm long (1)

£80-120

374* Coins. A collection of coins, mostly world coins together with British including George III 1821 silver crown, fine, Victoria 1887 silver crown, good fine, copper halfpenny for Iron Bridge 1779, fine, East Africa, China, South Africa, etc. (a carton)

£70-100

£100-150

377* Fishing Rods. Hardy Bros. two piece fly rod, ten foot split cane two piece trout rod, with a Hardy’s ‘W’ fitting reel seat (dated 16.8.73), together with an Allcocks nine foot four inch split cane three piece trout rod, with a C.Farlow and Co. Ltd. 8 foot 6 inch split cane two piece trout rod with a spare top section, plus an eight foot C.Farlow and Co. Ltd. split cane two piece trout rod, with an un-named nine foot 8 inch three piece split cane trout rod and a twelve foot four piece split cane salmon rod, all with canvas rod bags, but some bags with considerable wear and loss (6)

Lot 371

£150-200

Lot 376

108

378* Fishing tackle. Hardy Bros Ltd, Marquis Salmon reel, No.1, 4 inch salmon fly reel contained in manufacturer’s reel case, together with a Wheatley Silmalloy aluminium fly box containing approximately thirty single, double and treble hook salmon flys and tubes, with two tin gut cast boxes, plus an Intrepid Cresta centrepin spinning reel, an unused Hardy ‘sink tip’ fly line and a midge net, all contained in a canvas and leather fishing bag, with a Hardy 8 foot ‘Fibralite’ two piece spinning rod with cork handle, contained in the manufacturer’s rod bag, with another five mixed course and sea fishing rods including examples by Hardy and Edgar Sealey, all in cloth rod bags, various sizes and condition (6)

380* Fountain Pens. A collection of vintage fountain pens, including a Duofold “Big Red” (lacking clip), dip pens, propelling pencils plus a silver gilt pencil by Samuel Moreden & co., and a bone stanhope (a shoe box)

£70-100

383* Indian Miniature. Nine architectural views, 19th century, oval miniature with nine vignettes in gouache on porcelain showing a view of the Taj Mahal, the Tomb of Akbar the Great and other important buildings, arabesque borders in gilt, 15.5cm (6ins) wide cracked across lower edge (without loss), mounted onto the lid of a later carved hardwood box with white metal trim, hinges and lockplate, 7.5cm high x 19.5cm wide x 15.5cm deep

£70-100

(1)

£150-200

381* Games Compendium. A late Victorian mahogany compendium, inlaid with brass escutcheon and key plate, the hinged lid enclosing chess/draughts board, Bezique spinners, dominoes, draughts, cribbage board, shaker and instruction manuals, 10cm high x 33.5cm wide x 20.5cm deep (1)

379* Fossil plaque. A good fossil plaque (orthoceras), from Morocco, approximately 390 million years old, 36 x 38cm Orthoceras lived within shells which are visible in white. (1) £70-100

£80-120

382* Games compendium. A rosewood games compendium, circa 1900, the hinged lid elaborately inlaid with mother-ofpearl playing cards within rose encrusted border, enclosing four lift-out boxes each containing ivory gaming counters, with two packets of playing cards, 6cm high x 27cm wide x 16cm deep (1)

£100-150

384* Inkstand. A Victorian bronze inkstand, modelled as a dog standing on its hind legs begging with a hat, the square base finely engraved with scrolls and inset with four malachite and coral cabachons, 8cm high (1)

Lot 382

109

£70-100

389* Model Ship. A Victorian model of the sailing ship Irex, the waterline model with three masts, deck fittings including four lifeboats, and fully rigged sails, on a naturalistic rectangular base, 51cm high x 71cm long

385* Lapis lazuli. A good coloured boulder with banding, 13.5cm high, presented on a wooden stand (1)

£100-150

387* Mantel Clock. A late 19th century French Aesthetic mantel clock by Henry Marc, Paris, the circular enamel and painted dial with Arabic numerals with gilt metal hands in an ebonised case with floral painted porcelain panels, with brass movement, key and pendulum, 37.5cm high x 21cm wide (1)

£150-200

Irex was a British merchant ship built by J. Reid & Co., port Glasgow. She was launched in September 1889 and later wrecked off the Needles en route to Rio de Janeiro. (1) £200-300

390* Musket. An early 19th century flintlock sporting gun by Welch, the 94.5cm two stage barrel with traces of damascus twist figuring and signed barrel, the side plate engraved Welch with engraved brass trigger guard and thimble, half walnut stocked with ramrod, 133cm long overall Provenance: From the collection of the actor and historian Robert Hardy. (1) £300-500

391* Nailsea Court. A collection of early oak carved panels reputedly from Nailsea Court, Somerset, including a pair of pilasters each carved with figures, strap work devices and swags, 107cm long 386* Liberty & Co. A pair of Tudric pewter candlesticks designed by Archibald Knox, with stylised columns and circular foot, stamped ‘Made by Liberty & Co. English Pewter 022’, 13cm high (2)

£100-150

388* Marine Reptile. A well-preserved fossil reptile (Keichousaurus hui) set in a rectangular matrix, Triassic period, approximately 225 million years old, complete and exhibits fine detail throughout, 9 x 20.5cm (1)

£150-200

Lot 390

110

(6)

£200-300

Lot 392

392* Pond Yacht. A 1950s pond yacht, the planked deck with fittings, masts and sails, the planked hull finished in white and red, 123cm long (1)

Lot 394

Lot 393

Lot 391

£80-120

393* Prisoner of War. A fine Napoleonic prisoner of war straw work box, the domed lid enclosing a mirror and divisions each with a cover, the front of box with a hinged fall revealing two short and one long drawer each with a turned vegetable ivory handle, the interior nicely preserved with fading and general loss to the exterior, 25cm high x 30cm wide x 20cm deep (1)

£700-1000

111

394* Regimental Clock. An Edwardian brass cased mantle clock, the top inscribed ‘Presented by Corpls Inniskilling Dragoons to Corpl and Mrs Toombes’, with circular white enamel dial (some damage), black roman numerals four glass panels, brass movement with key and pendulum, 22cm high x 13.5cm wide x 11cm deep (1)

£100-150

395* Ship’s Lamps. A pair of Victorian brass lamp bases, with weighted gimble on baluster and shaped base with circular foot, stamped with ‘REG No. 527811’, 33.5cm high (2)

£80-120

Lot 397

398* Taxidermy. Curlew, early 20th century, well mounted specimen standing on a raised naturalistic base, displayed in a glass fronted case with brass hanging hook, height 38cm (15ins), depth 16cm (6.25ins), width 34cm (13.5ins) 396* Snuff boxes. A Scottish pottery snuff mull, with hinged pewter cover, 7cm long, a hoof snuff box with hinged pewter cover stamped ‘Durie’, 9cm long, plus novelty pewter snuff box in form of a double barrel flintlock pistel, 10.5cm long (3)

£100-150

397* Snuff Boxes. A collection of boxes including a treen box made from the wreck of the Royal George sunk in 1782, inset with engraved brass plaque, 10cm wide, a horn snuff box, a mother of pearl ring box, a George III tortoiseshell snuff box, Victorian Tunbridge ware stamp box, the lid applied with a postage stamp, an alabaster students viewer, a small bone pin cushion, Edwardian silver brooch, Birmingham 1902 engraved with Durham Cathedral and other items

(1)

£60-80

399* Taxidermy. Pheasant in flight, mid 20th century, well presented cock pheasant, mounted in flight and presented on an oval stained wooden board for wall hanging, board with original taxidermist label (Philip Leggett) on recto, length 92cm (36ins), width 80cm (32ins) (1)

£60-80

400* Taxidermy. Red Squirrels, early 20th century, pair of Red Squirrels displayed in a naturalistic setting with painted backboard and presented in a cabinet with glass front and sides, Salisbury taxidermist label to lower left of case (G. White), height 51cm (20ins), depth 14cm (5.5ins), width 40.5cm (16ins)

401* Taxidermy. Long Eared Owl, mid 20th century, well mounted specimen displayed in a naturalistic setting, presented in a case with glass panels on three sides, painted backboard, height 46cm (18ins), width 37cm (14.5ins), depth 18cm (7ins)

(1)

£70-100

HMS Royal George was launched in 1756, participated in the Battle of Quiberon Bay and Cape St. Vincent, foundered 29 August 1782 at Spithead. (18) £100-150

112

£100-150

402* Taxidermy. Pike, early 20th century, well presented specimen in a naturalistic setting presented in a bow fronted case glazed on three sides (lacking one side panel), height 39cm (15.25ins), width 95cm (37.5ins), depth 10cm (4ins) (1)

405* Telescope. A 3-inch brass refracting telescope b J.H. Steward, London, signed on the back plate, the brass tube with star finder, rack and pinion focusing, on an oak stand with equitorial mount with three interchangeable lenses, contained in a pine case, 15cm high x 101cm wide x 18cm deep, with remains of sticker for ‘Barnaby Bendall & Co., Cheltenham’ label, A/F James Henry Steward was primarily an optician and founded his business in 1852 until circa 1982. (1) £300-500

£100-150

403* Tea Caddy. A George III-style fruitwood tea caddy in the form of an apple, with shield keyplate, foil lining, 14cm high, together with a similar pear-shape tea caddy, 18cm high, each with key (2)

£70-100

404* Telescope stand. A George III-period garden telescope stand, the substantial wooden frame painted in green with brass pegs, approximately 171cm high (1)

406* Toys & Games. An Edwardian Sandown horse racing game by F.H Ayres, London in mahogany box with ivorene manufacturers plaque, enclosing roulette style board, with cloth and velum “odds” boards together with Chad Valley Escalado horse racing game with lead horse and jockey’s plus a collection of lead soldiers and zoo animals etc. (a carton)

£100-150

407* Violet Ray Generator. A cased machine with accessories and control board circa 1940s, 10cm high x 42.5cm wide x 23cm deep, plus an early braille machine mounted on a rosewood and mahogany base plus a Violet Ray home remedy machine and other items (a carton)

408* Walking stick. A large Basque makila stick, with bone grip geometrically decorated with black dots and engraved brass collars, spherical pommel, on a rosewood stick finely decorated with dots leading to steel spike, 130cm long Makila in Euskara (Basque language) translates as stick, walking cane or rod. (1) £100-150

409* Walking sticks. A varied collection of sticks, including an African hardwood stick with carved grip and lead ferrule, 88cm long, another with eagle’s head, glass eyes and ivory beak, silver ferrule, and bamboo stick, 85.5cm long, another hardwood stick, possibly a Sunday stick carved with diamond shapes, 89cm long, plus a WWI regimental swagger stick, the brass top bearing badge of The Prince of Wales Own, stamped with service number 4465, 71cm long (14)

£100-150

410* Water Treatment. A handheld water treatment device, with bulb containing mercury, on wooden handle, stamped PAT No 391865, 21cm long Water Pollution Abstracts Vol. 7, Importing Special Properties to Water, Abbott, R.H.S. B.P.391.865: III, Off J. Patents, 1933. Groups I and III, water is treated in an earthed metal tank by a device such as a glass bulb containing mercury and a gas e.g. neon, which does not react chemically with mercury. (1) £50-100

£70-100

£100-150

Lot 405

Lot 408

113

Lot 409

ORIENTAL WORKS OF ART 414* Chinese ceramics. A late 19thcentury Chinese blue and white charger, decorated with dragons in a cloudy sky chasing the mythical pearl, with four character mark to base, 32.5cm diameter, plus a bowl painted in blue foliate decoration, 32.5cm diameter (2)

£50-80

411* Card Case. A Chinese carved wood card case, shaped and decorated with figures, houses and trees, 11.5cm high, together with a similar wooden card case (2)

£100-150

412* Chess Pieces. Cantonese carved ivory chess pieces, 19th century, a group of thirtyone carved elpehant ivory chess pieces, including a full set stained red to simulate coral and the remainder in white (one white knight lacking), figures carved to resemble Chinese officials, horsemen, elephants and soldiers, largest 10cm (4ins) high Provenance: From the collection of the actor and historian Robert Hardy. (31) £100-150

415* Chinese Ceramics. A 19th-century Chinese blue and white baluster porcelain vase, painted with birds and butterflies amongst flowers and leaves, the cover with a dog of Fo finial, bearing four character Kangxi mark but not period (cover appears to be glued), 28cm high, together with a porcelain tea bowl plus other items (5)

£100-150

417* Chinese Figure. A Chinese earthenware tomb figure, Tang style, stylised features, some traces of pigments remaining, restored, 46cm (18ins) high

416* Chinese Export Ware. A group of seven Chinese export porcelain bowls, each decorated with figures, late 18th to mid 19th century, polychrome enamels heightened with gilt, hairline cracks, old lead rivet repairs and small chip to footrim, largest 29cm (11.5ins) diameter

418* Costume Designs. A pair of Turkic costume designs, 19th century, watercolour and gouache on paper, 18 x 13cm (7 x 5ins), framed and glazed

(7)

(2)

£300-400

(1)

413* Chinese Bowl. A Chinese porcelain jardiniere, decorated with scholars and literati, Chenqhua period, Ming Dynasty mark, but substantially later, underglazed blue decoration, six character mark in underglazed blue to base, footrim unglazed, 23.5cm (9.5ins) diameter (1)

£300-500

Lot 416

114

£200-300

£150-200

419* Fan. A Japanese fan, Meiji period, late 19th century, woodblock printed folding paper fan, with colour-printed scene of figures on one side, with some hand finishing, and hand-coloured decoration of bamboo trees and flowers on the other, former with artist’s signature and seal, 2” split in one fold, mounted on scallop-edged wooden sticks, with shibayama ivory guardsticks, length 25.5cm (10ins) (1)

£100-150

Lot 416 420* Ivory. A collection of Japanese and Indian ivory, all early 20th century, circa 1900-1930, including an okimono carved as a seated man holding a fan, 7cm high, an Indian pounce pot carved with a peacock, 5cm high, an Indian carriage being drawn by cattle mounted on a mahogany base, 15cm wide, and other items (8)

£70-100

422* Japanese Bowl. Bronze censer with dragon handles, raised on three supports in the form of tanuki, probably Meiji period, mid 19th century, cast bronze with moulded and incised decoration, six character chiseled mark to base, slightly later carved wooden stand, overall height 27cm (10.5ins) (1)

£800-1200

421* Jade. Bi disk, decorated with qilong and phoenix, late Qing dynasty, early 20th century, carved and pierced pale celadon jade with vivid russet inclusions, diameter 6.5cm (2.5ins)

423* Japanese Bowl. A Japanese patinated brass jardiniere, decorated with two panels showing warriors, patinated brass, moulded elephant head handles, moulded and incised decoration, impressed mark to base, 24cm (9.5ins) diameter

424* Japanese. A Japanese bronze jardiniere, Meiji period (1868-1912), decorated with koi carp and key border, raised on three shishi feet with six-character mark, 24cm high x 23.5cm diameter, together with an inro, carved in wood as a humorous man with mother-of-pearl eyes, his legs crossed and arms raised to support the string with elongated carved wooden netsuke, plus a Chinese green hardstone seal carved as a monkey, 6.5cm high

(1)

(3)

£300-500

£100-150

115

£100-150

425 Japanese Books Eisen (Keisai, 17901848), Chushingura (Treasury of Loyal Retainers), circa 1820, eleven colour woodblock prints, trimmed and mounted concertina-style, silk covers, slightly rubbed, 23 x 18cm (9 x 7ins), together with Manner of Katsushika Hokusai (1760-1849),Yamato meisho ichiran (Overview of Famous Places in Japan), 2 volumes, first half 19th century, colour woodblock prints, original publisher’s covers with paper labels, slightly scuffed, 23 x 16cm (9 x 6.25ins), plus another Japanese illustrated book, early 19th century, and a James Tregaskis auction catalogue of rare and beautiful books and a fine collection of Japanese colour prints, February 1914 (5)

Lot 428 428* Oriental Ceramics. A collection of ceramics, including a late 19th-century Chinese blue and white charger, painted with a vase being flanked by two boys, in a lattice and floral border, 30.5cm diameter (minor chip to rim), a late 18th-century Chinese sparrow beak jug, painted with figures and landscapes, 11cm high, a Chinese famille rose dish painted with exotic birds on a celadon ground, blue mark to base, 18cm diameter, and other items (15)

430* Oriental Slippers. A pair of miniature oriental slippers, mid 19th century, a pair of leather slippers, embroidered with coloured and metal threads and spangles, length 13.5cm (5.25ins), together with a larger pair similar, later 19th century, length 26.5cm (10.5ins) Provenance: From the collection of the actor and historian Robert Hardy. (2) £50-80

£100-150

£300-500

426* Korean Pottery. A fragment of a Korean pottery charger, 14/15th century, celadon glazed, decorated with fish and scrolls, painted scrolls to base, 18cm (7ins) wide, mounted in later frame (1)

£50-80

427* Korean A Korean bronze spoon of swallow tail type, Koyro period, circa 12th century, bronze, incised decoration, 26cm (10ins) long Provenance: Bought in Seoul, June [19]13, then by family descent. The relatively high arch of the handle is typical of spoons from the later Koyro period. (1) £200-300

429* Oriental Items. A Chinese carved ivory fan, with twenty staves intricately with figures and houses, 19.5cm long, together with a Japanese bone tanto with 15.5cm blade, handle and scabbard carved with Samurai, 28cm overall, a Japanese ivory crab plus a bone thimble case in the form of an acorn (4)

£200-300

431* Persian school. Palace interior, Herat, late 19th century, gouache and ink on board, heightened in gilt, 41 x 28cm (16 x 11ins), framed and glazed (1)

432* Yixing Teapots. A group of three Chinese Yixing clay teapots, 20th century, including a purple clay teapot in the form a tree-stump, impressed mark to base and lid, 5.5cm (2.5ins) high (3)

116

£200-300

£70-100

TEXTILES

Lot 433

Lot 437

Lot 436

436* American Quilt. A log cabin patchwork quilt, circa 1940s, hand-stitched pineapple pattern cotton patchwork quilt, in a variety of printed fabrics in various colours, backed with black-printed cream cotton, and edged in red cotton, one or two areas of slight loss, 185 x 177cm (73 x 70ins)

433* American Quilt. A large log cabin patchwork quilt, late 19th century, handstitched cotton patchwork tied quilt, predominantly shades of red, brown, black, blue, and green, some fraying, backed with lattice-patterned cotton, pink wool ties, 208 x 238cm (82 x 94ins) (1)

£100-150

(1)

434* American Quilt. A Rose of Sharon appliqued quilt, circa 1940s, hand-stitched white cotton quilt, appliqued with eight floral bouquets each tied with a bow, in pink, green, and yellow, within a pink border, and a smaller flower bouquet at each corner, with butterflies along each side, pink scalloped edging, stained, 230 x 161cm (90.5 x 63.5ins), together with A Dresden Plate appliqued quilt, circa 1920s, hand-stitched white cotton quilt, appliqued with eleven scalloped circular motifs composed of printed cotton fabrics in a variety of colours, some light staining, 246 x 161cm (97 x 63.5ins), plus a cream cotton bedspread with fringed border

435* American Quilt. A cube pattern silk patchwork quilt, circa 1910, hand-stitched silk patchwork tied quilt, in black and various other shades, backed in silk printed with an art nouveau design of stylised lilies in pale pink and green, yellow cotton ties at intersections, some paint spots, fraying, and loss, 175 x 105cm (69 x 41.5ins), together with A crazy pattern silk patchwork quilt, circa 1930s, hand-stitched silk and velvet patchwork tied quilt, in a variety of plain and patterned fabrics, red cotton ties, backed with paisley-patterned fabric in pink and green, some fraying and minor loss, 200 x 148cm (79 x 58ins), plus A triangle pattern cotton patchwork quilt, circa 1930s, machine-stitched cotton patchwork quilt, predominantly shades of blue and red, backed with cream cotton, 203 x 192cm (80 x 75.5ins), plus an early 20th century American Yo Yo quilt, handstitched printed cotton, in a variety of patterns and colours, some stitching broken and apparently unfinished, without backing, approximately 128 x 186cm (90 x 73ins)

(3)

(4)

£200-300

117

£200-300

437* American Quilt. A large log cabin patchwork quilt, circa 1930s, hand-stitched barn raising pattern cotton patchwork quilt, in a variety of printed fabrics, predominantly shades of blue, brown, red, and green, backed in cream linen, and with printed fabric edging, some light staining, slightly frayed in one or two places, 212 x 212cm (84 x 84ins) (1)

£200-300

TRIBAL ART

441* Nigeria. A pair of Yoruba tribe Ere Ibeji twins, well carved with carved raised headdresses and skirts, standing with arms by their side, with old collection number ‘B264’, 26.5cm high, a good colour and showing signs of age (2)

£300-500

439* West Africa. A Yoruba Tribe carved wood maternity figure, carved holding child with scarification marks to shoulders and chest, 33cm high (1)

£100-150

442* Pipe. Early Native American Indian stone effigy pipe, carved as a parrot, detailed with feet beneath, 16cm long (1)

£100-150

440* Drums. A collection of eight African animal hide drums, various sizes, largest 48cm high x 38cm diameter, smallest 16cm high x 12cm diameter (8)

£200-300

438* Burkina Faso. A Lobi Janus tribe dance staff, carved with double headed tribesman on supporting shaft, 55cm high, presented on a modern stand, a good colour showing signs of age, 55cm high

443* Pipe. Early Native American Indian stone effigy pipe, carved as a pelican with manuscript label inscribed ‘Pelican effigy pipe from Smyth Co, VA’, 13.5cm long

(1)

£200-300

118

£100-150

444* Pipe. Early Native American Indian stone effigy pipe, carved as a human with manuscript label inscribed ‘Human effigy pipe Wayne Co, Kentucky’, 14cm long (1)

£100-150

Lot 449

445* Pipe. Early Native American Indian stone effigy pipe, carved as a turkey with manuscript label inscribed ‘Turkey effigy pipe from Sullivan Co, Tennessee No 865’, 12.5cm long (1)

£100-150

448* Tribal Art. An African hardwood Tutsi stool, the frame intricately carved with geometric decoration and hide cover, 23cm high (1)

446* Stone club. Early Native American Indian stone war club, with old printed collection label (illegible), some cracking to the leather, 37.5cm long (1)

£100-150

449* Tribal Art. A large carved hardwood Nubian tribesman, with elongated neck and scarification marks (A/F), 62cm high, together with a bowl, a spoon plus a hidecovered box

£100-150

447* Terracotta Head. A Fante-style terracotta head from the Ashanto Southern Akan peoples, Ghana, well modelled, 20cm high on a modern stand with collection number ‘C173’ to the rear The heads were used in funeral ceremonies of their chiefs and usually left on the graves as a marker. (1) £300-500

119

(4)

£100-150

SILVER & JEWELLERY

Lot 451

Lot 452 451* Flatware. 19th-century French silver flatware comprising 8 serving spoons, 8 table forks, 8 dessert spoons and 8 dessert forks, each with a shell design and engraved with initials, approx. 88oz (32)

£600-800

452* Flatware. George III and later silver flatware, comprising 6 dessert spoons London 1841, 3 dessert spoons London 1798, 6 table forks London 1790, 8 dessert forks various dates plus a sauce ladle London 1841, approx. 48.5oz (24)

£300-500

450* Bottle labels. A collection of four George III-period silver decanter labels, including a near pair for sherry and whiskey with grape and vine decoration surmounted by tiger’s head, London 1817 and 1820, plus an I-whiskey and port label, 1.5oz approximately

453* Flatware. Mixed silver flatware comprising 2 serving spoons, Edinburgh 1802, 4 table forks London 1764, 4 dessert spoons, Exeter 1790, fish knife and fork, various dates, 6 teaspoons, Sheffield 1897, 2 teaspoons plus a salt spoon, approx. 30oz

(4)

(21)

£150-200

£200-300

Lot 452

120

458* Ring Box. A similar pair of Edwardian silver ring boxes, Birmingham 1905, of navette form, each engraved with monogram, 9.5cm wide, hallmarks rubbed (2)

£70-100

459* Ring. Emerald and diamond ring, very fine emerald of approximately 3 carats (one or two slight inclusions visible to the naked eye), surrounded by fourteen brilliantcut diamonds totalling approximately 0.98 carats, shoulders set with six baguette-cut diamonds totalling approximately 0.9 carats, art-deco inspired hand-made mount and band in 18 carat white gold hallmarked for London, total weight approximately 10.3g Provenance: From a private collection, Wiltshire. (1) £7000-10000

454* Lapis Lazuli. A fine stone necklace, comprising twenty-nine graduated beads each of good colour interspersed by white metal beads and T-bar catch, 41cm drop, 825g (1)

457* Photograph Frame. A George V silver photograph frame by Mappin & Webb, London 1909, plain rectangular form, 36.5cm x 25cm (1)

£100-150

455* Mixed silver. An Antique style white metal Apostle spoon, a set of 6 Aesthetic sterling silver dessert fork each with fan shape decoration, 16cm long, together with a set of 6 cased enamel coffee bean spoons (some damage), another cased set plus condiments, commemorative spoons etc. (a small carton)

£70-100

456* Omega. A 9ct gold ladies’ Omega wristwatch, circa 1950s, with 23mm circular silvered dial, Arabic numerals, gold bracelet and catch, non running in a leather case, 29g gross (1)

£200-300

Lot 459

121

460* Rolex. An Art Deco 9ct gold ladies’ Rolex Standard wristwatch, with square dial, Arabic numerals, gold plated expandable bracelet, in original Rolex case, guarantee certificate, non running (1)

£200-300

462* Silver. The History of Man Flight silver medals, 50 silver medals commemorating the innovation of flight, presented in a hardbound booklet with two further text booklets, approx. 50oz (1)

461* Silver & Gold. A silver trowel, by Leslie Gordon Dubin London 1953, with fruitwood handle, 22.6cm long, together with a Victorian silver and ivory page turner by W.W., Birmingham 1891, with floral embossed handle, 38cm long, plus a cased set of six 9ct gold dress studs inset with mother of pearl and enamel in red leather Elkington & Co. Ltd. box (3)

£300-500

463* Soup Spoons. A set of six George V silver soup spoons by Mappin & Webb, London 1914, each with seal top, 19cm long, approx. 16oz

£100-150

(6)

122

£100-150

465* Table Forks. Nine Victorian silver fiddle pattern table forks by George Adams, London 1848, each engraved with a heraldic lion, 20.5cm long, approx. 23.5oz (9)

£150-200

466* Teapot. A Victorian squat silver teapot by John Wilmin Figg, London 1848, with melon finial, scroll handle and flared foot, 23cm long, 13oz overall (1)

£150-200

464* Spoons. A cased set of four Victorian electroplated Apostle serving spoons, each with shell bowl and detailed stem, with Registration Mark and maker’s marks RH, 22cm long, together with a cased set of six tea knives with red plastic grips plus cased electroplated berry spoons Provenance: From the collection of the actor and historian Robert Hardy. (3) £70-100

467* Wristwatch. A gents 18k gold ingot wristwatch by Corum, the rectangular dial stamped ‘Union Bank of Switzerland’, ‘9999, Essayeur Fondeur, Gr.10’, Serial No. 2091, reverse stamped 18k, 14400, 346410, 3.5cm long on a leather strap with gold plated buckle and hessian wallet Provenance: From the collection of the actor and historian Robert Hardy. (1) £700-1000

Lot 465

468* Wine funnel. A George III silver wine funnel by Henry Chawner, London 1791, engraved with family crest and with thumb piece, 15cm long (1)

Lot 466

123

£200-300

FURNITURE 472* Black Forest. A fine Black Forest carved bear, probably early 20th century, with characterful face, glass eyes, painted teeth and tongue, modelled on all fours in the standing position with an integral woven basket bound to his back, 75cm high x 123cm long, old cracking in several places (1)

£3000-5000

469* Arts and Crafts. An oak four-fold screen with pokerwork floral decoration in red, orange and green, 173.5cm high, together with a similar three-fold screen, with a printed fox hunting panel, 173.5cm, with a recent Liberty & Co. receipt (2)

£200-300

473* Blackamoors. A pair of late 19th-century Continental stained pine torchère stands, each finely carved with a Blackamoor holding grapes and fruit, on a curved scroll pedestal with three scroll supports, 94cm high

470* Bed. An unusual single bed, constructed of old oak timber beams, the headboard with traces of carved figural roundels, 133cm high x 203cm long, together with a thick textured white cotton bedspread, trimmed with crocheted lace edging

(2)

£700-1000

474* Book table. An Edwardian mahogany revolving book table, the octagonal top inlaid with barber’s pole stringing, satinwood crossbanding, above four sections each with spindle uprights, on turned column with four splayed supports, 69.5cm high x 55.5cm wide x 55.5cm deep

Provenance: From the collection of the actor and historian Robert Hardy. (1) £150-250

(1)

£100-150

475* Bookcase. A 1920s Globe Wernicke-style oak bookcase, with two tiers, glass door each with brass handles and key plates embossed ‘The Lebus Bookcase’, 77cm high x 90cm wide x 32cm deep (1)

471* Bench. An early 20th-century Burmese hardwood seat, of canted form, elaborately carved with foliate and geometric decoration supported by three carved mythical dragons, 32cm high x 171.5cm wide x 73cm deep (1)

£300-500

124

£70-100

Lot 472

Lot 474

Lot 475 125

Lot 476 476* Marcel Breuer. A set of four B3 ‘Wassily’ chairs, circa 1960/70s, chrome tubular chairs with black leather back, arms and seat, 72cm high x 77cm wide Provenance: Private collection, Italy. Marcel Lajos Breuer (1902-81) was a Hungarian-born architect and furniture designer and one of the masters of modernism. He was one of the first and youngest students at the Bauhaus, founded by Walter Gropius in Weimar. Breuer was first recognised for his invention of bicycle handlebar-inspired tubular steel furniture. (4) £800-1000

477* Bureau. A George II mahogany fall-front bureau, the detachable top inlaid with a vase of flowers, the fall similarly inlaid enclosing drawers and compartments and inset with tooled leather over two short drawers and two long drawers each inlaid with swags and with brass handles on a block base, 105cm high x 104cm wide x 64.5cm deep

478* Cabinet. A good George III mahogany bow-front corner cabinet, the quarter-veneered door with engraved brass key plates and hinges enclosing shelves, 110.5cm high x 68.5cm wide x 46cm deep

(1)

£150-200

126

£150-200

479* Cabinets. A substantial pair of late 19th-century walnut display cabinets, curved with foliate and shell carved pediment, with two glass doors enclosing shelves flanked by female figures, on a base with single panelled door and block plinth, 241cm high x 85cm wide x 53cm deep (2)

ÂŁ3000-5000

127

480* Campaign Chest. A 19th-century oak chest, with brass bound corners, four drawers and brass recessed handles, further carrying handles to the side panels, 92cm high x 75cm wide x 35cm deep

482* Chair. A Venetian inlaid walnut chair, probably early 19th century, the high tapered back with foliate scrolls, solid seat, block supports united by inlaid stretcher, remains of old label to back, 102cm high

(1)

Provenance: Private collection, Italy. (1)

£300-500

481* Carved Figures. A pair of Regency carved wooden sphinxes, circa 1810, carved limewood, sometime removed from larger piece of furniture, one with old split to hind-quarter, height 28cm (11ins) (2)

£300-500

483* Chairs. A set of six Edwardian Hepplewhite-style dining chairs, the painted shield back with Prince of Wales feathers, woven cane seats, on turned supports, painted with ribbons and floral sprays, on a faux satinwood ground, 93cm high

£200-300

Provenance: Robert Hardy (actor). (6)

128

£300-500

484* Chairs. A good set of late Victorian oak chairs by Gillows of Lancaster, heavily carved in the gothic style, the back with inlaid panels depicting a dove with the motto Pacem (Peace), with substantial spindles, stuffed seats, on large turned supports united by stretchers, stamped ‘Gillow’ and with additional metal plate stamped 481 TD, 125cm high x 48cm wide x 48cm deep (6)

£3000-5000

129

485* Chairs. Three mid 19th-century Italian walnut direttorio chairs, comprising carver and two side chairs, each with brass line inlay, stuffed seats on baluster supports, 87cm high Provenance: Private collection, Italy. (3)

£300-500

487* Chest on stand. A Queen Anne-style walnut bowfront chest on stand, with rosewood crossbanding, two drawers each with engraved brass handles on cabriole supports, 96cm high x 81cm wide x 40cm deep (1)

£70-100

486* Chest of drawers. An Edwardian George III style mahogany chest of drawers, the bow front top above brushing slide, four drawers, each with brass handles on bracket supports, 94.5cm high x 92cm wide x 50.5cm deep Provenance: Private collection, Italy. (1)

£70-100

488* Chest. An early 19th-century oak chest, of rectangular form with hinged lid enclosing a large original paper label for an Ironmonger & Brazier at the Gridiron near Hungerford Market in the Strand, over two long drawers each with brass handles and key plates, two further handles to the sides on four bun feet, 26cm high x 52.5cm wide x 26cm deep (1)

130

£80-120

489* Chest. A 19th-century carved oak chest, the rectangular top enclosing candle box, the front panel with three panels each with geometric decoration, amongst scrolls, two drawers beneath on bracket supports, 80cm high x 124.5cm wide x 57cm deep (1)

491* Chinese chairs. A pair of 20th-century Chinese hardwood chairs, each with circular white marble back surrounded by foliate carving inlaid with mother of pearl, solid seat, and armrests on four block supports, 87cm high x 62cm wide

£200-300

(2)

£600-800

492* [Sir Winston Churchill]. A George III style partner’s desk, 20th century, large mahogany desk, rectangular tooled leather top with mahogany crossbanding, three frieze drawers on either side, brass drop handles, two of the smaller drawers with wooden compartments, on four tapered supports with brass casters, 75cm (29.5ins) high x 168cm (66ins) wide x 96cm (37.75ins) deep Provenance: From the collection of the actor and historian Robert Hardy. An authorised copy of Winston Churchill’s desk at Chartwell; the original can still be seen in the library there (illustrated in ‘Chartwell’, The National Trust, p.52). One of the central drawers has been inscribed by Robert Hardy: ‘This desk is a copy of that belonging to Winston Churchill at Chartwell and was made in the USA for Robert Hardy’. In the inscription Robert Hardy has emulated Churchill’s signature, an accomplishment not surprising for an actor who not only met Churchill as a young boy of eleven, but went on to play him no less than nine times: Attempting to play the great man - attempting to conquer that mountain - has undoubtedly been the greatest challenge of my acting career’. (1) £600-800

490* Cabinet on stand. A George II style bowfront mahogany cabinet, the top with dentil moulded cornice, two panel doors each inlaid with walnut enclosing hanging rail above three dummy drawers each with brass handles on splayed bracket supports, 153cm high x 83cm wide x 49cm deep Provenance: From the collection of the actor and historian Robert Hardy. (1) £70-100

131

493* Cutlery Urns. A pair of fine George III-style mahogany cutlery urns, each of pedestal form with carved acanthus finials and further carving to the base on a socle with square plinth, with felt-lined matrix, 70cm high (2)

132

ÂŁ1500-2000

496* Linen press. An early 19th-century mahogany table top linen press, with large turning bar on rectangular base with drawer beneath, 95cm high (1)

£100-150

497* Linen press. A 19th-century oak table top linen press, with turning bar on rectangular base, 67cm high (1)

£70-100

494* Dantesca Chair. An Italian walnut Dantesca chair, circa 1900, the x-frame with leather back and seat, hinged to fold up, with carved frame, rosettes and lion’s paw feet, 74cm high x 64.5cm wide Provenance: Private collection, Italy. (1)

£400-600

495* Peter Ghyczy (1940-). Two 1960s garden egg chairs by Peter Ghyczy for Reuters Products, the hinged fibreglass capsule bodies having red fitted interior, both signed to the undersides ‘Egg Chair 1968 by Peter Ghyczy’, length approximately 83cm

498* Charles Rennie Mackintosh. A pair of modern Argyle chairs by Cassina, each with traditional high back, upholstered seats on tapered supports united by spindle stretchers, with manufacturer’s printed mark, 137cm high

Provenance: Believed to be original prototypes bought from the artist during an exhibition at Earls Court. (2) £200-300

Provenance: Private collection, Italy. The Argyle chair is made after Mackintosh’s design for a dining chair in the Luncheon Room of the Argyle Street Tea Rooms in Glasgow circa 1897. (2) £1000-1500

133

501* Side Table. A 19th-century oak single drawer side table, in the 17th-century style, the rectangular top above geometric panel drawer with two brass knobs on four uprights united by stretchers, 68cm high x 76cm wide x 47.5cm deep (1)

£150-200

499* Ludwig Mies Van Der Rohe (1886-1969). A Brno leather and chrome cantilever chair by Knoll International, upholstered in black with padded arms, the underside with label for ‘Knoll International, modello Depositanto Kiga S.p.A’, 76cm high x 58cm wide Designed by Mies Van Der Rohe, one of the most influential and iconic designers and director of the Bauhaus. The inspiration for this chair came from his lover and fellow designer Lilly Reich and crossed architecture with art. (1) £300-500

500* Gerrit Rietveld (1888-1964). Zig Zag chair, pine construction with brass screws and nuts, original paper label printed ‘Gerrit Rietveld 1934’, branded ‘H.G.M. G.A.V.d Groenekan De Bilt Nederland’, 75cm high x 35cm wide Provenance: Private Collection, Italy. Gerrit Thomas Rietveld (1888-1964) was a Dutch furniture designer and architect, and one of the principal members of the Dutch artistic movement De Stijl. Rietveld was famous for his Red and Blue chair and Zig Zag chair designed in 1934 which was designed for Rietveld’s Schroder House in Utrecht. Marijke Kuper and Ida van Zijl, Gerrit Th. Rietveld 1888-1964, Het volledige werk, Utrecht, 1992, pp. 145-147, no. 189 (1) £8000-12000

502* Side table. A George III mahogany and rosewood side table, the d end top above single drawer with brass ring turn handles, featherbone crossbanding on four tapered supports, 77.5cm high x 90.5cm wide x 61.5cm deep Provenance: From the collection of the actor and historian Robert Hardy. (1) £100-150

134

Lot 500

135

505* Stool. A 1930s bentwood swivel bar stool, with curved arms and back rail, pressed seat on four bentwood splayed supports, 85cm high, together with an Edwardian walnut wall-mounted hall stand, inset with a heart-shaped mirror flanked by horseshoe mirrors, brass pegs, 111cm wide (2)

£50-70

506* Table. A Regency rosewood occasional table, the square tilt top tooled leather inset with brass edging, ratchet action engraved ‘Made at Tyrell’s, 2 Greek Street, Soho’, stamped ‘Adams’, over turned pedestal with lotus carving on trefoil base with three bun feet, 72cm high x 46cm square (1)

£200-300

507* Table. A George III mahogany drop flap table with gate leg action on pad feet, 74cm high x 106cm wide (1)

£150-200

508* Table. A substantial oak coffee table, the circular top supported by three splayed feet, 40cm high x 109cm diameter 503* Sideboard. A George III mahogany bowfront sideboard, with rosewood Trafalgar crossbanding above cutlery drawer flanked by two deep drawers plus tambour cupboard beneath on four tapered supports with spade feet, 90cm high x 113cm wide x 51.5cm deep (1)

(1)

509* Tallboy. A George III mahogany chest on chest, the rectangular top with dentil moulding above two short and three long drawers each with brass handles and back plates, brushing slide beneath and a further three long drawers on bracket supports, 171.5cm high x 115cm wide x 57.5cm deep

£200-300

504* Sofa table. A Regency rosewood sofa table, with rosewood crossbanding over two drawers and dummy drawers to the rear, on splayed supports with lattice fret cut ends on brass casters, 69cm high x 80cm wide x 55.5cm deep (1)

£30-50

(1)

£300-500

510* Trunk. A Continental dome top trunk in the 18th-century style, covered in leather with brass studs arranged in a geometric fashion, the front panel with cupboard door enclosing three drawers, with a further single drawer to the side, with iron lock and carrying handles on four giltwood feet, 51cm high x 117cm wide x 64.5cm deep

£300-500

(1)

Lot 504

136

£800-1200

Lot 506

Lot 509

Lot 510

Lot 507

PHOTOGRAPHY 1850-2000 Thursday 15 October 2015

Further entries now invited. Please contact Chris Albury: chris@dominicwinter.co.uk 01285 860006 138

IMPORTANT BRITISH & CONTINENTAL ETCHINGS: A PRIVATE COLLECTION Friday 16 October 2015

Further entries now invited, for more information please contact: Nathan Winter | 01285 860006 | nathan@dominicwinter.co.uk

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 the-saleroom.com 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.

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Dominic Winter SPECIALIST AUCTIONEERS & VALUERS Libraries & Archives Nathan Winter & Chris Albury Paintings & Prints Nathan Winter Antiques & Furniture Henry Meadows

A photograph of a Japanese lady in full dress, circa 1870, by Pyor Floyd, from a rare album of Chinese photographs and watercolours of the 1860s and 1870s. Sold in these rooms 9 October 2014 for ÂŁ48,000.

Medals & Militaria Henry Meadows Aviation & Transport Collections Chris Albury & Henry Meadows Atlases, Maps & Prints John Trevers Antiquarian Books Colin Meays Modern First Editions Paul Rasti Children's Books, Toys & Games Susanna Winters Oriental & Islamic Art Matthew Farren Sports Books & Memorabilia Paul Rasti Taxidermy, Fossils & Field Sports John Trevers Vintage Photography & Cinema Chris Albury Manuscripts, Autographs & Ephemera Chris Albury For free valuations without obligation, please contact any of the above specialists for further advice.

Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ 01285 860006 / firstname or info@dominicwinter.co.uk 141 www.dominicwinter.co.uk

Conditions of Sale and Business 1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims.

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.

2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice. (b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account.

8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer.

3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 19.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 23.40% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 19.5% and assents to the Auctioneer receiving the said commission.

9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof. 10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to the Auctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions.

4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due. (b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately. (c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day. (d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared.

11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage. The value of the goods so covered will be the hammer price, or in the case of unsold lots the best bid, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods. (b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions.

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

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

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

13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots. 14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein. 15. These conditions shall be governed by and construed in accordance with English Law.

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

COMMISSION SLIP Please Bid on my behalf at the sale on 16 July 2015 up to the amount shown. I acknowledge that I will be required to pay a buyer's premium at the current rate.

Lot ÂŁ Brief Description ______________________________________________________________________________________

Name: Address

Telephone: Email:

Fax:

Postage can be arranged for most purchases. For UK and European customers we use DPD (formerly Parceline) or Royal Mail: a separate charge is added to the invoice (minimum ÂŁ15) and parcels are despatched as soon as possible after payment has been received. All framed and glazed items and all lots for overseas customers outside Europe will be sent to Mail Boxes Etc. (tel: Swindon 01793 525009) or R.F. Shipping (tel: London 0845 873 6240). Both of these companies will quote and invoice separately. Please note: DWBA invoices must be paid before consignments are handed to third party shipping companies.

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

National Rail Enquiries:

08457 484950

Telephone advance train ticket booking:

08457 000125 (First Great Western)

Online train timetables and online ticket bookings:

www.nationalrail.co.uk

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

01285 655299 / 07980 579947 01285 650850 01285 642767

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

01793 701701

Cirencester Visitor Information Centre

+44 (0)1285 654180 cirencestervic@cotswold.gov.uk

Catalogue Produced by Jamm Design â&#x20AC;&#x201C; 020 7424 7830 info@jammdesign.co.uk

Photography by Ben Cavanna â&#x20AC;&#x201C; 07968 342013 bencavanna@gmail.com

Lot 437 • Back Cover: Lot 493