Dominic Winter - Fine Art & Antiques, 17 & 18 July 2013 by Jamm Design Ltd

Dominic Winter SPECIALIST AUCTIONEERS & VALUERS

Fine Art & Antiques 17/18 JULY 2013

Lot 255 â&#x20AC;˘ Front Cover: Lot 199

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

BRITISH & CONTINENTAL PAINTINGS & WATERCOLOURS OLD MASTER & MODERN PRINTS Wednesday 17 July 2013 Lots 1-554 commencing at 11am Followed by

ORIENTAL ART & JADE, FURNITURE, SILVER, CERAMICS & COLLECTABLES Thursday 18 July 2013 Lots 560-997 commencing at 11am Viewing: Tuesday 16 July, 9am-7pm and morning of sales from 9am

Payments: For full details please refer to the information on page 320.

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

Coronelli (Vicenzo Maria), Isola di Malta olim Melita... published Venice 1689. Est. £1000-1500

FORTHCOMING SALES – INVITATION TO CONSIGN Wednesday 24 July Wednesday 25 September October to December

Printed Books, Maps & Documents Printed Books, Maps & Documents Sale Dates To Be Confirmed

Further entries for all our autumn sales are now invited. Book sale categories will include Travel, British Toppgraphy, Natural History, Maps, Prints, Periodicals, Autographs & Historical Documents, Antiquarian, Sports and General Categories. Specialist sale themes will include:

• • • • • • • • • • •

Guinness and Advertising Artwork & Ephemera Anglo-Irish Literature Modern First Editions Children's & Illustrated Books, Toys & Games History of Science & Medicine Vintage Photography Arms, Medals, Militaria Historic Aviation & Transport Memorabilia Antiques & Collectables Sporting Art, Fossils & Minerals British and World Stamps

Please contact our specialist staff for further advice. General Enquiries to Lynne Shipley info@dominicwinter.co.uk 01285 860006

CONTENTS DAY ONE Early Watercolours Marine Art

1-110 111-119

Sporting & Wildlife Art

120-130

Old Master Drawings

131-143

Stained Glass Designs

144-165

Old Master Prints

166-198

Paintings

199-246

Portraits

247-266

Oriental Art

267-290

Etchings, Lithographs & Woodcuts

291-332

C.R.W. Nevinson

333-338

Modern Prints

339-382

Original Illustrations & Artwork

383-395

Modern Watercolours & Drawings

396-473

Reginald J. Lloyd

474-491

Sculpture

492-494

Modern Paintings

495-554

DAY TWO Ceramics & Glass

560-584

Coins

585-634

Silver & Gold

635-658

Collectables

659-687

Metalware

688-700

Oriental Art & Chinese Jade

701-817

Wine

818-821

Tea Caddies & Boxes

822-832

Musical Instruments

833-844

Tribal Artefacts

845-886

Furniture & Effects

887-931

Garden Furniture & Statuary

932-997

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

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

Oriental Art & Jade, Furniture, Silver, Ceramics & Collectables Dominic Winter Henry Meadows BA Hons, MRICS

BRITISH & CONTINENTAL WATERCOLOURS To commence at 11am

1* Adams (Charles James, 1859-1931). Moorland river landscape, watercolour, signed and dated 1889, 27 x 38cm (10.5 x 15ins), together with an unsigned watercolour of farm buildings by the same hand, 32 x 38cm (12.5 x 15ins), both framed & glazed (2)

£150-200

3* Aleksandrovna (Olga, 1882-1960). Birds in a snowy garden with stone and brick balustrade and urns, watercolour, signed lower right, 22 x 23cm (8.5 x 9ins), mounted, framed and glazed

2* Aldridge (Frederick James, 1850-1933). Making for Shoreham, watercolour on wove paper, signed lower left, 33 x 50cm (13 x 19.75ins), framed and glazed, Gallery Thirty Three, Billingshurst label to verso (1)

Grand Duchess Olga Aleksandrovna of Russia was the youngest child of Emperor Alexander III of Russia and her older brother was Tsar Nicholas II. During her lifetime, she painted over 2, 000 works of art, which provided extra income for both her family and the charitable causes she supported. (1) £250-350

£200-300

Lot 2 Left: Lot 445 5

4* Barbot (Prosper, 1798-1878). A collection of nineteen watercolour views of Egypt, watercolour and pencil on paper (including two in pencil only), six signed by Barbot and dated 1851 or 1852, two other drawings captioned in pencil in the image and attributable to Barbot, the remaining eleven unsigned drawings attributed to Barbot of his close circle, all showing buildings and minarets or river scenes with figures, one showing the pyramids of Giza and Sphinx, the three smallest (one detached, two signed) drawn on embossed card, and pasted onto one album leaf recto, each approx. 10 x 7 cm (4 x 3 ins), and similar, the remaining sixteen drawings pasted onto individual album leaves, some spotting and old damp stains to the two pencil drawings, sizes approx. 17 x 25 cm (7 x 10 ins), and similar (19)

ÂŁ4000-6000

5* Bateman (Josiah, c.1802-1893). “The Warnford General Bathing Institution. And Leamington Hospital. Erected MDCCCXXXII”, watercolour, showing a large classical building with figures and animals in the street in front, vertical fold and some discreet restoration, 30 x 62.5cm (11.75 x 24.5ins), mounted (incorporating ms. title and date, and ‘Jos. Bateman Arch.’), framed and glazed, with ms. label on back board ‘presented by Charles E. Bateman F.R.I.B.A. of Birmingham, grandson of the architect 28 June 1939’ (1)

7* Bentley (Charles, 1806-1854). Fishing boat off the Needles, Isle of Wight, watercolour with bodycolour on wove paper, 23.5 x 33cm (9.25 x 13ins), framed and glazed, gallery label of Vectis Fine Arts, Isle of Wight to verso

£100-150

(1)

6* Baumgartner (Alice M.A., late 19th c.). A small archive of watercolours, pencil drawings, and a sketchbook, sixty-four watercolour drawings, mostly on paper, comprising nine views of Offley, Hertfordshire, incl. two of Offley Place, two of Offley Church (interior/exterior), and one of a windmill, twenty-two Cornish/coastal scenes, incl. Chapel Point, Black Head, Caerhays Castle, Heligan Woods, Pentewan, The Deadman, The Crag, Fowey Harbour, Mawgan Church, and thirty-three others various, incl. landscapes, buildings, flora, genre scenes, literary themes, most initialled and some dated (1870s/80s), many with pencilled comments on verso from various critics, approx. 30 x 23cm (12 x 9ins) and smaller, together with five small pencil/pen & ink drawings (at least one in another hand), plus a sketchbook belonging to the artist, containing nine watercolour/pencil sketches, front pastedown with ms. ownership of the artist ‘Alice M.A. Davy’ (her married name) dated 1894, orig. paper-covered boards, worn, oblong folio Alice Baumgartner appears to have belonged to a small group of artists who shared comments and criticisms of each other’s work. Each had a nickname, hers being ‘Care’, and others went under such names as ‘Boots’, ‘Pig’, ‘Crumpets’, ‘Thimbles’ and ‘Whathisname’. Typical comments on the verso of her works include: ‘The girl is a giantess - Thingummy-jig’; ‘The sky is truly brilliant - The Judge’; ‘Room good. Girl looks as if she was resting on thin air - Railwayshare’; ‘Light shade & comfort well expressed - Bellman’. One of the pen & ink drawings is ascribed to Boots, and two of the crticisms on the verso read: ‘I did not think Boots was capable of such a good drawing’ and ‘Don’t believe Boots did it - Hi’. (a folder) £300-500

£150-200

8* Boister (William, 19th century). View of East Street, Bedminster, Bristol, with the Wills factory and Brightbow Cottages, 1899, pen, ink and watercolour on paper, showing the street scene with ice cream seller, figures, herd of sheep, horse and carriage etc., signed and dated lower left, 32 x 38cm (12.5 x 15ins), framed and glazed In 1886, W. D. & H. O. Wills moved their tobacco business from Redcliffe to East Street, Bedminster. The firm’s No. 1 factory was built on the site of the old St Catherine’s Hospital. The Brightbow cottages were subject to flooding from the Malago river (a tributary of the Bristol Avon) which passed under the street. They were condemned and then demolished after an outbreak of smallpox in 1890. William Boister of Bristol is recorded working as a photographer based at Essex Street and later Phillip Street, Bedminster from 1873 to 1886. A William Boister, born 1833 who lived in Bedminster is recorded in the 1881 Census. (2) £200-300

10* Bradley (Cuthbert, 1861-1943). Cambridge University Polo Meeting, June 14th 1904. Mr. W. Montgomery. Secretary, Starter, Clerk of the Course, &c &c., watercolour, heightened with bodycolour, signed lower right, 17 x 31.5cm (6.75 x 12.5ins) mount aperture, contemp. oak frame, glazed

9* Bond (Richard Sebastian, 1808-1886). Rustic interior with a basket weaver, watercolour, heightened with bodycolour, signed lower left, 36 x 52cm (14.25 x 20.5ins), framed and glazed (1)

£150-200

(1)

£150-200

11 British School. An album containing thirty-four drawings, c. 1830s, including thirteen watercolours, plus twenty-one pen and ink or pencil drawings, subjects include rural scenes, figures, flowers, etc., artist names identified (more often on mounts beneath) include I.T. Duncan, G.I. Hunter, Bosuet, R.T. Fawcett, C. Fawcett, Anne M. Innes, E.N. Mangin, Rev. T. Liddell, and some identified with initials only, plus a further forty-five engs. tipped in, a few leaves cut and some items loose, illustrations approx. 30 x 23cm (12 x 9ins) and smaller, contemp. half morocco, worn and covers detached, folio (1)

£300-500

14* Callow (John, 1822-1878). Paddle Steamer passing a hulk on the Thames, watercolour on wove paper, inscribed in pencil to verso ‘Miss H. Aspinwall with John Callow’s Compliments, and titled ‘On the Thames’, 138 x 191mm (5.4 x 7.5ins), together with another similar watercolour by John Callow of a small fishing boat off the coast, similarly inscribed in pencil to verso ‘Miss Aspinwall with John Callow’s Compliments’, 135 x 192mm (5.3 x 7.5ins) (2)

£100-150

12* Bromley (Walter Louis, fl.1866-1882). Gathering Wild Flowers, watercolour, of two girls gathering flowers into a basket held by a young boy, signed lower left, 39 x 33cm (15.25 x 13ins), gilt moulded frame, glazed Walter Louis Bromley was a London painter of genre and landscape. He exhibited at the RBA in Suffolk Street between 1866 and 1882 - including this painting in 1873 - as well as elsewhere. (Christopher Wood, Dictionary of British Art, Victorian Painters, 1995) (1) £200-300

13* Burgess (Henry William, c. 1792-1844). A group of four sketch books, c. 1830s/40s, a total of approx. 50 leaves with pencil studies of trees, rocks, architectural details, etc., often with several studies to one page, versos all blank, occ. caption and date, some spotting, several leaves det., ownership signature of Lady Light at front of each vol., one dated 1869, contemp. wrappers, several covers det., oblong folio (26 x 37cm) (4)

15* Callow (William, 1812-1908). Medieval Gate Tower, watercolour, heightened with bodycolour, 37 x 29cm (14.5 x 11.3ins), artist’s name inscribed on mount, 19th century gilt moulded frame, glazed, with framer’s label for A. & F. Ponzini & Co., 22 Hatton Garden, to verso

£200-300

(1)

£300-500

16* Compton (Edward Theodore, 1849-1921). Punta di S. Matteo, 1886, pencil with blue and grey wash on paper, signed, titled and dated 24 VIII/86 lower left, additionally inscribed in faint pencil lower right ‘Spot where Payer had an avalanche glissade’, some spotting, 14.5 x 22.5cm (5.75 x 8.8ins), framed and glazed, with remains of Alpine Club exhibition label to verso Julius Payer, who named the peak, was the second person to climb it during which he survived a fall of 800 ft. The artist E. T. Compton was an active member of the Alpine Club, climbing the Gröss Glockner at the age of 70. (1) £100-150

17* Cotman (Miles Edmund, 1810-1858). Tethered Horse, pencil on pale brown paper, heightened with white bodycolour, 25.5 x 35.5cm (10 x 14ins), framed and glazed, with Fry Gallery label to verso Provenance: From the collection of Margaret Bidwell, great-niece of the artist (according to label). (1) £200-400

Lot 16

Lot 17

18 Country Houses. An album containing watercolours of Dunham Massey in Cheshire, and Isel Hall in Cumbria, early 20th c., approx. fifty leaves, with twenty-six mounted drawings of buildings and landscapes (in the same hand), and a number of engravings, incl. four watercolours of Dunham Massey (three grisaille), heightened with bodycolour, two showing the exterior of the house, one of the stables, and the other showing the interior of the hall, titled and dated October 1912 in pencil to lower margin (except interior) and in ink below image, eight grisaille watercolours of Isel Hall and its surroundings, incl. one of the Pele Tower and facade, titled and dated September 1912 in pencil to lower margin (except one), and in ink below image, all approx. 17.5 x 25cm (7 x 10ins), two black crayon drawings of Iona, one titled to lower margin ‘Looking back on Iona in the mist’, three black crayon drawings of Babraham Church, one titled ‘Babraham Church, House & Stables from the Meadows’ dated 1913, six engravings from Middleton’s ‘Complete System of Geography’, six engraved illustrations to Reineke Fuchs by Adrian Schleich after Wilhelm Raulbach, plus a Gillray caricature entitled ‘Pen-etration’, 1799, loosely inserted, foxed and close-trimmed with short edge-tear, early 20th c. cloth, somewhat marked and worn, folio, together with another album similar, with approx. 130 drawings and watercolours in the same hand as the previous album, incl. eleven pencil portraits of well-known figures, but mainly watercolours depicting landscapes and buildings, mostly annotated in contemp. ms. below image (some pencilled to image) and some dated 1880s, incl: Holyhead; Montrose House, Petersham; Beddgelert; Greenock; Bergamo; Citadel at Brescia; Isola San Giuliano; Lucerne; two interior scenes of Plas Llanfair (drawing room and bow window); Konigstein on the Elbe; Bohemia; Dresden; The Burg, Nuremberg; The Palace, Wurzburg, etc., 15 x 45cm (6 x 17.75ins) and smaller, disbound (with worn lower board present), folio Dunham Massey is owned by the National Trust, whilst Isel Hall is privately owned. (2) £1000-1500

19* Cox (David, 1783-1859). Landscape with figure and ruin, pencil and watercolour sketch on paper, 98 x 138mm (3.9 x 5.4ins), framed and glazed, with Fry Gallery label to verso

20* Cull (Alma Claude Burlton, 1880-1931). Table Mountain, Cape Town, South Africa, watercolour, signed lower left, 23.5 x 31.5cm (9 x 12.5ins), mounted, framed and glazed

Provenance: From an album of Cox letters and drawings belonging to the Henriques family (according to label). (1) £100-150

Alma Cull was a painter in oils and watercolour, often of marine subjects. He was particularly known for his use of light and tone to create atmosphere. Examples of his work are in the National Maritime Museum and the Royal Exchange in London. (1) £300-500

21* D’Esposito (Vincenzo, 1886-1946). View of Valletta Harbour, Malta, gouache on paper, signed D’Esposito lower right, 116 x 236mm (4.5 x 9.25ins), mounted, together with Bonello (Joseph, 1878-), View of The Quayside, Valletta Harbour, Malta, gouache on paper, signed with monogram J. B. lower left, 94 x 186mm (3.7 x 7.3ins), mounted (2)

£200-300

Lot 22

Lot 23 14

22* Darvall (Henry, fl.1848-89). Gondola on the Lagoon, watercolour, signed lower left, 26 x 49.5cm (10.25 x 18.25ins), contemp. frame, glazed (1)

£300-500

23* De la Rive (Pierre Louis, 1753-1817). Landscape with figures and animals, 1803, pencil and sepia watercolour, of trees and buildings beside a river, with pastoral figures, cattle, sheep and goats in the foreground, signed, dated, and numbered ‘27’ lower right, 54 x 75cm (21.25 x 29.5ins), framed and glazed, together with another pencil and sepia watercolour similar by De la Rive, showing trees, ruins, and a waterfall, with rustic figures and cattle, signed, dated 1803, and numbered ‘25’ lower right, some minor toning, 54.5 x 75cm (21.5 x 29.5ins), framed and glazed Both inscribed on the verso of the frame ‘Formerly in the Entrance Hall, Norbury, Derbyshire’. (1) £1000-1500

24* Downman (John, 1750-1824). Portrait of Edward Morgan (1759-)in profile, aged 25, 1784, watercolour on thin oval paper, with black and white chalk, and stump, signed and dated in pencil lower left, some pale discoloration, and with several horizontal tears (without loss), contemp. gilt frame, glazed, inscribed in an early hand to verso 'Edwd Morgan Esq, 1784-aged 25'

Lot 24

Edward Morgan (7th August 1759-28th June 1831), of Golden Grove (Gouldgreave), Gwylgre, Llanasa, Flintshire, Wales, was the son of Peter Morgan of Gwylgre (1724-1780) and Margaret Hesketh of Warrington, Lancashire (1734-1779). He was a Lieutenant-Colonel of the Flintshire Militia, Justice of the Peace, Deputy Lieutenant and also became High Sheriff of Flint in 1792. He married Louisa Griffith the daughter of Thomas Griffith of Pentre Rhual, Yr Wyddgrug, Flintshire, Wales in April, 1792 and they had seven children, (four boys and three girls), four of which are recorded as having died in infancy. (1) £700-1000

25* Downman (John, 1750-1824). Portrait of Mrs Wm. Way, of Glympton Park, Sept. 26th, 1817, watercolour and chalk on thin paper, captioned and dated in pencil upper left and signed lower left, 30.5 x 24cm (12 x 9.5ins), contemp. gilt frame, glazed, faint identification inscription to back board and old label to verso Mrs. Elizabeth Way, née Western (1765-1846) was first married in 1799 to Francis Sackville Lloyd-Wheate (17621812), of Glympton Park, Oxfordshire. After his death in 1812 Elizabeth inherited the estate, and married a second time to Rev. William Way (1773-1845), who was the Rector of Denham and Hedgerley, Buckinghamshire. After her death in 1846, Glympton then passed, under the terms of Francis Sackville Lloyd-Wheate's will, to George Henry Barnett, nephew of Sir Jacob Wheate. (1) £1000-1500

Lot 25 15

26* Duffield (Mary Elizabeth, 1819-1914). Still life with roses, 1880, watercolour on paper, signed and dated lower right, 37.5 x 27.5cm (14.75 x 10.75ins), framed and glazed (1)

28* English School. A still life study of a table with trinket box and pearls, bird, ceramic jug, metal charger, knife with carved handle, gilt goblet, with drapes and tapestry behind, late 19th/early 20th century, watercolour on wove, 43.7 x 31cm (17.25 x 12.25ins), gilt moulded frame, glazed

£150-200

(1)

£150-200

29* English school. Pastoral landscape, early 19th c., watercolour on card, 25 x 34cm (9.75 x 13.5ins), window mounted, together with Two boys fishing, early 19th c., pen, ink and watercolour, one or two light spots, 13.5 x 16cm (5.25 x 6.25ins), plus one other late 19th c. pen, ink and pastel of cherubs at play (3)

27* Elmore (Alfred W., 1815-1881). Leonato, Governor of Messina with Dogberry and Verges (Shakespeare’s Much Ado About Nothing, Act III, Scene V), pen, ink and watercolour on paper, heightened with bodycolour and gum arabic, 24.5 x 38cm (9.5 x 15ins), mounted on card (1)

£200-300

£100-150

31* English School. Early morning off the coast of Lisbon, Portugal, early 19th c. watercolour, with pen & ink, 22.5 x 33cm (9 x 13ins), framed and glazed (1)

30* English School. An archive of watercolours and sketch books from the De Teissier/Lloyd Family, late 19th to late 20th century, a total of approx. 100 watercolours including British and overseas views, e.g. Tasmania, Himalayas, etc., plus horses, still lives, figures, etc., various sizes, some identified as H. P. De Teissier (19th century) and more modern ones by Alethea De Teissier (nee Lloyd), some on card mounts, plus eight related 20th-century sketch books with small quantities of watercolour sketches by A. W. Lloyd and others (an archive)

£100-150

32* English School. View of Bewdley Old Bridge, Worcestershire, 1798, pen ink and wash on paper, showing a view of Bewdley Bridge over the River Severn, with gatehouse and one arch rebuilt in timber (where previously damaged by the Royalists in 1644), with figures at the water’s edge and moored boats, captioned and dated to lower edge, 23.5 x 33.5cm (9.25 x 13.25ins), framed and glazed

£200-400

Bewdley Old Bridge was replaced by a new stone bridge in 1798 to a design by Thomas Telford. (1) £200-300

33* English School. Portrait of a young lady with a book, c.1830s, watercolour on wove paper, heightened with bodycolour, three quarter length portrait of an attractive young lady (possibly Queen Victoria?) in white satin dress wearing small floral bouquet, seated holding an oblong folio volume opened with running title to left hand page “If in the Halls which late were thine”, unsigned, horizontal dampstain to centre of image, 44.5 x 34.5cm (17.5 x 13.5ins), framed and glazed (1)

£100-150

34* European School. A large early 19th-century scrap album, containing sixty-three leaves, filled with numerous watercolours, drawings, engravings, news cuttings, etc., a total of approx. thirty-five watercolours, including two signed S[amuel] Prout (one in monochrome), two oval maritime watercolours, signed by W. Crawford, and each dated 1804, an original watercolour of Swiss costume (Pays de Vaud) by Markus Dinker (1762-1832), 22 x 17.5cm, plus approx. fifty pencil or pen and ink drawings including one of Edinburgh Castle by A. Dundas, 1808 (26 x 46cm), other names include Charlotte Bagot, Letitia Durnford, and M. Dundas, various topographical subjects, flowers, and figures including three good quality coloured pencil drawings of human figures on grey paper, various sizes, the numerous prints inlcuding mezzotints, aquatint views of Oxford Colleges, etchings and lithographs including many hand-coloured, various sizes and subjects, mounted as multiples (and some loose), contemp. half calf, some wear, joints split, large folio (54 x 37cm) (1)

ÂŁ1000-1500

35* European School. An album containing thirty-five drawings and watercolours, mid 19th century, including eighteen drawings by Ferdinand de Bassancourt and two by Guillaume de Bassencourt, mostly pencil drawings of rural French and European scenes, including Honfleur, Schaumont, Tivoli and Venice, the majority heightened with bodycolour and a few with watercolour wash, plus eight small monochrome watercolours of rustic scenes by L. de Lubriat, a pencil with bodycolour heightening of a maritime scene by B. de Villemenard, and six small portrait drawings by F. Marechal including a pencil drawing of a Bedouin, 1880s, a few items loose, but mostly pasted as singles to album leaf rectos, approx. 20 x 26.5cm (8 x 10.5ins), and smaller, mostly initialled on the mounts, contemp. half morocco gilt, rubbed, oblong folio (1)

ÂŁ400-600

36* European School. An album containing twenty-four drawings and watercolours, mid 19th century, including figures, rural and maritime scenes, the three largest unsigned watercolours (each approx. 29 x 41cm; 11.5 x 16ins), showing classical ruins and two near identical views of European fishing port, plus two smaller watercolours of Islamic architecture (13 x 17cm) identified as Beker Bey, two further watercolours, plus seventeen pencil drawings including one in coloured pencils of two figures by F. Corson, a few items loose, various sizes, contemp. qtr. morocco, spine rubbed, oblong folio (1)

Lot 35

Lot 36 20

ÂŁ300-400

37* European School. A group of three albums of drawings and watercolours, mid 19th century, including views and people of France and Switzerland, a total of approx. ninety pencil drawings (a few heightened with bodycolour) 20 x 26cm (8 x 10.25ins), and smaller, including small format figures, etc., drawn as multiples to a page, plus fifteen small pen and ink drawings including thirteen cartoons by G. Duhoulley, plus fourteen sepia watercolour views and two watercolour sketches, the majority uncaptioned and artist’s unidentified, contemp. qtr. morocco, rubbed, oblong folio (3)

£400-600

38* European School. A group of six albums of drawings, mid to late 19th century, containing approx. 160 mostly unidentified pencil drawings and sketches plus two watercolours and five in pen and ink, subjects include rural and town scenes, portraits and historical figures, views of Dinan in Normandy, sketches after Poussin, etc., mostly unidentified, including one album of Baronne de Molaret, plus the names of Baronne de Villemenard and F. A. Pernot, the majority drawn or pasted to album leaf rectos only, sheet sizes approx. 23 x 31cm (9 x 12ins), and sl. smaller, contemp. qtr./full morocco, rubbed, oblong folio (and one smaller) (6)

Lot 37

£500-700

Lot 38 21

39* European School. An album containing seventy-four drawings by various artists, mid 19th century, artists include Jean Baptiste Isabey (1767-1855), ‘Ma Chaumiere Dans Mon Petit Jardin a Sevres, en aoust 1816’, sepia watercolour, pencil and wash, titled, dated and signed in the lower margin, 14 x 18.5cm (5.5 x 7.25ins), two watercolours of rustic scenes by Jean-Lewis Gabriel Rabigot (1753-1834), one partly browned, each signed lower right, 21 x 33cm (8.25 x 13ins), a watercolour by Jules Michel Chandelier (1813-71), a River Loire watercolour scene attributed to Francois Jules Collignon in the lower margin, four drawings signed Bourgeois (? Amedee, 1798-1837), two oval gouache and watercolour drawings of rural scenes by Leon Giacobini (1815-?), both signed in the lower margin, 14.5 x 18.5cm (5.75 x 7.25ins), two fine small watercolours by Hedwig Calmelet (1814-?), three small watercolours by Adolphe Louis Thomas, a watercolour and pencil drawing of children playing blind man’s buff by Jules Marie Desandre (1845-?), four watercolours and one drawing by C. Pensée, and others, including Theodore Ghirardi, Eugene Soulier, Guillaume Cabasson, Hubert Clerget, Jean-Henri Chouppe, Auguste-Sebastian Bernard, Henri De Montaut, Isadore Dagnan, J. Audy, and Alexandre Bida, mostly European scenes and rural views, but including military interest, animals and one Middle East scene, various sizes, approx. 20 x 25cm (8 x 10ins), and smaller, mostly mounted to album leaf rectos only, some leaves and a few illustrations loose, contemp. cloth, partly broken, oblong folio (1)

£2000-3000

Lot 40

Lot 41 40* Fox (Henry Charles, 1880-1929). Sheep droving on a country lane, & Country scene with farm cottage, cows and chickens, 1916, together two watercolours, heightened with bodycolour, both signed and dated lower right, each 38 x 56cm (15 x 22ins), matching period gilt moulded frames (with some damage), glazed (2)

£300-500

41* Francia (Francois Louis Thomas, 1772-1839). Shipping in an estuary, Dutch Coast, watercolour on paper, 154 x 231mm (6 x 9.1ins), framed and glazed, with Fry Gallery label to verso (1)

£300-500

42 Frank (William Arnee, 1808-1897). At Horfields, Downend, near Stapleton, Bristol, watercolour, heightened with bodycolour, signed lower left, 31 x 49cm (12.25 x 19.25ins) mount aperture, framed and glazed, with handwritten label to verso dated 1962 Provenance: Formerly in the collection of W. L. Child, with his handwritten note to verso, dated April 1962. (1) £200-300

43* Frost (William Edward, 1810-1877). The Finding of the Body of King Harold, pen, ink & watercolour on paper, 204 x 255mm (8 x 10ins), framed and glazed, with stamped title and artist’s name to mount (1)

£200-300

Lot 44

44* George (John William, 1837-1908). Blyde River Canyon, South Africa, 1898, watercolour on thick paper, signed and dated lower right, 31 x 46cm (12.25 x 18ins), framed and glazed, with autograph letter signed from the artist to George G. Hay, dated Johannesburg, July 30th 1898, presenting the recipient with the present watercolour, and referring to its historical association as the place where ‘the refugees from the deadly Ohrigstad Valley met again after getting separated in the wild’, attached to verso (1)

45* Gianni (Y., late 19th/early 20th century). The Rialto Bridge, Venice, gouache on paper, signed lower right, 30.5 x 48.2cm (12 x 19ins), framed and glazed, with old Frost & Reed label to verso (1)

£200-300

£150-200

Lot 46

46* Circle of Edward Dayes (1763-1804). North-East View of Worcester Cathedral, pencil on wove paper (with indistinct partial watermark to lower edge), showing the cathedral, with Georgian house nearby, and figures (some on horseback), one or two neatly repaired closed edge-tears, and lower right corner torn away), 27.5 x 32.5cm (11 x 12.75ins), mounted on thin card Similar to drawings executed by Thomas Girtin (1775-1802) of English cathedrals c.1793-94. (1)

ÂŁ300-500

47* Gray (William, 1819-1876). Country path with cows and figures by a row of cottages, Isle of Wight, watercolour, signed lower right, 18 x 32cm (7 x 12.5ins), framed and glazed William Gray was born in Ventnor, and exhibited regularly in London, including the Royal Academy. In the obituary recorded in the Isle of Wight Observer on 25th March 1876 his watercolours were described as ‘distinguished by a mellow richness of colouring’. (1) £200-300

48* Gray (William, 1819-1876). Farmyard Scene with cows and figures, Isle of Wight, watercolour with traces of touches of bodycolour, signed lower right, 17.5 x 32cm (7 x 12.5ins), framed and glazed (1)

£200-300

49* Groenewegen (Adrianus Johannes, 1874-1963). Cows resting in a landscape with milkmaid, watercolour, signed lower right, 21 x 30cm (8.25 x 11.75ins), gilt moulded frame, glazed (1)

ÂŁ300-500

50* Guardi (Giacomo, 1764-1835). Castello di Sant'Andrea e Chiesa, Venice, gouache on paper, 11 x 18 cm (4.25 x 7 ins), framed and glazed, with old handwritten paper labels to verso Provenance: Purchased by the Hon. Theophilus Rawdon (1756-1808) and later in the collection of Conrad Russell, 5th Earl Russell (1937-2004), according to the handwritten note to verso. (1) ÂŁ2000-3000

51* Hagarty (Mary S., active 1882-1938). Market place, Locarno, watercolour, signed lower left, 32.5 x 46.5cm (12.75 x 18.25ins), framed and glazed (1)

ÂŁ150-200

Lot 51

52* Hastie (Grace H., 1855-1930). Apple Blossom, 1883, watercolour heightened with white and yellow bodycolour, signed and dated lower left, 24 x 34cm (9.5 x 13.5ins), framed and glazed (1)

ÂŁ150-200

Lot 52

53* Hayes (Claude, 1852-1922). Panoramic landscape with fieldworkers, 1895, watercolour, heightened with bodycolour, signed and dated lower right, 49.5 x 70cm (19.5 x 27.5ins) mount aperture, framed and glazed (1)

Lot 53 30

ÂŁ200-300

56* Holland (James, 1799-1870). Greenwich Hospital from the River, pen and brown ink on paper, 10.5 x 17.5cm (4.1 x 6.8ins), framed and glazed, with Fry Gallery label to verso (1)

£100-150

57* Ireland. Fishing on the Ballynahinch River, Connemara, West of Ireland, by J. Wilson, 1869, watercolour on paper, laid down on card, signed and dated lower right, a few light surface marks, minor scratches, lengthy pencil inscription to lower edge illegible, 32.5 x 65.5cm (12.75 x 25.75ins) (1)

£150-200

54* Herkomer (Sir Hubert von, 1849-1914). A Peasant of the Bavarian Alps, Garmisch, July, 1875, watercolour and pencil on thick paper, monogram ‘H.H.’, place and date lower right, 18 x 10.5cm (7 x 4ins), pasted on to a slightly larger sheet of white paper and inscribed by the artist in purple ink with title and note, ‘(leaf from my sketching book.) Personifies: Hard work for small pay. The Roman Catholic church in its most bigoted form - and Bavarian Beer (at least once a week. Hubert Herkomer, Oct. 1875’, together with “While I sing my Lullaby”, April 1875, words by L.F. Fowler set to music by Herkomer, autgraph music signed and dated in matching purple ink on matching album paper, 2pp., 8vo (2)

£200-300

55* Heseldin (James Marshall, 1887-1969). Boston Front Door, watercolour on paper, signed lower right, 41 x 29.8cm (16 x 11.75ins), gilt frame, glazed

58* Ireland. Prospect of Tullamore Church, County Offaly, Ireland, 1808, three watercolour architectural views of Tullamore Church in 1808, being the south, west and east prospects, unsigned, 28 x 46cm (11 x 18ins) and smaller, matching gilt frames, glazed

Born in Leeds, the artist trained as an architectural draughtsman, specializing in terracotta. During WWI he worked as a draughtsman in a shipyard and in the early 1920s he traveled to America and became a naturalized US Citizen. He returned to England on a painting holiday, and met his future wife Lily Paul in Newlyn. After several years of limited success in the America, he returned to Newlyn and rented a studio. In the 1950s he moved to St Austell to live and became a member of the St Austell Art Society. (1) £150-200

These three watercolour views are probably proposed designs for the building of the new church in Tullamore which had been proposed in 1806. The present church, of a slightly different design, was designed by Francis Johnston, and erected in 1818. (3) £150-200

59* Italian School. An album containing approx. forty prints and drawings, mid 19th century, including a gouache and watercolour view of an Italian grotto (16 x 21cm) an unsigned pencil drawing of Tempi di Pesto (13 x 20cm) plus forty mostly hand coloured or tinted litho. views, etc., including views of Naples and Amalfi, after P.H. Benoist heightened with gum arabic, four Neopolitan School hand coloured Pompeian figures on black backgrounds (19 x 15cm), fine hand coloured views of Venice and Milan Cathedral, costume plates, etc., various sizes, mostly mounted to album leaf rectos only, occ. spotting, a few leaves det., contemp. half morocco gilt, upper cover titled ‘Italie Souvenirs de Voyages 1853’, sl. rubbed, oblong folio (1)

£700-1000

62* Kellin (Nicolas Joseph, 1789-1858). Gand (Ghent), 1852, watercolour on paper, signed and dated lower right, 23 x 30cm (9 x 11.75ins), mounted on card (1)

£100-150

63* Langley (William, 1852-1922). Country track with church and buildings in the distance, 1902, watercolour, signed and dated lower right, 22 x 41cm (8.5 x 16ins), contemp. frame, glazed (1)

£100-150

60* Italy & Greece. A group of nine watercolours, c.1910, including views of Lake Como, Torno, Zante, Cephalonia, Ithaca, etc., mostly signed with initials V.H.H. and captioned, sizes typically 13.6 x 17.7cm (5.5 x 7ins), plus others including a watercolour of a view near Bellary in India, a few botanical drawings, a pencil drawing of a horse and rider by C.J. Maud, etc., all contained in large 19th century scrap album (1)

£100-150

64* Lewis (Lennard, 1826-1913). Dovedale, Derbyshire, watercolour, signed lower left, 23 x 39.5cm (9 x 15.5ins), framed and glazed, with old framer’s label for Bradley Pass & Co., 20 Church Street, Liverpool, to verso

61* Jackson (Samuel, 1794-1869). Ross Castle, Killarney, pen and brown ink, inscribed with title, 19 x 29cm (7.5 X 11.5in), together with three other drawings by Jackson, Ullswater (19 x 26cm), Kennilworth Castle (16 x 18cm) and St Donat’s (26 x 18cm), all pen and ink except the latter in pencil, framed and glazed

(1)

Provenance: Purchased from The Gallery Downstairs, Balham in 1991 with exhibition labels to verso. (4) £150-200

Lot 63

£100-150

65* Lound (Thomas, 1802-1861). Dutch fishing boats off the coast, 1833, watercolour on paper, initialled and dated lower left, 162 x 226mm (6.5 x 9ins), framed and glazed, with Fry Gallery label to verso (1)

66* Marquise de Salvo (Madame la, 19th century). Farmer’s Boy and Sheep in a Barn, watercolour, heightened with bodycolour, signed lower right, 47 x 57cm (18.5 x 22.5ins), together with Absolon (John, 1815-1895), Rustic Family and Animals outside a Thatched Cottage, 1887, watercolour, heightened with bodycolour, signed and dated lower left, 26 x 40cm (10.25 x 15.75ins), mounted, together with another watercolour by the same artist showing a mother and child resting in a landscape, signed and titled ‘Derserted’ lower left, 17.5 x 25.5cm (7 x 10ins), mounted

£150-200

(3)

£200-300

67* Matthison (William, fl.1885-1923). View near Criccieth, North Wales, watercolour on paper, depicting a man fishing at a river with farm buildings and sheep beyond, signed lower right, 13.1 x 21.7cm (5.25 x 8.5ins), framed and glazed, together with Boden (Sammuel Standidge, 1826-1896), Abandoned chapel in a country landscape, watercolour on paper, with sheep grazing around chapel and windmill in distance, signed lower right, 13.2 x 21.5cm (5.25 x 8.5ins), framed and glazed (2)

£200-300

Lot 69 68* Meredith (William, 1851-1916). Fishing boats on an estuary, watercolour on paper, signed lower right, 27.5 x 44.5cm (10.75 x 17.5ins), framed and glazed (1)

£100-150

69* Morland (George, 1763-1804). Landscape with figures and cattle by a rocky outcrop with trees, pen, ink & watercolour on paper, 40.5 x 33cm (16 x 13ins) mount aperture, gilt frame, glazed, with an early note by Elizabeth Weston referring to this work, handwritten in ink on card, attached to verso ‘An early sketch of Morland’s. Given by Morland to Mr Pickering, of Winsone Green, by whom it was given to Mr Parsons of Walcote Leicestershire at whose sale it was purchased May 1840 - Elizabeth Weston’ (1)

£1000-1500

Lot 70

70* Nash (Joseph, 1808-1878). Cathedral Interior, 1865, watercolour on paper, heightened with bodycolour, signed and dated lower left, 52 x 39.5cm (20.5 x 15.5ins) mount aperture, framed and glazed (1)

£200-300

71* Nash (Joseph, 1808-1878). Falstaff and Prince Hal’s meeting at Eastcheap Tavern, from Shakespeare’s Henry IV, Part I, Act 2, Scene 4, 1865, watercolour, heightened with bodycolour, showing Falstaff, Prince Hal and other figures in a room with large carved fireplace, linen-fold panelling, diamond-paned window, and flagstone floor, signed and dated lower left, 28 x 36.5cm (11 x 14.25ins), mounted, framed and glazed Depicting the comic scene in which Falstaff brags about a robbery scene where the number of men he fought rises with every sentence he utters, whereupon Hal reveals he knows that only two robbers attacked Falstaff and his friends because those robbers were Hal and Poins themselves in disguise. Falstaff, with his usual quick-wittedness, promptly bluffs his way out and says that he recognised Hal immediately when he and Poins attacked the party and that he only ran away to avoid having to hurt the heir to the throne. (1) £300-500

72* Nash (Joseph, 1808-1878). Katherine of Aragon’s plea to Cardinal Wolsey and Cardinal Campeius, from Shakespeare’s Henry VIII, Act 3, Scene I, 1865, watercolour, heightened with bodycolour, showing a sumptuous interior with the seated Queen surrounded by her ladies-in-waiting, with Wolsey and Campeius looking on, signed and dated lower right, 28 x 36.5cm (11 x 14.25ins), mounted, framed and glazed Depicting the scene following the adjournment of the Queen’s trial after she refuses to stay for the proceedings; Wolsey and Campeius confront Katherine among her ladies-in-waiting and Katherine makes an emotional protest about her treatment. (1) £300-500 36

Lot 71

Lot 72 37

Lot 73

Lot 74 74* Palmer (John, 19th-c.). A Chaffinch’s Nest, fine watercolour heightened with bodycolour, signed lower right, 24.5 x 34cm (9.5 x 13.5ins), gilt frame, glazed with original handwritten label to verso, with the title, artist’s name, and address of 12 Middleton Road, Camden Road [London] and a price of 11 Guineas (label chipped with some loss)

73* Nixon (John, c.1750-1818). Landscape with bridge over a river and figures by a tree, pen, ink & watercolour on paper, 164 x 303mm (6.5 x 12ins) framed and glazed with Cyril Fry label to verso A friend and contemporary of Thomas Rowlandson, whose style his work resembles, John Nixon exhibited at the Royal Academy between 1781 and 1815. The present work was exhibited at the exhibition of John Nixon’s work held by Cyril Fry at Gallery 44, Aldeburgh, Suffolk, in June 1999. (1) £150-200

(1)

£700-1000

75* Parkman (Ernest, 1856-1921). View from Kings Weston Park Looking Towards Bristol, 1880, watercolour on paper, signed and dated lower right, 48.5 x 33.5cm (19 x 13.25ins), framed and glazed (1)

£200-300

76* Parsons (Arthur Wilde, 1854-1931). Flowers by a hill stream, watercolour and gouache, signed lower left, framed and glazed (1)

£100-150

77* Phillip (John, 1817-1867). Afternoon Siesta at Seville, watercolour sketch on laid paper, mounted on card, signed with monogram to left margin, inscribed (in another hand) ‘Afternoon Siesta at Seville Sketch. John Phillip R.A.’, 165 x 227mm (6.6 x 9ins), mounted The Scottish artist John Philip (1817-1867) studied at the Royal Academy, and while there became a member of a group of aspiring artists called The Clique, led by Richard Dadd. He later concentrated on scenes of Spanish life, earning the soubriquet ‘Spanish Phillip’. (1) £400-600

Lot 76

Lot 77 39

78* Pratt (Henry Lock, 1805-1873). A collection of four views of Dovedale, Derbyshire, four monochrome watercolours on paper, each showing a dramatic landscape with rock formations, with figures (two fishing) and sheep, one signed lower left, some creasing and closed edge-tears, all approx. 36 x 51cm (14 x 20ins), two mounted on card, and inscribed on the verso in the artist’s hand ‘Northern entrance. Dove Dale - Derbyshire. H.L. Pratt. 1837’ and ‘View near Reynard’s Cave Dove Dale. Derbyshire. H.L. Pratt 1837’ Henry Lock Pratt was apprenticed into the porcelain trade at the Derby Factory at the age of about 12, after which he worked for Mintons from 1831 to 1836 as a painter. Around 1844 he started painting in oils, and was subsequently employed to sketch baronial halls in nearby counties. He also painted landscapes and particularly the valley of Dovedale on the Derbyshire and Staffordshire border. Patrons of his art included the Dukes of Devonshire, and Queen Victoria who bought a dinner service embellished with views of Windsor Castle by Pratt. (4) £400-600

Lot 78 79* Pyne (James Baker, 1800-1870). Continental mountainous gorge with woman and child looking on, fine large-scale watercolour, heightened with bodycolour, signed and numbered 203 lower left, 58 x 48cm (22.75 x 19ins), framed and glazed (1)

£600-800

80* Richardson (William, fl.1842-77). Westminster Abbey procession, 1877, pen, ink & watercolour on paper, heightened with bodycolour, signed and dated lower left, 41 x 30cm (16 x 11.75ins), framed and glazed (1)

Lot 79 40

£200-300

Lot 81

81* Robert (Marius Hubert, 1885-c.1947). A quadriptych landscape, 1911, together a set of four watercolours, forming a sunset lake scene, with female bathers, trees, and architectural features, all signed and dated lower margin, each 50 x 16.5cm (19.75 x 6.5ins), mounted and in matching frames, glazed (2)

ÂŁ200-300

Lot 82

82* Rudge (Bradford, 1805-1885). “On the River Dart”, watercolour, signed and titled lower right, 32 x 47cm (12.75 x 18.5ins), mounted, framed and glazed (1)

£300-500

83* Schroedter (Alwine, 1820-1892). Decorative calligraphy incorporating the word ‘Napoli’ with large initial letter and a quatrain in German after E. Paulus, pen, ink, and watercolour heightened with gold, depicting calligraphic text embellished with ferns, lilies, and camelias, signed lower left, 36.5 x 28cm (14.25 x 11ins), mounted, framed and glazed (1)

Lot 83

£150-200

84* Scotland. Watercolour album compiled by H.E. McDee, c. 1890-1911, containing thirty-one tipped-in watercolours on paper, including approx. fifteen watercolour views and scenes around Port Logan, [Kirkmaiden, Wigtownshire], other scenes include Red Rocks, Llangollen, Bolton Abbey and Corsica, plus a few still lives, etc., approx. 20 x 13cm (8 x 5ins) and smaller, mostly titled and often dated in the lower image or on the mount beneath or facing, first watercolour initialled, remaining leaves blank, uncut, orig. blind-stamped sheep with small gilt bosses (two deficient) (1)

£200-300

86* Sebright (Richard, 1870-1959). Japanese Anemones, watercolour, signed and dated 1902, 49 x 29.5cm (19.25 x 11.5ins), framed and glazed Richard Sebright worked for most of his life at the Royal Worcester porcelain works where he was a distinguished painter of fruit. (1) £100-150

85 Scotland. ‘A Remembrance of Scotch Lakes’ by Elizabeth Dennistoun, 1876, a small album containing thirty-nine watercolour views of Scottish Lochs by Elizabeth Dennistoun, each captioned in brown ink, 8 x 13cm (3 x 5ins), and slightly smaller, each mounted on album leaf, with handwritten title, artist’s name, date and index at front, bound in cloth, somewhat soiled with a little wear, 8vo (18 x 13cm) Includes view of Loch Lomond, Awe, Katrine, Venachar, Achray, Loch Leven Castle, Doone Castle, Glen Coe, Caledonian Canal, etc. (1) £200-300

87* Shaw (Rev. Stebbing, 1762-1802). North East view of Beaudesert, Staffordshire, watercolour on paper, showing the mansion within wooded estate setting, unsigned, captioned in pencil to verso “Drawing by Stebbing Shaw for History of Staffs”, 20 x 36cm (8 x 14.25ins), framed and glazed, together with an engraved print of the same view from the History and Antiquities of Staffordshire by Stebbing Shaw, published 1798-1801, 24 x 37.5cm (9.5 x 14.25ins), framed and glazed, plus a watercolour view of Cheltenham from Leckhampton Hill, 1836, 20.7 x 36cm (8 x 14.25ins), framed & glazed (3)

£200-300

Lot 87 88* Shepperd (S., 19th century). Rural landscape near Slough, Berkshire, watercolour, signed and titled “Nr. Slough”, 28.5 x 44cm (11.25 x 17.25ins), framed and glazed (1)

£100-150

89* Smith (Arthur Reginald, 1871-1934). The Harvest of Acorns, watercolour on paper, depicting a woodland landscape scene with pigs searching for food, signed lower right, artist’s label to verso with price .7.0, 24.7 x 34.7cm (9.75 x 13.75ins), gilt moulded frame, glazed Arthur Reginald Smith (1871-1934) was born in Skipton-in-Craven, Yorkshire, and grew up in Threshfield. He gained a place in the Painting School of the Royal College of Art (1901-04), and was awarded a travel scholarship to Italy in 1906. He was elected an Associate of the Royal Society of Painters in Water-Colours in 1917, a full member in 1925, and a member of the Royal Scottish Society of Painters in WaterColours in 1926. He drowned in 1934 while painting at Bolton Abbey. (1) £200-300

Lot 88

90* Smith (William Collingwood, 1815-1887). View of Greenwich from the River Thames at dusk, watercolour, heightened with bodycolour, signed lower left, 30 x 45.5cm (12 x 18ins), framed and glazed (1)

£300-400

Lot 90 91* Smith (T. Strethill, late 19th/early 20th c.). View across fields to a harbour with shipping, 1897, watercolour, heightened with bodycolour, signed and dated towards lower right, 23.5 x 53.5cm (9.25 x 21ins), framed and glazed T. Strethill Smith decorated the lecture room at Ashridge House near Berkhamsted in Hertfordshire, including copies after Guido Reni, with the assistance of George Clausen. (1) £150-200

Lot 91 44

92* South America. A group of nineteen watercolours on paper, mid 19th century, including sixteen showing men and women in various trades and costumes, including market fruit sellers, bread sellers, water carriers, butchers, etc., sheet sizes approx. 21 x 15cm (8.25 x 6ins) and similar, plus three further watercolours, one of a South American in traditional costume with llama, one showing a group of people and titled ‘Ba la bola Senores’ and noting that it was obtained in Bogota in 1829, the final panoramic watercolour view of a Mexican (?) church and surroundings, dated 1834 to verso, 11.5 x 35cm (4.5 x 13.75ins), plus three uncoloured lithographs of South American scenes by C. M. [Carlos Morel], published by Litografia de las Artes, c. 1840, each 23 x 36cm (9 x 14ins), and tipped onto separate album leaves (22)

£600-800

93* Stewart (James Lawson, exhibited 1883-1905). Mr Green’s Dock, Bristol, watercolour, signed with monogram, 15 x 10cm (6 x 4ins), together with Elton (A.H., fl.1852), A gathering storm, watercolour depicting a shepherd with his flock in a moorland landscape, watercolour, signed with initials and dated 1873, 19 x 30.5cm (12 x 7.5ins), and two other 19th century watercolours including one depicting sailors at Malaga, all framed & glazed Green shipbuilders operated in Bristol from 1814 until 1883. The site is now located roughly underneath the Watershed Centre. (4) £150-200

94* Stormont (Howard Gull, 1844-1923). Houses by a river in the Scottish Highlands, 1889, watercolour, signed and dated lower right, 35.5 x 50cm (14 x 19.75ins), framed and glazed (1)

£150-200

Lot 93

Lot 94 46

95* Stuart (J., early 19th century). English Civil War Battle scene (possibly The Battle of Worcester), 1839, pen, ink and watercolour on pale blue wove paper, heightened with bodycolour, signed and dated in pencil lower right, 127 x 176mm (5 x 6.9ins), mounted With a later (presumably incorrect) attribution to ‘Sir James Smart of Allen Bank’, to verso. (1) £100-150

96* Swiss School. Vevey on Lake Geneva, mid 19th century, fine gouache on paper, 102 x 312mm (4 x 12.25ins), together with a view of the snowcapped and sunlit Italian mountains from a high point of the Simplon Pass, fine gouache on paper, 84 x 113mm (3.25 x 4.5ins), both within gilt ruled borders on larger album sheets, the second gouache detached (2)

£200-300

97* Swiss School. St. Nicolas, late 19th century, watercolour, titled and monogrammed JFL?, 27 x 18.5cm (10.5 x 7.25ins), period frame (1)

Lot 96

£100-150

Lot 98

98* Valter (Frederick E., 1850-1930). Cows resting at dusk, 1895, watercolour on paper, heightened with bodycolour, signed and dated lower right, 24.5 x 46cm (9.5 x 18ins), framed and glazed (1)

£300-400

99* Van Staaten (Louis, 1836-1909). Middelburg, Holland, watercolour on laid paper, signed lower right, 38 x 61cm (15 x 24ins), framed and glazed (1)

£200-300

100* Van Staaten (Louis, 1836-1909). Antwerp, watercolour on paper, signed lower right, 39.5 x 59.5cm (15.5 x 23.5ins), framed and glazed (1)

£200-300

Lot 99

Lot 100

101* Victorian School. Mother and child studying a wild flower, c.1850s/60s, watercolour on paper heightened with bodycolour, depicting a young child sitting on mother’s lap whilst holding out a white flower, laid-down on mount board inscribed “William Morley” to verso, 29.6 x 22.2cm (11.75 x 8.75ins), framed and glazed (1)

£200-300

102* Wallis (Rosa, 1857-c.1930 ). Chillon Castle, Lake Geneva, watercolour on paper, heightened with white bodycolour, signed and titled in pencil lower left, 23.5 x 33cm (9.25 x 13ins), framed and glazed (1)

£100-150

103* Walton (Elijah, 1832-1880). Chillon, Lake Geneva, 1871, watercolour, heightened with bodycolour, signed lower left, and titled Chillon, and dated ‘71 lower right, 18 x 32cm (7.2 x 12.6ins), framed and glazed (1)

Lot 101

£150-200

104* Watts (James T., 1853-1930). Autumn in Lord Latham’s Courts, watercolour, heightened with bodycolour, signed lower right, 39.5 x 29.5cm (15.5 x 11.75ins), gilt frame, glazed (1)

£150-200

105* Whitehead (Frederick William Newton, 1853-1938). Newnham Paddox House, 1915, pencil and watercolour on paper, showing Newnham Paddox House through wrought iron entrance gates, with deer in foreground, signed and dated lower left, 27.8 x 21cm (11 x 8.25ins), framed and glazed, together with Stoneleigh Abbey, watercolour on paper, showing Stoneleigh Abbey as seen though the wrought iron garden gates, captioned and signed lower right, 28.5 x 20.8cm (11.25 x 8.25ins), framed and glazed Newnham Paddox House in Warwickshire, the home of the Earl and Countess of Denbigh was demolished in 1952. The watercolour of Newnham Paddox and version of the watercolour of Stoneleigh Abbey were both illustrated in Warwickshire Water-Colours, by Frederic Whitehead, published by A. & C. Black, 1916. (2) £300-500

Lot 102

106* Wilde (William, 1826-1901). Woodland landscape with gamekeeper and dog on path, watercolour, signed and dated 1868, 43.5 x 35cm (17 x 14ins), framed and glazed (1)

ÂŁ150-200

107* Wimperis (Edmund Morison, 1835-1900). View down a mountain river, 1873, watercolour, signed with initials, and dated 1873 lower left, 28.5 x 45cm (11.25 x 17.75ins) mount aperture, contemp. moulded gilt frame, glazed (1)

Lot 105

ÂŁ150-200

108* Wisard (Gottlieb Emanuel, 1789-1837). Bernese country dance in a barn with musicians, watercolour on paper, signed lower left, a few marks to edges of sheet, with slight loss to centre of top margin, and extreme lower right corner (just touching signature), 201 x 296mm (8 x 11.7ins), framed and glazed (1)

ÂŁ200-300

110* Derval (Jean, later 19th century). Flora, circular gouache on thin ivory, signed lower right, 16mm diameter, orig. gilt metal frame

109* After Jacques Louis David (1748-1825). Portrait of the Empress Josephine, later 19th century oval portrait on thin ivory, painted in gouache over a photographic base, signed centre right, 85 x 66mm (3.3 x 2.6ins), ivory-veneered near classical frame, glazed (1)

(1)

ÂŁ100-150

MARINE ART

111* Bradbury (Arthur Royce, 1892-1977). Drying Sails, Falmouth, watercolour and bodycolour on paper, signed and titled Falmouth, lower right, 17 x 24.5cm (6.75 x 9.6ins), framed and glazed (1)

113* Cooke (Edward William, 1811-1880). Shipping in a harbour, pencil on paper, 129 x 192mm (5.1 x 7.6ins), framed and glazed, with Fry Gallery label to verso An exhibition of E. W. Cooke’s watercolours and drawings was held at the Fry Gallery in 1976. (1) £150-200

£100-150

112* Cook (Samuel, 1806-1859). Two men-of-war attacking a fortified estuary, watercolour, heightened with bodycolour, signed lower right, 41.5 x 72cm (16.5 x 28.5ins), framed and glazed Born in Cornwall, Samuel Cook was apprenticed at the age of nine to a local firm of woollen manufacturers. Once out of his articles he moved to Plymouth and eventually set up as a house painter. In his spare time he made sketches of the coast and quays, and was elected Associate and Member of the New Watercolour Society in 1849 and 1854 repectively. Examples of his work are held by the British Museum, Victoria and Albert Museum, Exeter Museum and Shipley Art Gallery, Gateshead. (1) £300-500

Lot 114

Lot 116

114* De Simone (Tommaso, c.1805-1888). British Naval Ironclad at Sea, gouache on paper, signed lower right, 30 x 50.5 (11.75 x 19.75ins), framed and glazed (1)

£300-400

115* English school. Becalmed fishing boats, early to mid 19th-century watercolour on paper, 17.5 x 28cms (7 x 11.25 inches), framed and glazed with Peter Ward Gallery, Cirencester label to verso (1)

£100-150

116* Marine School. Battle of Trafalgar, c. 1860, largescale oil on canvas, 48.5 x 79cm (19 x 31ins), framed (1)

£300-500

Lot 117 117* Owen (Samuel, 1768-1857). Bustling river traffic on a Dutch estuary, watercolour, 10.5 x 15cm (4 x 6 in), framed & glazed Provenance: Bought at the sale of the chattels of Mrs Maria Ballachey (1797-1884), the daughter of the banker and goldsmith Sir Joseph Lock (1760-1844), held at Headington, Oxford in 1884. (1) £200-300

118* Wery (Emile Auguste, 1868-1935). Shipping in a French Harbour, watercolour and gouache on paper heightened with bodycolour, signed with monogram lower right, 14 x 23cm (5.5 x 9ins), framed and glazed (1)

£300-500

Lot 118

119* Wood (Hunter, 1908-1948). Schooner ‘Henry Ford’ at Dawn, 1938, gouache on paper, signed and dated lower right, 26 x 36.3cm (10.25 x 14.25ins), framed and glazed, together with another similar gouache on paper study of a schooner in calm waters, signed lower right, 25.5 x 36cm (10 x 14.25ins), framed and glazed Hunter Wood was born in Babylon, Long Island, New York, in 1908, and was the son of the famous marine painter Worden George Wood. Wood was employed as an illustrator for several shipping lines and magazines, including the United States Lines, the French Line, The World, New York Herald, and Boston Herald. (2) £100-150

Lot 119

WILDLIFE

Lot 120

120* Audy (Jonny, fl.1850-1880). “Cheval de course avec son jockey”, Grand Prix de Deauville”, 1869, watercolour, heightened with bodycolour, showing a mounted jockey and figures at a racecourse, signed and dated lower right, 37 x 59cm (14.5 x 23.25ins), mounted, framed and glazed, titled on verso of frame, with additional note that the painting was exhibited at the Salon of 1871 Jonny Audy was a Parisian painter of military and equine subjects. (1) £500-800

121* Barker (Wright, 1864-1941). Clumber spaniels, oil on canvas, of three clumber spaniels waiting beside a canvas bag by a tree, signed lower left, 92 x 71.5cm (36.25 x 28.25ins), gilt moulded frame Wright Barker is known primarily for his animal paintings, although he is also known for his paintings of Roman maidens, the most renowned being ‘Circe’, painted in 1900, executed in a style close to the Pre-Raphaelites. (1) £2000-3000

122* Gronvold (Holger Karl, 1850-1923). “Black Bird of Paradise”, watercolour, signed lower right, 31.5 x 26cm (12.5 x 10.25ins), mounted, framed and glazed, titled on verso of frame (1)

£300-500

Lot 122 56

Lot 121

Lot 123

123* Hailey (Clarence, 1867-1947). “The Boss”, Newmarket, 1914, oil on canvas, of an Irish chestnut horse with the jockey Frederick Rickaby in the saddle, signed, dated, and located lower left, 51 x 68.5cm (20 x 27ins), gilt moulded frame, bearing plaque with the names of horse and jockey Frederick Rickaby was a highly successful English jockey, winning, amongst other races, the Thousand Guineas in 1891 and The Oaks in 1891 and 1896. His daughter, Iris, was the mother of leading jockey Lester Piggott, so Rickaby was part of a racing dynasty which was to become known as ‘Racing Royalty’. Clarence Hailey is renowned for his equestrian paintings, capturing the racing scene of the early 1900s. (1) £1000-1500

124* Hill (Berrisford, 20th c.). Covey of English Partridge in a meadow, watercolour on paper, signed lower right, 21 x 32cm (8.5 x 12.5ins), gilt frame, glazed Berrisford Hill is a leading British game bird and wildlife artist, who has been commissioned by the B.A.S.C. Game Conservancy and World Pheasant Association. (1) £150-250

Lot 124

127* Lee (Ann, 1753-1790). Study of Cerambyx beetles, 1773, pen, ink, and watercolour on vellum, showing six beetles, signed and annotated in blue ink to lower margin, 30.5 x 23.5cm (12 x 9ins), mounted, framed and glazed (1)

£200-300

125* Keulemans (Johannes Gerardus, 1842-1912). A Congress of Titmice, watercolour on paper, signed and titled lower right, some marks and surface discolouration, 47.5 x 33cm (18.75 x 13ins), oak frame Requires cleaning. (1)

£200-400

128* Sandys-Lumsdaine (Leesa, 1936-). Portrait of a dappled grey mare and female rider against a landscape with country house, 1970, oil on canvas, signed and dated lower right, 63.5 x 76cm (25 x 30ins), framed

126* King (John Gregory, 1929-). The Water Jump, Newbury, watercolour and gouache, signed lower right and indistinctly dated, 24.5 x 37cm (9.75 x 14.5ins), framed and glazed (1)

Leesa Sandys-Lumsdaine’s first commission was to paint the portrait of a guinea pig, for the fee of one guinea. She went on to paint many celebrated horses, including the legendary Arkle, as well as champion greyhounds, and all manner of country subjects, including hunting scenes. (1) £200-300

£200-300

OLD MASTER & 19TH CENTURY DRAWINGS

129* Stinton (James, 1870-1961). Pair of pheasants in a winter landscape, two watercolours on card, heightened with bodycolour, each signed lower left/lower right, 13 x 19cm (5 x 7.5ins), matching frames, glazed (2)

£200-400

131* Beaumont (Sir George Howland, 1753-1827). Cottage at Dedham, 1789, pencil with pale grey-brown wash on paper, inscribed ‘Dedham June 10 1789’ to lower left, size 18 x 23cm (7 x 9ins), framed and glazed, with Fry Gallery labels to verso Provenance: From the collection of Sir Francis Beaumont, Bt. (according to label). (1) £200-300

130* Whitlaw (Rosa Mary, 1874-1951). ‘Charly’, 1881, oil on board, inscribed by the artist to verso, and additionally inscribed in a different hand with the artist’s name, and the date 20th August 1881, ‘Hestercombe, The Beeches, Slough. This Dog ‘Charly’ Painted & Presented to E. Buckland by Mrs Whitlaw, Amerden House, Taplow, Bucks. William Buckland married today Acton, nr London’, 268 x 242mm (10.5 x 9.5ins) (1)

£200-300

132* Cochrane (John S., late 19th/early 20th c.). Meditation, 1914, pencil on wove paper, head & shoulders study of a young woman resting her head on her left hand, signed and dated lower left, 36.5 x 30cm (14.25 x 12ins), framed and glazed with paper label to backboard with manuscript inscription “No. 2, Meditation, John S. Cochrane, 9 Stewart St., Greenock” (1)

£200-300

134 Croome (J.D., fl.1839-1852). Three sketchbooks, containing approx. 160pp. pen & ink sketches, some with watercolour, incl. military scenes, figure studies, cartoons, studies of horses, hunting scenes, caricatures, buildings, landscapes, some signed or initialled, some dated (1839/1840), eight leaves with closed vertical tear (almost severing sheets in two), two albums with the artist’s ms. ownership marks at front, orig. half/qtr. roan, all worn with contents loose, sm. 4to/oblong 4to

133* Craig (William Marshall, 1765-1834). A collection of thirteen sketches, mostly pen & ink, but some pencil, on paper, incl. three with a series of studies for Oliver Goldsmith’s Poetical Works, pub. 1804, one with studies for The Economy of Human Life by Dodsley, an oval head & shoulders portrait of a young lady, and a study of heads, 23.5 x 19cm (9.25 x 7.5ins) and smaller, all tipped-in to paper mounts, contained in clear pockets in a plastic folder William Marshall Craig exhibited at the Royal Academy between 1788 and 1827. He worked as a miniature and portrait painter, as well as painting domestic scenes, rustic figures and landscapes. He also excelled as a draughtsman on wood, and as a book illustrator. Craig was drawing master to Princess Charlotte of Wales, miniature painter to the Duke and Duchess of York, and painter in watercolours to Queen Charlotte. (1) £400-600

J.D. Croome was a London painter of historical and other figure subjects. He exhibited at the Royal Academy, the British Institute and the Society of British Artists. (3) £400-600

135* Attributed to Filippo D’Angeli, called Napoletano, (c. 1589-1629). Study of men rigging an Italian galley, pen and ink on laid paper, heightened with ochre chalk, size 167 x 265mm (6.6 x 10.5ins), laid down on mount card, with ink and wash ruled border, framed and glazed (1)

Lot 135 61

£700-1000

Lot 136

136* Delarue (Louis Felix, 1720/31-1765/77). Apollo triumphant over Python, pen, ink and grey wash on paper, indistinctly signed lower right, relined (with some marks and slight paper loss), 20.3 x 28.3cm (8 x 11.2ins), mounted (1)

ÂŁ500-800

137* Dutch School. Study of a carthorse, circa 1700, red chalk on laid paper, 10 x 15cm (3.9 x 5.9ins), framed and glazed, with Fry Gallery label to verso (1)

ÂŁ150-200

Lot 137

138 European School. A scrap album containing thirty-seven drawings, c. 1840s, mostly pencil drawings but including a few watercolours, artist names identified include H. Hughes (The Hyde Park), Edouard de Chinchamp and various members of the Slater family including several initialled J S, subjects include rural scenes, flowers, portraits, etc., approx. 21 x 28cm (8 x 11ins) and smaller, some leaves excised and a few items loose, plus several further pages of original and copied poems by various hands, a.e.g., contemp. embossed morocco gilt, worn, covers near detached, 4to (1)

140* Italian School. Cameriere d’onore o Segreto in Anticamera, 18th century pen, ink & wash on paper, depicting the costume of a Papal chamberlain, some light marks and spotting, 21.5 x 16.5cm (8.5 x 6.5ins) mount aperture, framed and glazed (1)

£100-150

£200-300

139* Halswelle (Keeley, 1832-1891). View of the Thames at Gravesend, with jetties, and The Old Amsterdam, 1871, fine pen & ink drawing on two conjoined sheets, signed with initials, inscribed Graves End and dated March 5th 1871, 12.5 x 34.5cm (5 x 13.5ins), mounted, together with another pen, ink & monochrome wash drawing on card by the same artist, titled Autumn, signed with initials lower left, some light spotting and soiling, creased to lower right corner, sheet size 23 x 34.5cm (9 x 13.5ins) (2)

£200-300

141* Le Loup (Remacle, 1694-1746 ). Vue de la grande Cascade du Rhin a Schafhausen, Vue du Mont Saint Michel dans la province de Cornwall en Angleterre, Vue de la Fontaine Minerale du Watroz proche de Spa, Vue de la baie de Flonne entre Liege a Huy a la meuse, Vue du Mont Saint Michel dans la province de Cornwall en Angleterre, & Vue du Chateau de Choquier et ses environs a la meuse: 2 lieues de Liege, 1742, a group of six finely-detailed pen, ink and wash topographical drawings on paper, three signed and dated 1742, each with handwritten caption by the artist to lower margin, 105 x 170mm (4 x 6.5ins) and similar, mounted on two old album sheets Liegeois artist Remacle Le Loup produced most of the designs for the well-known series of views entitled Les Delice du Pays de LiĂ¨ge, published between 1738-1744. (6) ÂŁ1000-1500

142* After Bartolomeo Pinelli (1781-1835). Il Casotto dei Burattini in Rome, fine early 19th century pencil drawing depicting an Italian commedia dell’arte Punch & Judy puppet show, inscribed ‘Pinelli’ to lower margin, 28 x 41.5cm (11 x 16.25ins), mounted onto thin card, together with another pencil drawing by the same hand after Pinelli’s etching “Saltarello Romano”, depicting a mandolin player and dancer, 30 x 43cm (12 x 17ins), mounted onto thin card, plus another similar pencil drawing after Guercino (1591-1666) depicting Pan with putti playing musical instruments, 33 x 45.5cm (13 x 18ins) (3)

£300-500

143* Valerio (Theodore, 1819-1879). Italian landscape with children playing by a fountain, pencil on paper, heightened with traces of bodycolour, signed lower right, some overall toning and discolouration, 27 x 36.5cm (10.5 x 14.25ins), framed and glazed (1)

£150-200

STAINED GLASS DESIGNS

144* John Hardman Studios. A collection of stained glass designs, early-mid. 20th c., together thirteen pen, ink & watercolour designs on paper or card, mostly mounted on thick card, depicting projected stained glass windows for various churches, incl: a four-light window and tracery for Thornbury, Victoria, Australia, depicting the Adoration of the Shepherds and the Magi at the Nativity; a window for St. Cuthbert’s, Darlington, depicting Cuthbert holding a crozier and a crowned head, flanked by smaller windows showing scenes from Cuthbert’s life; a threelight window with tracery for St. John’s, Bath, showing Christ with the Four Evangelists and the two Marys, with children; a three-light window with tracery for The Church of the Holy Family, Southport, depicting the Crucifixion; two large windows for Trinity Church, Bridgeport, Connecticut, U.S.A., depicting The Holy Trinity with symbolism and saints, and scenes from the Old Testament; a small unfinished design for a window in the Church of St. Michael, Abergele, North Wales, most with John Hardman & Company printed label or attributed in contemp. ms., largest 46 x 25cm (18.25 x 10ins), smallest 14 x 10cm (5.5 x 4ins), together with a Hardman Studios design for a depiction of the Annunciation in mosaic for St. Osburg’s, Coventry, c.1950s, pencil and watercolour, 32 x 22cm (12.5 x 8.5ins), plus several old photographs of stained glass windows and church interiors, incl. three of the interior of St. John’s Bath

145* John Hardman Studios. A collection of stained glass designs, early-mid. 20th c., together fourteen pen, ink & watercolour designs on paper or card, mostly mounted on thick card, depicting projected stained glass windows for various churches, incl: a two-light window for the nave of St. Joseph’s Chorley, depicting the Crucifixion and Christ carrying the cross; a two-light window for St. Mary’s, Kintbury, Berkshire, depicting the Virgin Mary and St. Joseph; a three-light window and tracery for St. Paul’s Church, Bloor Street, Toronto, depicting Archbishop Robert Machray of Rupert’s Land, Canada, Primate of the Anglican Church of Canada, flanked by St. Columba and Bishop Renison, some staining and dust-soiling, most attributed to John Hardman Studio in contemp. ms., largest 54 x 36.5cm (21.25 x 14.25ins), smallest 12 x 18cm (4.75 x 7ins)

(14)

£400-600

146* John Hardman Studios. A collection of stained glass designs, early-mid. 20th c., together twelve pen, ink & watercolour designs on paper or card, mostly mounted on thick card, depicting projected stained glass windows for various churches, incl: a depiction of St. Anne for a church in West Hartlepool; two designs for Lady Chapel Windows incorporating Figures from Original West Windows for St. Catherine’s New Church, Birmingham; two-lights and tracery window with Scenes from the Life of SS. Monica and Augustine, for St. Monica’s Church, Moonee Ponds, Australia; a sixlight window for Chester Cathedral with scenes of Moses and Joseph, most with John Hardman & Company printed label or attributed in contemp. ms., some dust-soiling, largest 51 x 31cm (20 x 12ins), smallest 23 x 11.5cm (9 x 4.5ins), together with a John Hardman Studio pen, ink, and watercolour design for a gothiccanopied statue of St. Joseph with the child Jesus, at St. Barnabas Cathedral, Nottingham

147* John Hardman Studios. A collection of approximately fifty designs for Chalices and ecclesiastical metalware, 1860s-1920s, including a pen, ink and watercolour chalice design on paper by Rooke (possibly Thomas Matthew Rooke, 1842-1942), dated April 12, 1870, laid down on card, sheet size 67.2 x 40.7cm (26.5 x 16ins), together with two pen and ink on paper chalice designs for St. Pauls Church, Knightsbridge, by Liddell, dated April 14th 1870, one with Hardman & Co blind stamps, both laid down on card, sheet sizes 52.3 x 37cm (20.5 x 14.5) and 49.7 x 33.8cm (19.5 x 13.25ins), plus a pen and ink chalice design by Slaughter dated May 27, 1869, laid down on card, sheet size 36.2 x 20.3cm (14.25 x 8ins), plus other similar pen and ink designs on paper (some hand-coloured and laid down on card), a few bearing blind stamps Hardman & Co or Hardman Powell & Co, the majority of designs dust soiled, with some spotting and occassional dampstaining

The family firm of John Hardman & Co. was founded in 1838 by staunch Catholic John Hardman senior (1767-1844) who first entered the trade of button- and medal-making in Birmingham. His son, John Hardman junior (1811-1867), crossed paths with Augustus Welby Pugin in 1837 and they became close friends and business collaborators. Pugin began passing metalwork designs to Hardman, who soon diversified into stone- and woodcarving, leatherwork and textiles, all showing the influence of Pugin’s insistence on reviving the traditions and forms of medieval craftsmanship. By 1844 Pugin had persuaded Hardman to enter the new and challenging area of stained glass production, a decision which resulted in the firm becoming one of the world’s leading manufacturers of stained glass and ecclesiastical fittings. John Hardman’s nephew, John Hardman Powell (1827-1895) trained under Pugin. Powell eventually married Pugin’s daughter, Anne, and became chief designer for Hardman’s after Pugin’s death in 1852. Hardman’s continued to produce top-quality stained glass windows throughout the twentieth century, and the firm did not cease trading until 2008. (13) £400-600

Thomas Mathews Rooke (1842-1942) worked as a studio assistant for Burne Jones for almost thirty years, also producing architectural drawings of cathedrals for John Ruskin during summer tours of the continent. (approx. 50) £1200-1500

148* Martin (Ellis, 1881-1977). A large design for a World War I stained glass memorial window, 1921, pen, ink, and monochrome wash, varnished, on linen-backed paper, mounted on a wooden baton at each end (lower baton and edge of image detached), depicting three Royal Engineers in a trench (each with badge on arm ‘FSB’), comprising a Captain reading a map of Ypres, a Corporal communicating, and a Private looking through a telescope, signed and dated lower left, some creasing and edgefraying, image size 151 x 90.5cm (59.5 x 35.5ins) Ellis Martin was an accomplished commercial artist who, before the First World War, produced posters and advertising designs for firms such as Selfridges and W.H. Smith. When WWI broke out he went to France with the Royal Engineers and the Tank Corps, as an artist sketching the landscapes over which the army and its heavy vehicles would have to move. When the war ended, Martin was invited to join the Ordnance Survey which was struggling to capture the burgeoning market due to the proliferation of cheap pirated versions of OS originals. Martin’s first map cover designs appeared in 1919 and within a year the OS was reporting the highest map sales in its history. Martin continued to work for the OS until the outbreak of the Second World War, and in that time he helped make Ordnance Survey a household name; his cover designs show a bygone way of life and are much collected today. (1) £300-500

149* Sculpture studies. Four studies for monumental figure sculptures, late 19th c., pen, ink and monochrome wash on paper, including a study of George and the Dragon etc., Richard I(?), two female saints, one holding a goblet and book and the other holding a branch of blossom (both reticulated in pencil), three inscribed J.T. Reynolds, 26 Palmerston Road, Northampton, each approx. 37 x 13.5cm (14 x 5.5ins), framed and glazed (4)

£150-200

Lot 150

Lot 151 150* Stained glass panels. A pair of stained and painted glass panels depicting four scenes from the life of Christ, late 18th or early 19th c., including John baptizing Jesus, the miracle of the Gadarene swine, Jesus being mocked by Pilates soldiers and Jesus being placed on the cross, each with soldered leadwork, with small frosted glass panel separating each pair of images (one frosted glass panel cracked), each image approx. 12.5 x 15.5cm (5 x 6ins), overall dimensions 31 x 16.7cm (12.25 x 6.5ins), stained wood frame (2)

151* Stained glass panels. A pair of stained and painted glass panels, probably mid to late 16th century, depicting an image of a gentleman holding a halberd standing between architectural columns, armorial shield on a bed of fruit to foreground, with balustrade behind and white hart stag running in the landscape beyond, the other panel depicting a lady holding a chalice with cover and small posie of spring flowers, standing between architectural columns, armorial shield in the foreground, with balustrade behind, both within soldered leadwork, 30 x 20.5cm (11.75 x 8ins), both with glass cracked and reglazed either side, gilt frames

ÂŁ200-400

(2)

ÂŁ500-800

Lot 152

Lot 153

Lot 154

Lot 155

152* Stained glass window designs. Eighteen original outline cartoon designs by Goddard & Gibbs, designs for including St. Mary’s, Torquay, St. Mary’s, Finchley and St. Francis, Trinity Presbyterian Church, Wimbledon etc., c.1950s, black ink, black crayon and monochrome wash, heightened with white bodycolour, 253 x 53cm (99.5 x 21ins) and mostly similar, together with a stained glass dome design by J.N. Lawson, Goddard & Gibbs Studios, London, for Mr Taufiq al Dugaither, 1996, pen, ink and watercolour design on mountboard, 43 x 41cm (17 x 16ins) (18)

£250-350

153* Stained glass window designs. Sixteen original outline cartoon designs by Goddard & Gibbs, including four designs for St. Olave’s, Hart Street, London, 1950s, incorporating images of Florence Nightingale, Elizabeth Fry, Josephine Butler and Edith Cavell, black ink, black crayon and monochrome wash, heightened with white bodycolour, 115 x 46cm (45 x 18ins) and similar also including similar designs for windows at Minster Abbey, Sheppey, Kent, the Parish Church at Holwell, St. Barnabas, Woodside Park and St. Margaret’s, Southsea (16)

£250-350

154* Stained glass window designs. Sixteen original outline cartoon designs by Goddard & Gibbs, including designs for All Saints Church, Huthwaite, St. Matthew’s, Oakley Square, St. Margaret’s, Cliffe, Church of All Saints, Benhilton, 1950s and later, black ink, black crayon and monochrome wash, some heightened with white bodycolour, 221 x 74.5cm (87 x 29.5ins) and similar (15)

£250-350

155* Stained glass window designs. Fifteen original outline cartoon designs by Goddard & Gibbs, including designs for H.M.S. Heron, Yeovilton, Somerset, Folkestone Congregational Church, Leighty on Sea, Westcliffe and St. John the Baptist Church, Hillingdon, 1950s and later, black ink, black crayon and monochrome wash, heightened with white bodycolour, 239 x 58cm (94 x 23ins) and similar, some with closed tears and frayed to edges (15)

£200-300

Lot 156

Lot 157

Lot 158

156* Stained glass window designs. Sixteen original outline cartoon designs by Goddard & Gibbs, including eleven designs for Harrogate Chapel, and three designs for the Methodist Church, Hall Lane, Upminster, c.1950s and later black ink, black crayon and monochrome wash, heightened with white bodycolour, 227 x 109cm (89.5 x 43ins) and smaller (17)

£300-400

157* Stained glass window designs. A collection of seventeen original outline cartoon designs by Goddard & Gibbs, including designs for St. Albert’s - St. Florence, Capetown, South Africa, The Hitchin Girls Grammer School, Wesley Methodist Church, Leigh-on-Sea, St. Andrew’s Kirk, Nassau and St. Mary’s Church, Great Bardfield, 1950s and later, black ink, black crayon and monochrome wash, heightened with white bodycolour, 152 x 71cm (60 x 28ins) and similar (17)

£300-400

158* Stained glass window designs. Eighteen original outline cartoon designs by Goddard & Gibbs, including designs for Alderney Parish Church, Little Hallingbury Church, St. Michael’s-All Angels, Willesden and the Methodist Church, Tottenham etc., 1950s and later, black ink, black crayon and monochrome wash, heightened with white bodycolour, 223.5 x 73cm (88 x 29ins) and mostly similar (18)

£300-400

159* Stained glass window designs. Nineteen original outline cartoon designs by Goddard & Gibbs, including designs for Lew Trenchard Church, North Devon, Parish Church, Cymtillery, St. Lawrence’s Church, Uttoxeter, Lancing College, 1950s and later, black ink, black crayon and monochrome wash, heightened with white bodycolour, 225 x 57cm (88.5 x 22ins), and similar, also includes two stained glass window designs for Harvington Hall, Worcestershire, finished in watercolour (19)

£300-400

Lot 159 71

Lot 160

Lot 161

Lot 162

160* Stained glass window designs. Eighteen original outline cartoon designs by Goddard & Gibbs, including designs for St. John’s Coventry, St. Michael’s, Chatham, St. Stephen’s, Prenton, St. James’, Poole, and Christ Church, Wharton, Winsford etc., 1950s and later, black ink, black crayon and monochrome wash, heightened with white bodycolour, 283 x 102cm (111.5 x 40ins) and similar (18)

£300-400

161* Stained glass window designs. Nineteen original outline cartoon designs by Goddard & Gibbs, including designs for Minster Abbey, Kent, St. Francis Xavier, Liverpool, The Harrietsham Centre, St. Michael’s Church, Golders Green and Hinton Charterhouse etc., 1950s and later, black ink, black crayon and monochrome wash, heightened with white bodycolour, 210 x 75cm (82.5 x 29.5ins), and similar, also includes two stained glass window designs for the Church of the Good Shepherd, Tadworth, Surrey, finished in watercolour, each approx. 68 x 36cm (27 x 14ins) (19)

£300-400

162* Stained glass window designs. Eighteen original outline cartoon designs by Goddard & Gibbs, including designs for Trinity Presbyterian Church, Wimbledon, Palmers Green Synagogue, St. Paul’s Church, Chipperfield and St. Stephen’s Prenton etc., 1950s and later, black ink, black crayon and monochrome wash, some heightened with white bodycolour, 153 x 60cm (60 x 23.5ins) and similar (18)

£250-350

163* Stained glass window designs. Fourteen original outline cartoon designs by Goddard & Gibbs, including six designs for Veteran’s Hospice, Victoria, Canada, 1950s and later, black ink, black crayon and monochrome wash, heightened with white bodycolour, 173 x 77cm (68 x 30.5ins) and similar (14)

£250-350

Lot 163 72

Lot 164

Lot 165

164* Stained glass window designs. Fourteen original outline cartoon designs by Goddard & Gibbs, including eleven designs for Christ Church, Woburn Square, and three for St. Matthew’s Church, Oakley Square, 1950s and later, black ink, black crayon and monochrome wash, heightened with white bodycolour, (designs for Christ Church finished in watercolour), 283 x 75cm (111.5 x 29.5ins) and similar (14)

£250-350

165* Taunton (Donald Battershill, 1885-1965). A collection of original stained glass designs for John Hardman Studios, together eight pen, ink & watercolour designs on paper or card, mostly mounted on thick card, depicting projected stained glass windows for various churches, incl: three-light memorial window in memory of Philip James Kelly, vicar of St. Mary the Virgin, Acocks Green, Birmingham, depicting St. Oswald in the centre; a large five-light window and tracery window with The Good Shepherd in the centre for a church in South Croydon; a design for the North Aisle East Window of Rudston Parish Church, All Saints, depicting the Crucifixion; a pair of windows for Georgetown Convent, Columbia, U.S.A., depicting the Annunciation and the Nativity; a large four-light window and tracery for St. Mary Magdalene, Fleet, depicting St. Peter, The Word Was Made Flesh, The King of Kings, and St. John, some light dust-soiling, all signed lower right, largest 55 x 37.5cm (21.75 x 15ins), smallest 12.5 x 18.5cm (5 x 7.25ins) Prolific stained glass designer Donald Taunton was born in Birmingham and studied at the School of Art there, subsequently joining John Hardman’s Studio in Birmingham. Hardman’s stained glass studio was closely associated with Pugin, one of the pioneers of the Arts & Crafts movement. For most of his life Donald Taunton lived in London and was in charge of the Hardman studio there. He exhibited between 1926 and 1936, including at the Royal Academy. (8) £500-700

OLD MASTER PRINTS

166* Bolswert (Schelte Adams, 1586-1659). Landscape with Philemon and Baucis, etching after Rubens, published Gillis Hendricx (active 1640-1677), close-trimmed with light stain lower left, sheet size 48 x 65cm (18.75 x 25.5ins), together with three other engravings: The Surprise, by Thomas Rowlandson, after Franceso Albano, Anthony Van Dyck’s Philip Herbert, 4th Earl of Pembroke and his family, 1740 and William Hogarth’s The Pit Ticket. The Cockpit, 1759 [but later] (3)

£150-200

167* Bosse (Abraham, 1602-1676). Graveurs en taille douce au Burin et a Leaue forte, 1643, & Cette figure vous montre comme on imprime les planches de taille douce, 1642, together two etchings on laid paper, with indistinct watermark to the second plate, some marks and light creases to margins, second plate with small rust hole just touching plate mark, plate size 26 x 32.5cm (10.25 x 12.75ins), sheet size 27 x 38cm (10.5 x 15ins) and very slightly smaller Duplessis 1387 & 1388. Blum 356 & 205. (2)

168* Byrne (William, 1743-1805). Angling, & The Corn Field, two oval engravings of pastoral scenes after Thomas Hearne, published John P. Thompson 1810, image size 17.6 x 20.5cm (7 x 8ins), and Bond (William, 1766-1839), The Expiation of Orestes, stipple engraving after Richard Westall, 22.7 x 18cm (9 X 7ins), plus Hollar (Wenceslaus, 1607-1677), Baths of Diocletian [Pennington 1105] & Ruins and a barred gate [Pennington 1111], two engravings of Roman ruins after Sebastian Vranckx (1573-1647), each 7 x 10.5cm (2.75 x 4.25ins), and other engravings including a portrait of a soldier by John Hamilton Mortimer (1741-1779), an etching of shipping by R. Jones and a circular stipple engraving of classical figures, some mounted

£700-1000

(8)

£200-300

Lot 167 75

169* Callot (Jacques, 1592-1635). Le Siege de la Rochelle, 1631, the set of six etchings on laid paper, signed in the plate to lower right corner Jac. Callot fec, overall size approx. 113 x 141cm (44.5 x 55.5ins), each sheet 56.5 x 44.5cm (22.25 x 17.5ins), badly frayed, with some tears and some loss to corners and edges, together with Siege de la Citadelle de St. Martin dans l’Ile de Ré par Louis XIII en 1625, 1628-31, etching on laid paper, the lower left portion only from the set of six, frayed and marked to edges, with horizontal closed tear to right hand margin, 56 x 43.5cm (22 x 17ins), all laid down on later backing paper, sold with all fault Lieure 655. A full set (albeit in poor condition) of Callot’s famous large-scale bird’s-eye view of the Siege of La Rochelle, in which the main events from the 14-month siege are incorporated into one synoptic image. (7) £200-400

171* Castiglione (Giovanni Benedetto, 1609/16-1664/70). Small oriental heads, two etched studies of heads with oriental headdress, plate size 112 x 81mm, with margins, sheet size 126 x 97mm, some marks and light discolouration to corners, cornermounted on 19th century album leaf, together with two other 17th century etchings by a different hand, one depicting the God Neptune with his chariot creating a storm at sea, the other depicting a tempest, with numerous Gods and other figures in the clouds, each 102 x 136mm (4 x 5.4ins), some marks and a closed tear to each, corner-mounted on 19th century album leaf, two small etchings of female costume by Wenceslaus Hollar (somewhat soiled and one with some damage) and a later impression of Rembrandt’s etching of an old beardered man in a high fur cap with eyes closed, in reverse, numbered 15 to top right corner of the plate (Bartsch 290), an etching printed in brown, of Adriaen van Ostade’s The Concert (Bartsch 30), and four other small-scale etchings and engravings

170* Cassiers (Henri, 1858-1944). Unloading large oranges on a Flemish or Dutch quayside, chromolithograph, signed in the image lower left, a few minor marks, 39 x 99cm (15.5 x 39ins), period oak frame, glazed (1)

£100-150

Bartsch XXI, 42 & 45. (12)

£150-200

Lot 172

172* Collaert (Adriaen, 1560-1618). Piscium Vivae Icones in aes incisae et editae ab Adriano Collardo, [Antwerp, c. 1580], twentyfour (of 25) etchings on laid paper, with early watermarks of a man in a helmet, and crescent moon (c f heawood 856), lacking the plate featuring Carp, trimmed to plate margins, a few minor marks and one or two minor stains, most with margins restrengthened to verso, 125 x 188mm (4.9 x 7.4ins) Hollstein 648-678. The plates depict various sea fish, turtles, crabs, seals, snakes, crocodile and whale, with elaborate landscape and coastal backgrounds with ships, fishermen, villages, etc. (24) £1000-1500

173* Currier & Ives. The Fairies’ Home, 1868, fine hand-coloured lithograph, published by Currier & Ives, New York, 1868, a few light spots (generally in good condition), 38.5 x 52.5cm (15.2 x 20.6ins) mount aperture, framed and glazed (glass cracked) (1)

£150-200

Lot 173

175* Durer (Albrecht, 1471-1528). Coat of Arms with a Skull, 1503, engraving, laid down on old printed paper and card, damp stained and with significant loss of blank background areas mainly to upper portion, trimmed to image, sheet size 217 x 158mm

174* Durer (Albrecht, 1471-1528). The Betrothal of the Virgin, from The Life of the Virgin, c. 1504/05, woodcut on laid paper, with pigs’ bladder watermark, a circa 1580 impression, old owners collection number to verso in brown ink N.11532, margins trimmed to image, some minor marks, two short closed tears to right-hand margin, sheet size 297 x 213mm (11.7 x 8.4ins) Bartsch 82. Meder 194. (1)

Bartsch 101. Meder 98. (1)

£400-600

£200-300

176* Durer (Albrecht, 1471-1528). The Flagellation of Christ (from the Large Passion), c. 1497-1500, woodcut on thick laid paper, trimmed to the borderline, a later impression, probably 17th century, 385 x 276mm (15.25 x 11ins), framed and glazed (1)

177* Durer (Albrecht, 1471-1528). Knight on horseback and lansquenet, circa 1497, woodcut on laid paper, with Augsburg Chalice watermark (Briquet 2110), margins trimmed, with loss of left-hand black rule border, and extreme edge of the image, with loss of approx. 2cm along the length hand margin, affecting most of the tree, some other surface marks and short closed marginal tears, laid down on old sheet of laid paper, image size 39.2 x 26cm (15.5 x 10.25ins)

ÂŁ500-800

Bartsch 131. Meder 265. Sold not subject to return. (1)

ÂŁ300-500

178* Earlom (Richard, 1743-1822). A Sleeping Bacchus, pub. John Boydell, 29 Sep., 1780, mezzotint on laid paper, after Luca Giordano, light marginal soiling and closed tears, sheet size 46.5 x 52.5cm (18.25 x 20.5ins), together with Death in a Frolic or the Misers Exit, after Frans Franken II, pub. Sayer & Bennett, 1778, mezzotint on laid paper, some creases, sheet size 43 x 30cm (17 x 12ins), with other engravings and mezzotints, most 18th c., including Abraham Blotling, Lord Baltimore, 1657 (trimmed and laid down), Violante Varini, Mary Magdalene after Lorenzo Lorenzi, c. 1760, etc. (approx 40)

£200-300

179* Hollar (Wenceslaus, 1607-1677). Moated town gate, (Grote Houtpoort at Haarlem), 1676, etching, signed and dated in the image lower left, trimmed to border line, 57 x 133mm (2.25 x 5.25ins), together with an early 18th century English etching of a miser, entitled ‘Hearing’, with four line verse to lower edge ‘This Fellow much delights himself / to Hear the Chinking of his Pelf ...’, trimmed to image, 184 x 126mm (7.25 x 5ins), plus other various etchings and engravings including two small 17th century etched plates depicting David and Goliath and two putti drinking wine from a barrel, each 68 x 96mm, a later reprint of Rembrandt’s Little Jewish Bride, probably late 18th or early 19th century, trimmed within the image, and a 17th century etched view of the Port of Povo, etc., mostly laid down on later album leaves Pennington 781. (19)

£200-300

180 No lot

Lot 182 181* Hunt (William Henry, 1790-1864). The Flower Girl, circa 1836, lithograph on card, image size 244 x 194mm (9.6 x 7.6ins), some soiling and remains of mount to blank margins (1)

£70-100

182* Leyden (Lucas van, 1489-1533). Joseph interpreting his dreams to Jacob, 1512, engraving on laid paper, trimmed to the border line, early ink inscription to verso 'No.6. Giuseppe Davanti a Faraone, Luca d'Olanda', tipped on to later album leaf, 130 x 170mm Hollstein 19. (1)

£700-1000

183* Martini (Pietro Antonio, 1738-1797 ). The Exhibition of the Royal Academy, 1787, published 1st July 1788 & Portraits of their Majesty’s and the Royal Family Viewing the Exhibition of the Royal Academy, 1788, published 6th March 1789, a pair of mixed method engravings after Johann Heinrich Ramberg (1763-1840), both trimmed to image, the first with engraved title to margin attached to verso of frame, 32 x 49cm (12.5 x 19.25ins), matching period gilt frames, glazed (2)

184* Palmer (Samuel, 1805-1888). The Homeward Star, etching on pale cream paper, second state (of four) with three lines of printed verse below image, plate size 13 x 18.8cm (5.2 x 7.4ins), framed and glazed

£100-150

Lister E14, state 2. (1)

£150-200

185* Piranesi (Giovanni Battista, 1720-1778). Etched dedication to Diverse maniere d’adornare i cammini ed ogni altra parte degli edifizi desunte dall’architettura Egizia, e Etrusca e Greca, [Rome 1769], double-paged etching, one or two light marginal stains, sheet size 55.5 x 75cm (21.75 x 29.5ins), with five other various etched plates by Piranesi including Lucerna antica di Terra cotta, Urna di marmo & Vestigium Columnae (plate 48, stained) (6)

£200-300

186* Piranesi (Giovanni Battista, 1720-1778). Veduta interna del Panteon, 1768, etching on thick wove paper, probably from the first Paris edition, c. 1800-1805, with shading added, trimmed to plate mark, restrengthened to all margins on verso, 47.5 x 55.3cm (18.75 x 21.75ins) Hind 86, second state. (1)

Lot 185

Lot 186

£150-200

Lot 187

187* Piranesi (Giovanni Battista, 17201778). Veduta della Facciata di dietro della Basilica di S. Maria Maggiore, [1749], etching on laid paper, with address and price to lower margin, some minor marks, plate size 40.5 x 61cm (16 x 24ins), sheet size 50 x 72.5cm (19.5 x 28.5ins) Hind 10. (1)

ÂŁ300-400

188* Piranesi (Giovanni Battista, 17201778). Colonna Trajana, etching on laid paper (watermarked Auvergne), from the first Paris edition, with price erased to lower right corner, plate size 55 x 41cm (21.75 x 16.1ins), sheet size 82 x 54.5cm (32.25 x 21.5ins), some horizontal archival restoration to centre verso, framed and glazed Hind 51, state V. (1)

ÂŁ200-300

Lot 188

Lot 189

189* Piranesi (Giovanni Battista, 1720-1778). Frontispiece to Vedute di Roma, with statue of Minerva, etching, from the first Paris edition, with price erased to lower right corner, some marks and overall toning, one or two small tears with sl. loss to lower margin, 50 x 64cm (19.75 x 25.25ins) mount aperture, later black and gilt frame, glazed Hind 2, state V. (1)

190* Piranesi (Giovanni Battista & Francesco). Vedute di Roma, c.1760’s, a collection of ten small-scale etched views of ancient buildings in Rome, plate size approx. 13 x 19cm, sheet size 17 x 26.5cm, some light spotting, light vertical crease to each where previously folded The views are: Fontana d’Acqua Felice, S. Stefano Rotondo, Palazzo degl’ Ambasciatori di Venezia, Palazzo Pontifico etc., Villa Lodovisi, Chiesa di S. Paolo fuori delle Mura, Belvedere in Vaticano, Chiesa ed Ospedale di Santo Spirito, Chiesa di S. Carlino alle Quattro Fontane, & Arco degli Argentieri (by Bellicard). (1) £300-500

£200-300

191 Rembrandt (Harmensz van Rijn, 1606-1669). The Descent of the Cross The Descent from the Cross: Second Plate, 1633, etching with engraving, good impression of the third state (of five) with publisher's inscription added 'Amstelodami Hendrickus Ulenburgensis excudebat', closely trimmed to plate impression, a few careful closed tear repairs to edges and marginal strengthening to verso, light horizontal centrefold crease, sheet size 522 x 404mm (20.5 x 16ins), tipped on to a modern mount Bartsch-Hollstein 81; Biörklund 33-C; Hind 103. (1)

Lot 191

192* Rembrandt (Harmensz van Rijn, 1606-1669). Beggar woman leaning on a stick, 1646, etching on laid paper, signed and dated in the plate, some marks and discolouration, inscribed in brown ink ‘No 164’ to lower margin within the image, plate size 82 x 64mm (3.75 x 2.5ins), with narrow margins, sheet size 86 x 68mm Bartsch 170. (1)

£300-500

Lot 192 85

£1000-1500

193* Rowlandson (Thomas). Departure of the Mail Coach, 1787, uncoloured etching, trimmed inside plate mark but retaining thread margins, tipped on to later card, 16 x 24cms (6.25 x 9.5 inches), mounted, framed and glazed (1)

ÂŁ100-150

194* Sandby (Paul, 1725-1809). Twelve etchings, c.1765, twelve uncoloured etchings by George Simon (Viscount Nuneham), including views in Spain, some duplicates, various sizes and condition (12)

ÂŁ200-300

195 No lot 86

197* Zocchi (Giuseppe, 1711-1767). Head and shoulders portrait of a man looking downwards, wearing a fur hat, after Guercino, etching, 18.5 x 13.5cm (7.25 x 5.25ins), together with Zucchi (Andrea, 16781740), Ecce Homo, after Tintoretto, engraving of Christ wearing the crown of thorns, titled to lower margin “Opera del Tintoretto posta in un laterale dell’ Albergo di S. Rocco”, 33 x 46.5cm (13 x 18.25ins), plus Silvestre (Israel, 1621-1691), Roman landscape of classical ruins, 7 x 12.2cm (2.75 x .75ins), and two others including a 17th century Dutch engraving of shipping by Johannes Tangena, and an etched head and shoulders portrait signed in pencil by Giacomo Nevay?, some mounted

196* Van der Leeuw (Willem, c.1603-c.1665). Tobit with his wife, after Rembrandt, engraving on wove paper, 30 x 21cm (11.75 x 8.25ins), together with Rembrandt Van Rijn (1609-1669), Abraham sending away Hagar and Ishmael, 1637, later state, etching on laid paper, without watermark, some marks and edge flaking, 12.8 x 10cm (5 x 4ins), mounted (2)

£200-300

(5)

£100-150

198* Zocchi (Giuseppe, 1711-1767). Veduta della Villa di Lamporecchio di S. Eza. il S. Duca Rospigliosi; Villa della Luna delli SS. Mar: Guadagni; Villa delli SS. Marchesi Gerini detta le Maschere, three etched plates after Zocchi by Francesco Philothe Duflos, Petrus Monaco and F. Morghen, light marginal water stains and soiling, largest plate size 30.5 x 47.5cm (12 x 18.75ins) Zocchi’s famous Florentine views were first published in 1744 in Scelta di XXIV Vedute..., his other series of 50 Tuscany views were first published in Vedute delle Ville d’altri luoghi della Toscana in 1757. (3) £150-200

Lot 198 87

PAINTINGS

199* Bertin (Jean Victor, 1767-1842). View of the aqueduct at Arceuil, south of Paris, oil on canvas, inscribed on the original stretcher ‘Aqueduc d’Arcueil ... Victor Bertin’, 44 x 34.3cm (17.25 x 13.5ins), framed Provenance: Shepherd Gallery, New York. Crawley and Asquith, London. Private collection, France. Exhibited: Plein-air painting in Europe 1780-1850, p. 66, no. 23 (illustrated), Shizuoka Prefectural Museum of Art, Tokyo, Art Gallery of New South Wales, Sydney & National Gallery of Victoria, Melbourne, Australia 2004. Jean-Victor Bertin studied at the Academie Royale de Peinture from 1785 under the history painter Gabriel-Francois Doyen (1726-1806), and by 1788 he was working in the studio of Pierre-Henri de Valenciennes (1750-1819) who had returned from his studies in Rome in 1785. Bertin’s neo-classical Italianate manner clearly derives from Valenciennes. Bertin achieved success at the Paris Salons from 1796 onwards, receiving the prix d’encouragement in 1799, and later received commissions for work to decorate the Grand Trianon at Versailles and the Galerie de Diane at Fontaine Bleau. He continued to exhibit at the Salon until 1842, and had a wide influence on succeeding generations. His most famous pupil was Camille Jean-Baptiste Corot (1796-1875), who spent five years under his tutelage. The present work depicts the ancient aqueduct at Arcueil, a few kilometers south of Paris, which had been rebuilt between 1613 and 1624 on the foundations of the original Roman structure. The viewpoint accentuates the monumentality and archaic quality of the site. (1) £6000-8000

Lot 200 200* Boult (Augustus S., 1815-1853). Labourers quarrying and loading wagon, with shire horses resting, oil on canvas, showing quarrymen loading chalk onto horsedrawn wagon within wooded landscape, signed lower edge, relined, 45 x 56.25cm (17.75 x 22.25ins) (1)

ÂŁ600-800

201* Boyle (George, 1826-1899 ). Landscape with cattle in pasture by a riverbank, oil on board, signed lower left, 24.5 x 34cm (9.6 x 13.5ins), modern frame (1)

ÂŁ200-300

202 No lot

Lot 201

203* Brock (Richard Henry, fl.1897-1915). A cow and drover, 1902, oil on canvas, of a weatherbeaten rustic with a staff walking behind a large docile white cow with horns, signed and dated lower left, 36 x 50.5cm (14 x 19.75ins), early gilt moulded frame Richard Henry Brock was the brother of talented artists Charles Edmund Brock and Henry Matthew Brock. Richard shared a studio with his brothers in Cambridge, but where they gained reputations as book illustrators, Richard concentrated on painting, producing mostly landscapes and country scenes in oils, although in later years he did turn his hand to illustrating children’s books and magazines. Brock’s dynamic impressionistic handling of paint, his use of vibrant colour and his expert delineation of light and shade is much in evidence here. (1) £1200-1500

204* Calvert (Henry, 1813-1861, ). A Terrier and Spaniel in a Kennel, oil on copper, depicting a terrier standing with hackles raised whilst spaniel sits looking on, 21.8 x 25.5cm (8.5 x 10ins), gilt moulded frame incorporating tendril decoration (1)

£700-1000

206* Continental School. Horse and gun dogs, 19th c., oil on canvas, of a grey horse with a saddlebag and dead game birds on its back, and two black and white dogs, waiting outside a large stone-built edifice with gothic doorway, a few tiny holes, 12.5 x 19cm (8.5 x 7.5ins), framed (1)

£150-250

207* English School. Cottage in a landscape, late 19th century, oil on canvas, of a rustic scene with lady sitting outside a cottage, with cows and hills beyond, unsigned, 30.5 x 46cm (12 x 18ins), gilt moulded frame (1)

£150-200

205* Chester (E., 19th century). Still life of flowers, apple and plums before a mossy bank, & Flowers in a vase and apple before a mossy bank, a pair of late 19th century oils on board, each signed lower left, 30.5 x 20.5cm (12 x 8ins), matching period frames, glazed (2)

£150-200

208* English School. A baby boy holding an apple, oil on canvas, unsigned, 39 x 34cm (15.25 x 13.25ins), period moulded gilt frame (1)

Lot 206

£600-800

209* English School. A young girl relaxing reading a book in a quiet room, oil on canvas, depicting a young girl reading a book, seated in caned high-backed chair with vase of flowers on a side table, birdcage hanging by window, and cat at her feet, relined, 112 x 86cm (44 x 33.75ns), gilt moulded frame incorporating floral decoration (1)

£700-1000

210* Harraden (Richard Banks, 1778-1862). Ferry at Tintern, 1828, oil on board, browned, titled and identified in ink to verso, 19 x 26.5cm (7.5 x 10.5ins) (1)

£200-300

211* Horlor (Joseph, 1809-1887). Falls of The Clyde, near Lanark, oil on canvas, signed lower right, 30.5 x 51cm (12 x 20ins), contemp. gilt moulded frame (1)

Lot 209

Lot 211 92

£400-600

212* Italian School. Still life with fruit and a vase on a ledge, 18th century, oil on canvas laiddown on wooden board, 40 x 50.3cm (16 x 19.75ins), modern carved and gilt moulded frame (1)

£400-600

213* Italian School. Still life of summer flowers in an urn, on stone ledge, late 17th or early 18th c., oil on canvas, study of flowers includes roses, peonies & chrysanthemums etc., relined, 60.5 x 47cm (24 x 18.5ins), ebonised frame Previously attributed to Elisabetta Marchioni (act. 17401780). (1) £800-1200

214* Kaufmann (Karl, 1843-1901). Figures before a mosque, Alexandria, & Street in Cairo, oil on wood panel, a pair, both signed with the artist’s pseudonym H. Carnier lower right/lower left respectively, the first inscribed to verso Alexandrien, and numbered 1518, the second inscribed to verso Strasse in Cairo, and numbered 1519 respectively, 31 x 18cm (12.25 x 7ins), matching oak frames, glazed (2)

£700-1000

Lot 212

Lot 213

Lot 214 93

215* Koenemann (Hermann, 1871-1934). Coastal View with Fishing Boat and Paddle Steamer, and Figures on the Shore, oil on canvas, signed with monogram lower right, 31 x 44cm (12 x 17ins), gilt moulded frame (a little damage) Hermann Koenemann, a German landscape painter, was born in Bonn, and is known for his seascapes near Schwerin and the Mecklenbeig region of Northern Germany. (1) £200-300

216* After Sir Thomas Lawrence (1769-1830). Mrs John Julius Angerstein, 19th c. copy of part of the famous portrait of Mr and Mrs John Julius Angerstein by Sir Thomas Lawrence, oil on canvas, with French artist's suppliers stamp of Dupré, Paris, to verso, approx 46.5 x 38cm (18.25 x 15ins), gilt frame A nineteenth century copy of the figure of Mrs Angerstein only, taken from the celebrated portrait of Mr and Mrs John Julius Angerstein, painted by Lawrence in 1792, and in the collection of the Louvre, Paris. John Julius Angerstein (17351823) a banker and art collector, was an early patron of the artist. Angerstein's art collection formed the basis of the newly founded National Gallery in London in 1824. The original portrait was purchased by the Louvre from the Gallerie Boussod-Valadon, Paris, in 1896. The size of the original is 252 x 160cm. (1) £200-400

217* Attributed to Reynard Le Vieux (1613-1694). The Virgin and Child with St. Anne and St. John the Baptist, c.1660, oil on canvas, showing figures within a classical wooded landscape with putti to lower left, relined, 63.5 x 76cm (25 x 30ins) (1)

£2000-3000

218* Morland (George, 1763-1804). Stable Yard, with white horse, donkey and pigs, oil on canvas, relined, 50 x 66cm (19.75 x 26ins), with two Christies stencilled sale reference numbers to verso of stretcher, and label of Dr. Christa Cackett, Galerie Art & Antiques also to verso, old gilt frame

Lot 216

Provenance: According to the stencilled numbers on the reverse of the stretcher, this work was sold as a work by George Morland at Christies in 1976 and 1978, fetching 480 and 450 guineas respectively. (1) £2000-3000

219* Munsch (Leopold, 1826-1888). Farm Labourers stacking straw stooks before a large threshing barn, oil on board, signed and dated 1865 lower right, 33.7 x 50cm (13.25 x 19.5ins), gilt frame Leopold Munsch (1826-1888) was an Austrian landscape painter, who studied at the Vienna Academy, and was active in Vienna and Pressburg (now Bratislava). (1) £800-1200

Lot 219 94

Lot 217

Lot 218

220* Naive School. Portrait of an infant, c.1830, oil on canvas, of a young child playing with a pink rose and wearing a white muslin dress with blue silk sash and shoulder bows, a white frilled bonnet, blue shoes, and a coral necklace, seated against a fringed red velvet curtain, relined, 76 x 63cm (30 x 24.75ins), early gilt moulded frame At this time of high infant mortality parents wanted their offspring portrayed as bonny and healthy, and it is significant that this plump and rosy child sports a necklace of coral, worn for its supposed life-saving properties. (1) ÂŁ1000-1500

221* Naive School. Portrait of Peter Johnston, oil on board, half-length portrait of a gentleman seated, some crazing and marks to paint surface, 37 x 32cm (14.5 x 12.5ins), framed Peter Johnston was born in 1790 to Quakers John and Martha and was reputed to be the ‘black sheep’ of the family. Peter’s Scottish great great grandfather, William Johnston emigrated to Lurgan in 1723, becoming an innkeeper there, and his sister, Eleanora, married George Scales of Newark, who was a partner in the family business with a linen mill and bleaching fields. (1) £150-200

Lot 221

222* Follower of Casper Netscher (1639-1684). An Allegory of Winter, oil on panel, depicting lady wearing a fur lined velvet gown and feathered cap, warming her hands over a pewter bowl with claw feet and handles on a stone ledge, winter landscape beyond, indistinctly inscribed to lower edge, 24 x 19.5cm (9.5 x 7.5ins), gilt moulded frame with acanthus leaf decoration (1)

£1500-2000

Lot 222 97

223 No lot 224* Manner of Charles Pecrus (1826-1907). French fishing boats and figures on the shore, oil on canvas, unsigned, 36 x 46cm (14.25 x 18ins), framed (1)

ÂŁ500-800

225* Peel (James, 1811-1906). Landscape with cottage and crofters, large oil on canvas, of a hilly and wooded landscape, with peasants (incl. one riding a donkey), a rustic stone cottage, and a river and ruined castle in the background, relined, 61 x 101.5cm (24 x 40ins), gilt moulded frame James Peel was a prolific painter of the British countryside, particularly of the North Eastern counties, Lake District and North Wales. He was an active exhibitor, showing in London from 1843 to 1888 at the Royal Academy, British Institution, Royal Institute of Oil Painters, Society of British Artists and Arthur Tooth & Sons Gallery, as well as at the Glasgow Institute of the Fine Arts, Royal Hibernian Academy, Manchester City Art Gallery and Walker Art Gallery in Liverpool. Peel was elected a member of the Society of British Artists in 1871. (1) ÂŁ1800-2000

Lot 224

Lot 225

226* Peel (James, 1811-1906). Wayfarers with Waggon and Horses at rest by farm buildings, oil on canvas, signed lower right, 30 x 50.5cm (12 x 20ins), Victorian moulded gilt frame (with some damage) (1)

£300-400

227* Pettie (John, 1839-1893). Portrait of a Scot, oil on board, signed lower right, 23 x 29cm (9 x 11.25ins), framed (1)

£200-400

228* Manner of Luca Postiglione (1876-1936). Portrait of a young woman, oil on canvas, laid down on board, 51 x 41cm (20 x 16ins), framed (1)

Lot 227

£500-800

Lot 228 99

229* Circle of James Baker Pyne (18001870). Figures in a landscape, oil on canvas, classical landscape with female figures washing clothes at a stone pool, with arched bridge and buildings in the distance, signed “J.B. Pyne” lower left, 46 x 61cm (18 x 24ins), modern gilt moulded frame (1)

£300-500

Lot 229

230* Circle of Sir Henry Raeburn (17561823). Portrait of a small child, c.1820, oil on canvas, of a golden-haired child seated beneath a tree in a landscape, picking primroses and violets, and dressed in a white silk gown with pink sash and red shoes with gold buckles, relined, 76 x 63cm (30 x 24.75ins), early gilt moulded frame Provenance: At one time part of the estate of Diana Hazel Milford-Cottam nee Brooksbank, daughter of Sir Edward Clitherow Brooksbank, 1st baronet of Healaugh Manor in York, and wife of George MilfordCottam. The Milford-Cottams were extremely active in cultural circles in London at the end of the Second World War, and when they subsequently moved to Upton in Oxfordshire the couple established a Fine Arts Society. The painting is typical of the work of Sir Henry Raeburn, who frequently depicted cherubic children in a landscape, using free brushwork and bold contrasts of light and shade. (1) £1600-2000

Lot 230 100

Lot 231

Lot 232

231* Sadler (Walter Dendy, 1854-1923). Portrait of a young woman, Dusseldorf, 12th April, 1872, oil on canvas, laid on artist’s board, half-length portrait of a young woman wearing a green dress with white frilled collar and fabric bonnet, scratch to paint surface on mouth, signed and dated in red lower right, 53 x 39cm (21 x 15.25ins), framed Walter Dendy Sadler showed a precocious talent for drawing. At the age of sixteen he decided to become a painter and enrolled for two years at Heatherly’s School of Art in London, subsequently studying in Germany. He exhibited at the Dudley Gallery from 1872 and at the Royal Academy from 1873 until the 1890s. (1) £400-600

232* Schmidt (E. Trier, late 19th/early 20th c.). A still life of roses in a vase, oil on canvas, of yellow roses in a tall vase, with a trinket box, necklace, and cup and saucer, signed top right, 70 x 54cm (27.5 x 21.25ins), gilt mount, early gilt moulded frame, glazed (1)

£1000-1500

233* Soya-Jensen (Carl Martin, 1860-1912). Artist in a pine wood, 1885, oil on canvas, showing a painter seated at an easel surrounded by pine trees, with another figure nearby, signed and dated in red lower left, 63.5 x 47cm (25 x 18.5ins), framed (1)

£200-300

Lot 233

101

234* Circle of Joseph Kar Stieler (1781-1858). Lady in Red, c.1840, oil on canvas, half-length portrait of a young lady with curled hair, dressed in a red gown, against a landscape background, relined, 65.5 x 50.5cm (26 x 19.75ins), early gilt moulded frame German artist Joseph Stieler was one of the most important portrait painters in the Neoclassical style. He specialised particularly in studies of young women, painting members of the leading families of Europe, including royalty, during the first half of the nineteenth century. Stieler’s portraits are distinguished by their singular focus on the sitter. Most portraits of the wealthy show the sitter adorned with jewellery and placed in an elaborate setting, but Stieler most unusually allowed nothing to distract the viewer’s gaze. In around 1840 Stieler became interested in the observation of light and atmospheric effects. This portrait set out-of-doors is typical of his work, with its brilliance of light intensifying the hue of the sitter’s gown and throwing her face into sharp relief. (1) £2000-3000

102

235* Swiss School. The Mountain Wayfarerâ&#x20AC;&#x2122;s Rest, mid 19th c., oil on canvas, 47.5 x 38cm (18.75 x 15ins), contemp. gilt moulded frame (1)

ÂŁ1000-1500

103

236* Tait (Robert S., 1816?-1897). “Florentine Boy”, 1841, oil on canvas, head and shoulders portrait of a dark-haired young boy, signed, titled, and dated by the artist on verso of canvas, 33 x 26cm (13 x 10.5ins), framed Robert Scott Tait was active in London during the middle of the nineteenth century. He is known for his portraits, but also for genre painting, particularly Italian subjects. His best-known work is ‘Thomas and Jane Carlyle in the Drawing Room of their House in Cheyne Row’ which hangs in Carlyle House, Cheyne Row, London. ‘Florentine Boy’ was exhibited at the Royal Academy in 1865. See Christopher Wood, Victorian Painters, 1995, p.514. (1) £150-200

237* Attributed to David Teniers II (1610-1690). A surgeon tending to a patient’s foot in an interior, oil on panel, depicting a surgeon kneeling whilst operating on his patient with onlookers, and figure looking in through a doorway, 39.5 x 33.5cm (15.5 13.25ins), modern ebonised frame (1)

£1500-2000

238* Thomson (Leslie, 1851-1929). Brora, oil on canvas, laid down on board, signed (somewhat indistinctly) lower right, 35 x 51.5cm (13.75 x 20.25ins), framed and glazed Provenance: Exhibited at the Scottish Artists’ Benevolent Association Special Exhibition, Glasgow, March 1915, for the relief of artists in distress owing to the war, with handwritten and printed labels. The Scottish landscape and coastal painter John Leslie Thomson was influenced by Daubigny and the Barbizon School of plein-air painting. He exhibited at the Royal Academy from 1873, and was a member of the New English Art Club. (1) £300-500

239* Tippet (William Vivian, 1833-1910). Cattle watering in a river, oil on canvas, signed and dated (18)91, 51 x 76cm (20 x 30in), framed (1)

Lot 236

Lot 238 104

£70-100

Lot 237

105

Lot 240 240* Circle of Charles Towne (1763-1840). Cows and sheep in a water meadow, oil on canvas, relined, 46 x 61cm (18 x 24ins), gilt moulded frame Charles Towne specialised in horse and dog portraiture as well as landscape with sheep and cattle. His landscapes are minutely detailed and precise, paying homage to the Dutch Old Masters, and this painting is typical of his style. (1) £900-1200

241* Verlat (Charles, 1824-1890). Lovers at a Garden Bench, oil on canvas, showing a seated gentleman on garden bench with lady standing with fan by his side, faintly signed lower left, very small puncture mark (generally without loss of paint) to lower center, scratched inscription “Vu... Verlat” to stretcher, 66.3 x 51cm (26 x 20ins), gilt moulded frame Michel Marie Charles Verlat (1824-1890) was born in Antwerp. He was a pupil of Nicaise de Keyser, and studied at the Antwerp Academy. In 1855 he was awarded the gold medal at the Exposition Universelle at Paris for his “Tiger Attacking a Herd of Buffaloes, ” and in 1858 exhibited “Le Coup de collier” (now in the Antwerp Gallery) at the Paris Salon. In 1866 he was appointed director of the Academy at Weimar and in 1885 he was appointed director of the Antwerp Academy. (1) £600-800

242 No lot Lot 241

106

243* Ward (Annie, exh.1886-1898). “Hilda’s Daughter”, 1893, oil on canvas of a young girl with curly hair wearing an elaborate white lace gown adorned with a bunch of violets, and a large lace hat, signed and dated lower left, 46 x 42cm (18 x 14ins), gilt moulded frame Annie Ward lived in Croydon, Surrey, and later in Plymouth, Devon. She is known to have exhibited four works at the Royal Academy. (1) £300-400

244* White (Sydney Watts, late 19th-early 20th century). Portrait of an Edwardian lady (possibly Lady Randolph), oil on canvas, signed lower left, 76.5 x 63.5cm (30 x 25ins), period gilt moulded frame, with label of J. G. Moore, Carver & Guilder & Picture Frame Manufacturer, 20, Colvill Place, Charlotte Street, Fitzroy Square, London, and additional label for Parks’ Southsea Depositories, Portsmouth, dated 17th October 1947, giving owner’s name Randolph (1)

£400-600

Lot 243

245* Willett (Arthur Reginald, 1868-1951). View of Arundel Castle, Sussex from the river, 1915, oil on board, scratched-in signature & date lower right, 46.5 x 31cm (18.25 x 12.25ins), together with View of St. Mary’s, Bramber, Sussex, oil on board, scratched-in signature lower right, caption and date 1916 in pencil to verso, 46.5 x 31cm (18.25 x 12.25ins), modern matching frames, with Minerva Gallery, Bideford framing label to verso of each (2)

£200-300

246* Willett (Arthur Reginald, 1868-1951). “Near Arundel, 1914”, oil on canvas, showing a river with cottage, sheep and figure, captioned, signed & dated to verso of canvas, and captioned in pencil to stretcher, 34.5 x 54.5cm (13.5 x 21.5ins), together with “On the Adur, 1914”, oil on canvas, showing river with cottage and trees, signed lower left, captioned, signed & dated to verso of canvas, 35.5 x 51cm (14 x 20ins), matching modern frames with Minerva Gallery, Bideford framing label to verso of each (2)

£200-300

Lot 244 107

PORTRAITS 247* Bartha (M., 20th c., ). Sir John Barbirolli, oil on canvas, half length portrait depicting Sir John Barbirolli conducting, signed lower left, 73.5 x 58cm (29 x 23ins), gilt moulded frame Sir John (Giovanni Battista) Barbirolli (1899-1970) was an English conductor and cellist. Born in London of Italian and French parentage, Barbirolli grew up in a family of professional musicians. In 1936 he became the music director of the New York Philharmonic, serving until 1943. He also became chief conductor of the Houston Symphony from 1961 to 1967, and a guest conductor of many other orchestras, including the London Symphony Orchestra, the Philharmonia, the BBC Symphony Orchestra, the Berlin Philharmonic and the Vienna Philharmonic. He helped save the Hallé Orchestra in Manchester from closure in 1943 and continued to conduct there until the end of his life. (1) £300-500

248* School of Sir William Beechey (1753-1839). Portrait of Sir Edward Thomason (1769-1849), oil on canvas, half-length portrait depicting Sir Edward Thomason seated wearing dark blue coat with brass buttons and cravat tie, whilst resting his right arm on a folio encyclopaedia volume (possibly Encyclopaedia Britannica first published in 1768) and also holding a small octavo volume in his right hand, some cracking to paint surface and few marks, relined, 78 x 62cm (30.75 x 24.5ins) Sir Edward Thomason (1769-1849) was the son of Edward Thomason a buckle-manufacturer of Birmingham. He was a silversmith, manufacturer and inventor, who at the age of sixteen was apprenticed to Matthew Boulton, of Soho. After the retirement of his father in 1793, Edward started a manufactory of gilt and plated buttons, to be gradually followed by medals, tokens, works in bronze, silver and gold plate and various patented inventions. His output was considerable. Provenance: By descent from the Thomason family. (1) £1000-1500

Lot 247

249* Birley (Sir Oswald Hornby Joseph, 1880-1952). Portrait of Sir Robert Geoffrey Ellis, 1st Bt., oil on canvas, half length a portrait of gentleman seated beside a desk, signed Oswald Birley and dated 1950 upper right, 101.5 x 77.5cm (40 x 30.25ins) Geoffrey Ellis was chairman of the Sun Life Assurance Society from 1941-1950. (1) £200-300

Lot 249 108

Lot 248

109

250* Circle of Francis Cotes (1726-1770). Portrait of a Gentleman, in green hunting coat trimmed with gold trim, holding a whip, oil on canvas, relined, 76.5 x 63cm (30 x 25ins), carved dark wood frame (1)

ÂŁ2500-3500

110

251* After Sir Anthony Van Dyck (1599-1641). Portrait of Inigo Jones (1573-1652), oil on panel, half length portrait with caption upper right, some surface wear, 28.7 x 26.5cm (11.25 x 10.5ins), modern antique style gilt moulded frame This image is copied after the engraving by Robert Van Voerst after Sir Anthony Van Dyck drawing in the Chatsworth collection. (1) £400-600

Lot 251

252* English Primitive School. Portrait of William Cass, Printer, of Bridgwater, Somerset, aged 60, 1808, oil on canvas, approx. 54 x 43.5cm (21.5 x 17.5ins), period gilt wood frame, with contemporary inscription to verso ‘Wm. Cass Printer, Aged 60, 2nd Octr. 1808’ William Cass (born 1748) of Goathurst, near Bridgwater, was a Somerset printer, and most likely a non-conformist, who published The History and Antiquities of Glastonbury (1808), A Short Explanation of the Catechism for the Use of the Parishoners of Wembdon, and Paracombe in Devon, by Lancelot St. Albyn (1782), and took subscriptions for John Wilton’s Devout Christian Edition printed by Mr. Cass of Swansea in 1772. It has been suggested by Francis Greenacre, an authority on the Bristol School of Artists, that this portrait is an early work by the important Bristol artist Samuel Colman (1780-1845). (1) £2000-3000

Lot 252 111

253* English School. Portrait of William Price (1788-1830), c.1820-1825, oil on canvas, half length portrait in themmaner of Sir William Beechey, sitter wearing black jacket, cravat and winged collar, small area with pigment loss to canvas, 76 x 63.5cm (30 x 25ins), deep gilt moulded frame with foliate decoration William Price of Tibberton Court was High Sheriff of Gloucestershire in 1819. Provenance: Tibberton Court, Gloucestershire. (1) £700-1000

Lot 253

254* English School. Portrait of Sir Charles Ely, Baronet, 17th or 18th century, oil on canvas, three quarter length portrait in the manner of Van Dyck, sitter wearing black robes and cape, with architectural column, balustrade and red drape behind, paint surface cracked and crazed, relined with early 19th century canvas bearing ink stamp of Roberson & Miller, 51 Long Acre, London, with two patch repairs, stretcher with manuscript note “Painted by Henry Pickering Esq., London, 1780”, 61 x 46cm (24 x 18ins), 20th century ebonized frame (1)

£300-500

Lot 254 112

255* English School. Portrait of a Lady traditionally identified as Elizabeth Lovett, c.1750, oil on canvas, half length portrait of an elegant young lady, in a lace trimmed white dress, with pearl necklace and earring, relined, 76.2 x 62.9cm (30 x 24.75ins), 18th century carved gilt frame The sitter may possibly be Elizabeth Lovett of Leather Lane, Bath and wife of Thomas Lovett. Her will is dated 15 January 1784, leaving all her estate to her daughter Mary Davenport, wife of Charles Davenport. The present painting is similar in style to the work of landscape and portrait painter Joseph Wright of Derby (1734-1797). Provenance: Sold by the executors of Major L.L.A Wise of Mayhurst, Woking, Christie’s, London, 9 December 1927, lot 152, as by Thomas Gainsborough, to the De Casseres family for 190 guineas. Sold Christie’s, London, 9 December 2011, lot 49. (1) £4500-5000

113

Lot 256

Lot 257

256* English School. Portrait of a gentleman, late 18th c., pastel on paper, head and shoulders portrait, showing the sitter wearing a deep blue coat, 56 x 43cm (22 x 17ins), framed and glazed (1)

£150-250

257* English School. Portrait of William Price (1750-1815), oil on canvas, monogramed WFC to verso and inscribed ‘enlarged by W. Frank-Chandler A.R.C.A. from a miniature, Sept. 1912’, short tear to canvas, some cracking and discolouration, 61.5 x 51cm (24.25 x 20ins), gilt moulded frame with ancanthus leaf decoration Provenance: Tibberton Court, Gloucestershire. (1)

£100-150

258* English School Portrait of Robert Philip Esq. (1760-1844), 1798, oil on canvas, half length portrait in the manner of Sir William Beechey, relined, early 20th century typed label to stretcher “Robert Philip of the Park, Prestwich, Manchester, 1798. Born 1760: M. Anna Needham. Died 1844. Father of Mark and Robert Needham Philips”, 76 x 63.5cm (30 x 25ins), deep moulded gilt frame with scallop shell decoration to corners Provenance: Tibberton Court, Gloucestershire. (1)

£700-1000

Lot 258

114

259* English School. Portrait of William Philip Price (1817-1891) as a young man, c.1835, oil on canvas, three quarter length portrait in the manner of Sir William Beechey, showing the sitter seated wearing a black jacket, burgundy waistcoat, wing collared shirt and cravat, 124.5 x 99cm (49 x 39ins), gilt moulded frame with acanthus leaf decoration William Philip Price (1817-91) was the son of William Price of Gloucester and his wife Frances George, daughter of Phillip George of Bristol. Price was a Deputy Lieutenant and J.P. for Gloucestershire and in 1849 was made High Sheriff of Gloucestershire. As a Liberal politician he sat in the House of Commons in two periods between 1852 and 1873. He ran a successful timber company, and was involved in the Railway industry, being a director of the Midland Railway Company. Provenance: Tibberton Court, Gloucestershire. (1) ÂŁ1000-1500

Lot 259

260* German School. Portrait of Richard Wagner (1813-1883), 19th c., oil on canvas, head & shoulders portrait, relined, 61.3 x 50.5cm (24 x 20ins), gilt moulded frame (1)

ÂŁ500-700

Lot 260 115

261* Circle of John Greenhill (1644?-1676). Portrait of a young girl, oil on canvas half length portrait of a young girl, wearing a gold silk dress with blue silk wrap to shoulders, pearl necklace and earrings, within a faux oval frame, 76 x 63.5cm (30 x 25ins), relined, late 18th or early 19th century ornate carved stained oak frame with floral and foliate moulding John Greenhill (1644?-1676) was born in Somerset, the son of John Greenhill, registrar of the diocese of Salisbury and Penelope (nĂŠe Champneys). His artistic training is unknown, but his first work is believed to have been a portrait of his uncle, James Abbot of Salisbury. He moved to London in 1662 becoming a pupil of Sir Peter Lely (1618-1680), but soon established his own studio. Greenhill painted a variety of people, especially actors and playwrights, and enjoyed a riotous lifestyle in their company. The famous female playwright and actress Mrs Aphra Behn is known to have been infatuated with him. His career was brought short by drowning in a gutter after becoming intoxicated. Lely subsequently gave an annuity to his widow and young family. (1) ÂŁ4000-6000

116

262* Italian School. Portrait of Niccolò Mauruzzi, best known as Niccolò da Tolentino (1350-1495), early 17th c., oil on canvas, half-length portrait of Niccolò da Tolentino in three-quarter armour with red sash, holding a baton to symbolise his status, and with helmet on side table, captioned “Nicol da Tole” to upper right, old stencil number to stretcher, relined, 127.5 x 101.5cm (50.25 x 40ins), gilt moulded frame incorporating acanthus leaf and foliage decoration Niccolò Mauruzzi (or Mauruzi), best known as Niccolò da Tolentino (1350- 1435) was an Italian condottiero. A member of the Mauruzi della Stacciola family of Tolentino, who fled from the city in 1370 after a dispute, he then fought under several condottieri and obtained the title of count and the castle of Stacciola. He was later hired by numerous Italian lords and in 1431 was made seignior of Borgo San Sepolcro by Papal decree. He was appointed capitano generale of the Republic in 1431 and in 1432 he was sent as commander of a coalition against Francesco Sforza I in Romagna, and was victorious at the Battle of San Romano (made famous by the three paintings by Paolo Uccello, 1397-1475). In 1434 he was captured by the Visconti and thrown into a ravine. Although he survived, he died of his wounds the following year at Borgo Val di Taro. He was buried in Santa Maria del Fiore in Florence. (1) £1500-2000

117

263* Circle of Sir Thomas Lawrence (17691830). Portrait of Mrs. Symonds née Waller, chalk and bodycolour on paper, oval half-length portrait, sitter with black shawl & veiled cap, verso captioned Mrs. Symonds and with unfinished chalk head and shoulders portrait of a gentleman, wooden backboard with paper label bearing inscription “Mrs. Symonds Daughter of Mrs. Waller”, gilt moulded frame, glazed (1)

£400-600

Lot 263

264* Attributed to James Northcote (17461831). Portrait of James Newman Tanner of Sherwell House Plymouth, Devon, oil on canvas, half-length portrait of a seated gentleman in dark brown coat, relined, 89 x 76.5cm, gilt moulded frame incorporating acanthus leaf and foliage decoration James Newman Tanner (1765-1848), leather merchant and leading member of the Devon and Cornwall Congregational Union. He lived at Sherwell House, North Hill, Plymouth, which in 1948 was bought by Plymouth Council and became a girls grammer school. The artist James Northcote (1746-1831) was born in Plymouth and trained under fellow Devonian Sir Joshua Reynolds (17231792) in London. After leaving Reynolds in 1775, he returned to Devon to paint portraits. He then studied in Italy and returned to Devon, three years later. After which he settled in London and was elected to the Royal Academy in 1787. (1) £1000-1500

Lot 264 118

265* Attributed to Pietro della Vecchia (16031678). Portrait of a Venetian Merchant, oil on oak panel, half-length portrait of man with beard, wearing an ermine-lined cloak and hands together with fingertips touching, unsigned, remains of red wax seal to verso, 47.3 x 34.7cm (18.5 x 13.75ins), later wooden frame with velvet insert (1)

ÂŁ1500-2000

Lot 265

266* Victorian School. Portrait of Charles Dickens, after the carte-de-visite photograph by John & Charles Watkins, c. 1860, oil on board, 22 x 16cm (8.75 x 6.25ins), contemporary gilt-moulded frame (1)

ÂŁ150-250

Lot 266 119

ORIENTAL ART 267* Chinese School. Busy street scene with pagoda beyond, early 20th-century watercolour, signed and with red oval ink stamp lower right, 36 x 52cm (14.25 x 20.5ins), gilt mount and frame, glazed (1)

£200-300

268* Chinese School. Portrait of young woman, c.1880s, pen, ink and gouache on paper, half length portrait (with lower half of figure not present), poem text above, upper and lower attached blank paper sheets waterstained, with upper sheet torn, some creasing, image size (including poem text) 84 x 32.5cm (33 x 12.75ins), overall dimensions 48.5 x 147.5cm (58 x 19ins), with wooden baton at foot (1)

£200-400

Lot 267

269* Chinese School. Portrait of a lady playing a Pipa or Liuqin (Chinese mandolin), mid 19th century, pen, ink and gouache on paper, full length portrait of seated lady playing four stringed Chinese mandolin, large vertical tear to upper portion of image (approx. 57cm), generally without loss, some minor soiling and marks to margins, overall dimensions 120 x 56cm (47.5 x 22ins), with wooden baton at foot

Lot 268

(1)

120

£300-500

Lot 270

Lot 271

Lot 272

270* Chinese School. Parrakeet on branch with berries, late 19th century, pen, ink and gouache on finely reeded woven support, wooden baton at head and foot, image size 89.5 x 27.5cm (35.25 x 10.75ins), overall dimensions 113 x 32.5cm (44.5 x 12.75ins) (1)

£200-300

271* Chinese School. Mountainous landscape with lake, boats and houses at waters edge, 20th c., brush drawing on paper, with title and red ink stamps upper right, wooden batons at head and foot, image size 133 x 67.5cm (52.5 x 26.5ins), overall dimensions 192 x 75cm (75.5 x 29.75ins), together with another smaller Chinese School landscape (2)

£200-400

273* Gen (Yamaguchi, 1896-1976). Fuji, colour woodblock print, 145 x 197mm (5.75 x 7.75ins), together with Azechi (Umetaro, 1902-1999), Aso, colour woodblock print, 144 x 197mm (5.7 x 7.75ins), plus Masao (Maeda, 1904-1974), Nikko, colour woodblock print, sheet size 142 x 194mm (5.6 x 7.5ins), each mounted on card with tissue guard, and contained in original printed portfolio entitled Woodcuts of Japanese National Parks, circa 1960s, signed by M. and Reiko Isurugi

272* Chinese scroll. A Chinese embroidered silk panel, c. 1900, with central scene of a peacock, with a rural scene above and below, mounted on paper (with adhesive tape at foot and to verso), panel size 49 x 8.75cm (19.25 x 3.5ins), together with another Chinese paper-mounted decorative silk panel, c. 1930’s (2)

£100-150

(1)

121

£100-150

Lot 275

274* Hasui (Kawase Bunjiro, 1883-1957). Spring Moon at Ninomiya Beach, 1932, vertical oban colour woodblock print, published by Doi Sadakazu, sheet size 40 x 26.5cm (15.75 x 10.5ins), together with Evening at Tago Bay (Tago no ura no yube), from the series Selected Views of the Tokaido Road (Tokaido fukei senshu), 1940, vertical oban colour woodblock print, published by Watanabe (with his seal lower left), light mount stain to left and right-hand margins, sheet size 39 x 26.5cm (15.3 x 10.5ins)

Lot 276

Brown, Kawase Hasui, The Complete Woodblock Prints (2003), 273 and 233. (2) £200-300

275* Hiroshige (Ando, 1797-1858). The Monkey Bridge in Kai Province, colour woodbock print, 72 x 25cm (28.5 x 10ins), framed and glazed (1)

£300-500

276* Hiroshige (Ando, 1797-1858). Flowering branch, black and white woodblock print, 33 x 7cm (13 x 2.75ins), mounted on paper with guarantee stamp of Sakai Co., Ltd., Tokyo, framed and glazed (1)

£100-150

277* Hokkei (Totoya, 1780-1850). Kintaro referees a match between a Rooster and a Tengu (from the series Yama mata yama (Mountain after mountain), colour woodblock surimono, 202 x 172mm (8 x 6.75ins) mount aperture, early 20th century frame, glazed (1)

£100-150

Lot 277

122

278* Indonesian School. Meeting of the Animals, mid. 20th c., pen, ink, and watercolour on paper, showing numerous animals and birds congregating amidst trees and vegetation, incl. monkeys, tigers, elephants, deer, reptiles, goats, scorpions, etc., with pagodas and mountains, 60.5 x 45.5cm (23.75 x 18ins), mounted, framed and glazed, together with The Hunt in the Jungle, mid. 20th c., pen, ink, and watercolour on paper, showing a native with an arrow in a tree looking at a large tiger, with other animals e.g. snake, monkeys, deer, amongst profuse vegetation, 56 x 43cm (22 x 17ins), mounted, framed and glazed, plus Men and Women at Work, mid. 20th c., pen, ink, and monochrome watercolour, showing a montage of busy scenes, incl. fishing, water-carrying, ploughing, planting, fruit-picking, etc., 59.5 x 44cm (23.5 x 17.25ins), mounted, framed and glazed, plus five other monochrome watercolours similar, approx. 37 x 28cm (14.5 x 11ins), all mounted, framed and glazed (8)

ÂŁ300-500

279* Japanese School. Two ladies and child within a landscape, mid 19th century, gouache on silk, within decorative woven border with tendrils and fruit, wooden baton at top and bottom with some wear, image size 90 x 26.5cm (35.5 x 10.5ins), overall dimensions approx. 136 x 38cm (53.5 x 15ins) (1)

ÂŁ200-400

Lot 279

123

280* Kano School. Bird at waters edge with rushes and bamboo, 18th century, monotone brush drawing on paper, some toning and creases, within decorative woven border, green plain silk panel at head and foot (upper panel torn), wood an ivory baton at foot, image size 31.5 x 50cm (12.5 x 19.75ins), overall dimensions 101.5 x 53cm (40 x 21ins) (1)

Lot 281

£400-600

281* Koson (Ohara, 1877-1945). Bird on a Branch with Blossom, & Pair of Birds, together two colour woodblock prints, 33 x 18cm (13 x 7ins) (2)

£100-150

282* Koson (Ohara, 1877-1945). A group of six colour woodblock prints of birds and animals, including mallard ducks, eight whitefronted geese in flight, full moon behind, pair of Japanese geese, carp under water, rooster and hen & pair of swifts, together six colour woodblock prints, the first with stamped address of H. Matsuki, Tokyo to lower margin, some light discolouration, 35 x 19cm (13.75 x 7.5ins), together with five double-page colour woodblock prints from an illustrated book of birds and flowers, probably late 19th/early 20th century, plus two modern black and white woodblock prints of Japanese temples (13)

£100-150

Lot 282

124

Lot 283

Lot 284

283* Kunisada (Utagawa, 1786-1865). Woman and attendant on a terrace at night, oban tate-e colour woodblock print, with toshidama seal, 35 x 24cm (13.75 x 9.5ins) mount aperture, framed and glazed (1)

£80-120

284* Mughal School. Two portraits of a Prince and Princess, 18th c., fine opaque watercolour on paper, each holding a lotus flower, Persian text at head and foot, each image 13 x 7.5cm (5.25 x 3ins), framed and glazed (2)

£200-300

285* Mughal School. Portrait of Saiyda Khatoon, wife of Jalaluddin Muhammad Akbar, mid 19th century, gouache on paper, image size 156 x 98mm (6.1 x 3.9ins), sheet size 270 x 165mm (10.6 x 6.5ins), mounted on velvet with a border of gold brocade, framed and glazed with typed label identifying the subject pasted to verso (1)

£200-300

Lot 285

125

Lot 287

286* Mughal School. Full-length portrait of a Prince holding a falcon, late 18th or early 19th century, opaque watercolour on paper, heightened with gold, with elaborate border decorations in blue and gold of a dragon attacking an eagle, leaping deer, and a lion devouring an antelope, with contemporary arabic inscription to verso, miniature size 175 x 115mm (6.9 x 4.5ins), sheet size 406 x 273mm (16 x 10.75ins), framed and glazed (1)

ÂŁ300-500

Lot 288

126

289* Takahashi (Hiroaki, 1871-1944). Watching the firework display at Okawa, Sumida River (Oh-kawa, Shobinomatsu), colour woodblock print, mitsugiri-ban (38.3 x 17.2cm, 15.2 x 6.75ins)

287* Mughal School. Portrait of Jalaluddin Muhammad Akbar, mid 19th century, pen & ink with watercolour on paper, image size 203 x 87mm (8 x 3.5ins), sheet size 290 x 170mm (11.5 x 6.75ins), mounted on linen with a border of gold brocade, period gilt frame

(1)

£100-150

Provenance: By descent from the collection of the Austrian ethnologist Dr. Ludwig G. A. Zohrer (1906-1983). A portrait of Akbar the Great (1552-1605), the third Mughal Emperor and grandson of the founder of the Mughal Empire, Babur. (1) £150-200

288 Mughal School. Portrait of Jalaluddin Muhammad Akbar, mid 19th century, gouache with pen & ink on paper, image size 120 x 67mm (4.75 x 2.65ins), sheet size 225 x 144mm (8.5 x 5.75ins), mounted on velvet with a border of gold brocade, framed and glazed, inscribed in German with the Emperor’s name and dates Provenance: By descent from the collection of the Austrian ethnologist Dr. Ludwig G. A. Zohrer (1906-1983). A portrait of Akbar the Great (1552-1605), the third Mughal Emperor and grandson of the founder of the Mughal Empire, Babur. (1) £200-300

290* Utamaro (Kitagawa, 1753-1806). Two women with fans and a girl holding a casket, colour woodblock print, some marks and adhesion damage to extreme margins, 39.5 x 26.5cm (15.5 x 10.5ins), laid down on card (1)

Lot 289

127

£100-150

ETCHINGS, LITHOGRAPHS & WOODCUTS

291 The Artist Engraver. A Quarterly Magazine of Original Work, edited by Laurence Binyon, Nos. 1-4, all published, Macmillan & Co., January-October 1904, each issue with five original prints (lacks three) and separate title sheets, sheet sizes 435 x 345mm, title and letterpress leaves to No. 1 only [as issued?], all loosely inserted in orig. wrappers with contents printed to upper wrappers, sl. rubbed and faded with a few sm. splits, slim folio Uncommon. The seventeen prints include William Nicholson, The Shire Horse, hand-coloured woodcut; Maurice & Edward Detmold, The Falcon, etching; William Rothenstein, Rodin in his Studio, lithograph. C. H. Shannon, August, colour woodcut; William Strang, The Wine Drinkers, line engraving. Other artists include A. Legros, Joseph Pennell, Philip Pimlott, W. Moink, T.Sturge Moore, Amelia Bauerle, Miss A. Galton, A.S. Hartrick, D.S.Maclaughlan, Bernard Sleigh and Carton Moore Park. The missing prints are nos. 5, 12 and 16, by D.Y. Cameron, Col. R. Goff and A.J. Skrimshire. (4) £400-600

Lot 292

292* Austin (Robert Sargent, 1895-1973). Woman Praying, 1928, copper engraving, signed and dated in pencil, and numbered 25/75, 10th trial state, Final, plate size 202 x 159mm (mounted) Dodgson 76, X. Ashmolean Museum, Robert Austin, 1980, 22. One of the artist’s best known subjects. (1) £100-150

293* Barclay (John Rankine, 1884-1962). Peardmore’s, 1923, etching with drypoint, signed in pencil to lower margin, plate size 24 x 23.5cm (9.5 x 9.25ins), sheet size 26.7 x 25.9cm (10.5 x 10.25ins) (1)

£100-150

Lot 293

128

294* Clutterbuck (Julia Emily, 1871-1932 ). The Sorcerer, original copper plate for the aquatint of the same title, 393 x 254mm (15.5 x 10ins) (1)

£150-200

295* Dawson (Lucy, 1877-1958). Deerhound, etching, unsigned, plate size 254 x 306mm (10 x 12ins), framed and glazed, with extensive typewritten note on the artist to verso (1)

£100-150

296* Elliott (Aileen Mary, 1896-1966). Cutty Sark, 1926, etching on japan tissue, signed and numbered 20/75, one or two light creases, plate size 29.5 x 26.5cm (11.5 x 10.4ins), with margins, together with Macleod (William Douglas, 1892-1963), Oxen hauling in a boat, etching, signed in pencil, plate size 16 x 35.2cm (6.25 x 13.8ins), with margins, mounted, plus four other various etchings, including Isabel Mesham, T. J. Greenwood (2), and one other (6)

£70-100

297* Fairhurst (Enoch, 1874-1945). “The Andrea Farara”, etching, signed and titled in pencil to lower margin, plate size 27 x 27cm (10.5 x 10.5ins), window mounted, together with Bakehouse Close, Edinburgh, by Andrew Simes, etching, signed and captioned in pencil, plate size 23 x 16cm (9 x 6.25ins), window mounted, with two other etchings by Andrew Simes and Heywood Hardy (4)

£70-100

Lot 294

298* Figura (Hans, 1898-1978). L’Opera, Paris, colour etching on silk, signed in pencil, plate size 26 x 32cm (10.25 x 12.6ins), framed and glazed (1)

Lot 295

129

£70-100

Lot 301 299* Freeth (Hubert Andrew, 1912-1986). Headrest and handstand, etching, signed and titled in pencil, plate size 30 x 22.5cm (11.75 x 8.8ins), with margins, framed and glazed (1)

ÂŁ100-150

300* Gabain (Ethel, 1883-1950). Le Billet Doux de Pierrot, 1917, lithograph on japan paper, signed in pencil, image size 37.5 x 27cm (14.75 x 10.5ins), framed and glazed, with original Colnaghi label to verso (1)

Lot 302

ÂŁ150-200

130

301* Gill (Eric, 1882-1940). Flight into Eygpt, 1916, wood engraving, image size 59 x 51mm (2.3 x 2ins), sheet size 102 x 86mm (4 x 3.4ins), mounted Physick 52. (1)

£100-150

302* Gill (Eric, 1882-1940). Ascension, 1918, woodcut on wove paper, image size 140 x 90mm (5.5 x 3.5ins), sheet size 174 x 133mm (6.8 x 5.25ins), mounted Physick 140. (1)

£100-150

304* Harrison (George, 1882-1936). Interior of a railway station terminus, lithograph, signed in pencil lower right, 37.5 x 52cm (14.75 x 20.5ins) mount aperture, framed and glazed (1)

£150-200

303* Gill (Eric, 1882-1940). David, 1926, copper engraving on wove paper, plate size 114 x 70mm (4.5 x 2.75ins), sheet size 328 x 244mm (12.9 x 9.6ins), with printed no. 87 to top right corner of sheet, mounted Physick 372. Published by Douglas Cleverdon at the Golden Cockerel Press in 1926, for Gill’s Id Quod Visum Placet. (1) £100-150

305* Hoernes (Tanna Kasimir, 1887-1972). Central Park, New York, colour etching on thick wove paper, signed in pencil, plate size 39.5 x 30cm (15.5 x 11.75ins), sheet size 53 x 42cm (21 x 16.5ins) (1)

131

£100-150

Lot 306 307* Icart (Louis, 1888-1950). Parfum de fleurs, 1937, colour etching, signed in pencil lower right, pubs. blindstamp to lower left corner, some light overall soiling, and one or two faint vertical creases, plate size 44.7 x 64.2cm (17.5 x 25.5ins), sheet size 63.5 x 90cm (25 x 35.5ins)

306* Hollyer (Frederick, 1837-1933). The Dove That Returned in the Evening, c. 1900, platinotype photograph after the painting by George Frederick Watts (1817-1904), 29 x 91cm (11.5 x 36ins), period frame, glazed (1)

ÂŁ150-200

(1)

Lot 307 132

ÂŁ400-600

308* Knight (Dame Laura, 1877-1970). Lillian, drypoint etching on laid paper, a proof aside from the edition of 50, signed in pencil, plate size 35 x 24.7cm (13.75 x 9.75ins), with good margins, framed and glazed (1)

£250-350

309* Langmaid (Rowland, 1897-1956). “Euraylus and Victory at Sea”, etching, signed in pencil to lower right margin, 32.5 x 22cm (12.75 x 8.75ins), framed and glazed Provenance: David Cross Gallery, with label to verso. (1)

£100-150

Lot 308 310* Lindsay (Lionel Arthur, 1874-1961). Mates, etching, printed in an edition of sixty proofs, signed and titled, plate size 213 x 270mm (8.3 x 10.7ins), framed and glazed (1)

£100-150

311* London. Trafalgar Square, looking north-west towards the National Gallery, etching, unsigned, plate size 21.4 x 28.2cm (8.35 x 11ins), framed and glazed (1)

Lot 309

133

£100-150

314* Nash (John, 1893-1977). Flowers in a landscape, wood engraving on thick wove paper, image size 150 x 114mm (5.9 x 4.5ins), mounted, together with Jones (David, 1895-1974), Illustration for the Chester Play of the Deluge, 1927, wood engraving on wove paper, from the reprinted edition of 1977, image size 165 x 143mm (6.5 x 5.6ins), sheet size 270 x 215mm (10.5 x 8.5ins), mounted, plus a wood engraving by Gwen Raverat entitled The Quarrel, 1910, all unsigned (3)

£150-150

312* Marriott (Frederick, 1860-1941). Venice, 1921, colour etching, published by Alfred Bell & Co., June 1st 1921, with publisher’s blindstamps to lower left, signed and titled in pencil, plate size 20 x 25.5cm (8 x 10ins), with margins, framed and glazed, with original printed label to verso (1)

£70-100

313* Meyer-Eberhardt (Kurt, 1895-1977). Buddha and Nude, colour etching, signed in pencil to lower margin, light crease to top right corner, plate size 26.5 x 21cm (10.5 x 8.25ins), sheet size 31.5 x 25.5cm (12.4 x 10ins) (1)

315* Nash (Willard, 1898-1943). Card Players, woodcut on wove paper, signed in pencil, some soiling and marks to edges of sheet, mount stained, image size 123 x 175mm (4.8 x 6.8ins), sheet size 170 x 255mm (6.75 x 10ins)

£100-150

(1)

£150-200

316* Nicholson (William, 1872-1949). Trinity, Grammar School, Magdalen & the Clarendon Printing House, Oxford, three colour lithographs from the set of twenty-four published by the Stafford Gallery in 1905, each signed and numbered in ink by Nicholson, publisher’s blind stamp to lower right corner, 27.5 x 35cm (10.75 x 13.75ins) mount aperture, and similar, matching frames, glazed (3)

Lot 314

134

£100-150

319* Raverat (Gwen, 1885-1957). The River Misbourne, 1929, wood engraving, signed in pencil, image size 15.2 x 11.5cm (6 x 4.5ins), framed and glazed

317* Palmer (Samuel, 1805-1888). The Herdsman’s Cottage, or Sunset, 1850, etching on pale cream laid paper, watermarked Hallines, with initials SP below image to lower left, the second state, as published in The Portfolio in 1872, Examples of Modern Etching in 1875, and Etching and Etchers in 1880, plate size 122 x 100mm (4.75 x 4ins), sheet size 343 x 243mm (13.5 x 9.5ins) Lister E3. (1)

From a series of six engravings, entitled Six Rivers Round London, commissioned by the London General Omnibus Company. (1) £200-300

£300-500

318* After George John Pinwell (1842-1875). The Elixir of Love, 1870, etching [by Robert Walker Macbeth] on paper, artist’s name and date lower left, 36 x 85cm (14 x 33.5ins), period oak frame, glazed (1)

£150-200

135

320* Sainton (Charles Prosper, 1861-1914). Fairy reclining amongst the reeds, silver point etching, signed in pencil, 26.5 x 42cm (10.5 x 16.5ins) mount aperture, framed and glazed (1)

£200-300

Lot 322

321* Scharf (Theo, 1899-1958). Closing Time, etching, signed and titled in pencil, plate size 9 x 12.5cm (3.5 x 4.75ins), sheet size 36.5 x 28cm (14.5 x 11ins) Also titled in pencil to lower margin Night in a City. No. 4. (1)

£200-300

322* Strang (Ian R.E., 1886-1952). French street scene with ancient shopfronts, 1911, etching, signed and dated lower right, plate size 20.5 x 22.6cm (8 x 9ins), framed and glazed, with Ryman & Co. label to verso, together with a signed uncoloured aquatint by Frank Short, of a desolate landscape, a signed etching by Oliver Hall of the Vale of Festiniog, and a signed etching of rustic buildings amongst trees by J. C. Heath, dated 1938, all framed and glazed (4)

£100-150

Lot 323 323* Tanner (Robin, 1904-1988). March, 1981, etching, published by Garton & Cooke in 1984, in an edition of 25, signed in pencil, plate size 25 x 20cm (9.75 x 7.75ins), framed and glazed Garton, Robin Tanner, The Etchings (1988), 42. (1)

£250-350

136

324* Tanner (Robin, 1904-1988). Wiltshire Roadmaker, 1928, etching, from the edition of 12 published in 1984, plate size 9.5 x 14.5cm (3.75 x 5.75ins), framed and glazed Garton, Robin Tanner, The Etchings (1988), 6. (1)

ÂŁ250-350

325* Tissot (James Jacques Joseph, 1836-1902). Entre les deux mon coeur balance (How happy I could be with either), 1877, etching with drypoint on laid paper, watermarked Van Gelder, from the edition of 100, signed and dated in the image lower right, plate size 25.3 x 35.5cm (10 x 15ins), with margins, sheet size 37 x 56cm (14.5 x 22ins), framed and glazed Wentworth 30. (1)

Lot 324

Lot 325

137

ÂŁ800-1200

326* Van Abbe (Salomon, 1883-1955). “J’Accuse”, drypoint etching, printed in an edition of sixty proofs, signed and numbered 21/60, plate size 26.5 x 26.5cm (10.5 x 10.5ins), framed and glazed, with original title label and gallery label for Grindley & Palmer, Liverpool to verso (1)

£70-100

327* Van den Eynde (Louis, 1881-1966). Loup de Mer, lithograph portrait of a fisherman, limited edition 10/20, signed in pencil, 63 x 48cm, together with three other litographs by the same hand of marine and village scenes, each signed in pencil, all framed & glazed (4)

£100-150

Lot 326

328* After George Frederick Watts (1817-1904). Sir Galahad, pub. J. Caswall Smith, 1898, mezzotint of Sir Galahad standing beside his horse, by Emil Wehrschmidt, Printsellers’ Association blind stamp and pencil signatures of artist and engraver at foot within plate impression, some spotting and old damp stains to margins, 72 x 41cm (28.5 x 16ins), framed and glazed (1)

Lot 327

138

£100-150

329 Whistler (James Abbott MacNeill, 1834-1903). The Menpes Children, etching, contained in Whistler As I Knew Him, by Mortimer Menpes, published by Adam and Charles Black, 1904, sheet size 26.5 x 20cm (2.5 x 8ins), printed in a limited edition of 500 copies, signed by the author, bound in original publisher’s cloth gilt, frayed and somewhat soiled and discoloured, with some wear, 4to (1)

£150-200

330* Whistler (James Abbott MacNeill, 1834-1903). Billingsgate, 1859, etching, printed and published by P.G. Hamerton in Etching and Etchers, 1880, plt. size 152 x 227mm (6 x 9 in), with margins, framed and glazed (unexamined out of frame) Kennedy 47. (1)

£100-150

331* White (Ethelbert, 1891-1972 ). Woman at a window, woodcut on thin japan paper, image size 18 x 14cm (7 x 5.5ins), sheet size 26.5 x 19.8cm (10.5 x 7.75ins) mounted

Lot 330

(1)

£100-150

332* Wyllie (William Lionel, 1851-1931 ). Harbour scene, etching, signed in pencil to lower left margin, a few light spots, 21.5 x 26cm (8.5 x 10.25ins), framed and glazed (1)

Lot 331

139

£150-200

C.R.W. NEVINSON (1889-1946)

Lot 333

333*AR Nevinson (Christopher Richard Wynne, 1889-1946). Le Pont Royal, Paris, 1934, etching with aquatint on laid paper, printed in an edition of 40, a rich, dark impression, signed in pencil, and inscribed ‘To Ross Ross Ross + & Ewart ante christening at B.C.’ to lower margin, plate size 276 x 429mm (11.75 x 16.75ins), sheet size 38 56.5cm (15 x 22.5ins), framed and glazed Guichard 84. (1)

£1000-1500

334*AR Nevinson (Christopher Richard Wynne, 1889-1946). Pont des Arts, Paris, etching with aquatint on laid paper, a good, dark impression, signed in pencil, plate size 31 x 25cm (12.25 x 9.9ins), framed and glazed (1)

Lot 334 140

£1000-1500

335* Nevinson (Christopher Richard Wynne, 1889-1946). La CitĂŠ, Paris, etching, signed in pencil, plate size 17.5 x 27.5cm (6.8 x 10.75ins), framed and glazed (1)

ÂŁ700-1000

336AR* Nevinson (Christopher Richard Wynne, 1889-1946). Le Pont Neuf, etching, a strong rich impression, signed in pencil lower right, plate size 185 x 300mm (7.25 x 11.75ins), framed and glazed Guichard 87. (1)

ÂŁ1000-1500

141

337*AR Nevinson (Christopher Richard Wynne, 1889-1946). Dieppe Harbour, etching on wove paper, watermarked T J Head & Co, signed in pencil, plate size 175 x 137mm (6.8 x 5.4ins), sheet size 325 x 258mm (12.75 x 10.2ins), with a further 25mm strip of the lower edge of the sheet cut away (on which the title is given in pencil), tipped onto mount, one or two spots, framed and glazed Guichard 104. Nevinson produced another etched view of Dieppe from a high window, entitled The Balcony, Dieppe, in 1929. (1)

142

ÂŁ700-1000

338*AR Nevinson (Christopher Richard Wynne, 1889-1946). Paris d’autrefois - Roofs of Monmartre, etching, signed in pencil, plate size 88 x 137mm (3.5 x 5.4ins), sheet size 117 x 163mm (4.6 x 6.5ins), with handwritten Christmas greetings from the artist’s wife Kathleen separately mounted below ‘Greetings & all good wishes for Christmas & the New Year, & love from Kathleen.’ ‘Paris d’autrefoisRoofs of Monmartre.’, framed and glazed together Not in Guichard’s Provisional List. (1)

£500-800

143

MODERN PRINTS 339* Aitchison (Craigie, 1926-2009). Autograph letter signed, dated 7th March 1985, to Roger Berthoud, regarding the signing of a letter to The Times against a public memorial to Henry Moore, together with another draft note to Tim Willis of The Tatler, dated 13th August 2003, plus eight other autograph letters to Craigie Aitchison (except one typewritten) from Helen Lessore (2), Myles Murphy, Euan Uglow, Frank Auerbach, Philip Sutton, and three others, plus a private view printed invitation card from the Beaux Arts Gallery to an exhibition of Aitchison’s portraits, nudes, still lives, landscapes, and crucifixions, and a collection of related prints and cards given to Craigie Aitchison, including six from Philip Sutton, a pencil drawing of a bull by Jeffery Camp, a pen, ink and watercolour drawing by Marcel Drama, two old master prints, including a small oriental head (probably by Castiglione), etc. (25)

£150-200

Lot 341

340* Bawden (Richard, 1936-). Telford’s Suspension Bridge, Conwy, North Wales, & The World’s First Iron Bridge, spanning the Severn at Ironbridge, Shropshire, 1965, colour lithographs, unsigned, published by Curwen Prints, together with two other similar colour lithographs by Richard Bawden, each with printed signature, sheet size 71 x 55.5cm (28 x 22ins) (4)

£100-150

341* Beuys (Joseph, 1921-1986). Stripes from the House of The Shaman, Anthony d’Offay, 13 August to 10 September 1980, colour screenprint poster by Heiner Bastian, incorporating a portrait of Beuys by Andy Warhol, signed in pencil by Joseph Beuys, 72.5 x 50cm (28.5 x 19.75ins) (1)

Lot 342

£200-300

144

Lot 343

342* Brangwyn (Frank, 1867-1956 ). Pelago, Italy, colour reproduction print, published by W. J. Stacey, publisher’s blindstamp lower left, signed in pencil, image size 48 x 52.5cm (19 x 20.75ins), framed A signed print of the tempera painting by Brangwyn held at the Ferens Art Gallery, Hull. (1) £70-100

343* Braque (Georges, 1882-1963). Coupe de fruits, 1950, colour reproduction print, signed in pencil, with publisher’s blindstamp to lower left corner of image, numbered 219/300, image size 23.8 x 35cm (9.4 x 13.75ins), framed and glazed (1)

£300-500

344* Buffet (Bernard, 1928-1999). La Cafetiere, 1955, colour lithograph on BFK Rives watermarked paper, signed in pencil, and numbered 221/300, some light handling creases to edges, image size 67 x 48cm (26.5 x 19ins), sheet size 75 x 55cm (29.5 x 21.75ins) (1)

£200-300

Lot 344

145

345* Burr (James, 1926-). Flowers of Silence, 1987, colour lithograph, signed in pencil and numbered 9/30, sheet size 80 x 60cm (31.5 x 23.5ins), framed and glazed, together with three other signed limited edition colour lithographs by James Burr: “Tentacles of the Storm”, 1986; “Wind Caught by Trees”, 1986 and “The Black Flower of Night”, 1987 (4)

£150-200

346* Caulfield (Patrick, 1936-2005). Occasional Table, 1972, colour screenprint, signed and numbered from the edition of 300, image size 58 x 71cm (23 x 28ins), sheet size 72.5 x 100cm (28.5 x 39.5ins), framed and glazed Cristea 29. (1)

Lot 345

Lot 346 146

£400-600

347* Clarke (Graham, 1941-). History of England, 1985-87, the set of eighteen colour aquatints on Crisbrook handmade paper, each signed, titled and numbered 124 from the edition of 200 portfolio sets, sheet size 63.5 x 44.5cm (25 x 17.5ins), each contained in printed passepartout, a few prints with slight discolouration to extreme margin or corner (plates generally in excellent condition), with original publisherâ&#x20AC;&#x2122;s morocco-backed cloth portfolio with ties, upper cover and side flaps stained with consequent discolouration, large folio (68.5 x 47.5cm) (1)

ÂŁ1200-1800

147

348* Cliffe (Henry, 1919-1983). Tree Woman, 1958, colour lithograph, signed in pencil, dated and numbered 14/20, sheet size 76 x 56cm (30 x 22ins) (1)

ÂŁ300-500

349*AR Colquhoun (Robert, 19141962). Two Horsemen, 1960, lithograph on thick wove paper, printed by the Curwen Press, signed in pencil lower right, a few minor marks and one or two light stains to edges, image size 387 x 254mm (15.25 x 10ins), sheet size 56 x 79cm (22 x 31ins), framed and glazed (1)

Lot 348

Lot 349 148

ÂŁ400-600

351* Freedman (Barnett, 1901-1958). 15 Inch Gun Turrett, H.M.S. Repulse, August 1944, colour lithograph, printed by the Baynard Press, published by the National Gallery, some minor marks and soiling to margins, sheet size 76 x 101.5cm (30 x 40ins), framed and glazed (1)

352* Freud (Lucian, 1922-2011). Dessin inedit de Lucian Freud. Chateau Mouton Rothschild, 2006, colour lithograph on paper, image size 33 x 24cm (13 x 9.5ins), framed and glazed in perspex

350* Dali (Salvador, 1904-1989). “Nu a la Fenetre”, 1970, colour lithograph on paper, signed lower right and numbered 42/50, sheet size 19 x 13.5cm (7.5 x 5.25ins), framed and glazed, with a Certificate of Authenticity on verso (1)

£200-300

(1)

£200-300

Lot 351 149

£150-200

353* Sutherland (Graham, 1903-1980). Away by Green Line, 1936, a pair of col. litho. posters in rolled condition, near-matching colour letterpress and illustration designs, both giving coach travel details from Hyde Park Corner, the first to Hemel Hempstead, Ashstead and Farningham, the second to Farningham, Ashstead and Westerham, 101 x 63cm (40 x 25ins), framed and glazed (2)

£200-300

355* Hockney (David, 1937-). David Hockney, Zeichnungen Und Grafik, Galerie Kammer, Hamburg, Oktober-November 1981, offset colour lithograph poster on wove paper, some light marginal creases, 88.5 x 63.5cm (35 x 25ins), together with David Hockney, Zeichnungen Und Grafik, Staatliche Graphische Sammlung Munchen, 23 Februar-17 April, 1977, offset colour lithograph poster, one or two marginal creases and short closed tear towards upper right hand corner, 84 x 59.5cm (33 x 23.5ins) (2)

354* Greig (James, 1861-1941). P & O Christmas & New Year Cruises. Madeira Canaries Egypt Palestine Syria Cyprus, colour lithograph poster, some light creasing, mainly to margins, 101 x 62.8cm (39.75 x 24.75ins) (1)

£150-200

356* Hockney (David, 1937-). “A Bounce for Bradford”, 1987, colour print, as issued in the Bradford Telegraph & Argus, February 24, 1987, approx. 410 x 590mm, framed and double-glazed

£300-500

(1)

150

£100-150

358* Hockney (David, 1937-). North Yorkshire, 1997, colour reproduction print, boldly signed in black marker, 49.5 x 61 (19.5 x 24ins) mount aperture, framed and glazed

357* Hockney (David, 1937-). The Road to York Through Sledmere, 1997, colour reproduction print, signed in black marker, 49.5 x 60cm (19.5 x 23.5ins) mount aperture, framed and glazed (1)

(1)

£200-300

359*AR Hockney (David, 1937-). Salts Mill, Saltaire, Yorkshire, 1997, colour reproduction print, signed in black marker, 44 x 98cm (17.25 x 38.5ins) mount aperture, framed and glazed (1)

£600-800

151

360* Hockney (David, 1937-). Ojai Festival, 1981, offset colour lithograph poster on foam board, 75 x 55.5cm (29.5 x 21.75ins) Baggott, Hockney Posters, 81. (1)

362* Hockney (David, 1937-). Les Mamelles de Tiresias, L’Enfant et les Sortileges, Parade, 1981, offset colour lithograph poster, sheet size 59 x 40cm (23.25 x 15.75ins) mount aperture, framed and glazed, together with Fiesta ‘88. St. James’ Market, Bradford, 1988, offset colour lithograph poster, sheet size 63 x 43.5cm (24.75 x 17.25ins), framed and glazed

£100-150

(2)

361* Hockney (David, 1937-). Travels with Pen, Pencil and Ink Drawings and Prints 1961-1979, The Tate Gallery, 1980, offset colour lithograph poster on thick wove paper, sheet size 76 x 51cm (30 x 20ins), framed and glazed Baggott, Hockney Posters, 48. (1)

£150-200

363* Hugo (Valentine, 1887-1968). Rimbaud marchant, [1939], lithograph, signed and numbered 54/97 in pencil, some light overall toning, image size 32 x 24cm (12.5 x 9.5ins), sheet size 48 x 37cm (19 x 14.5ins), framed and glazed

£100-150

(1)

152

£150-200

365* Le Witt (Jan, 1907-1991). “Fireflower”, c. 1970, colour screenprint, signed in pencil, titled and captioned ‘Artist’s proof’, sheet size 50 x 66cm (19.75 x 26ins), together with Shapiro (Shmuel, 1924-1983), Composition, 1966, colour lithograph, signed in pencil, dated and numbered 39/100, sheet size 40 x 57cm (15.75 x 22.5ins) (2)

£100-150

366* Lichtenstein (Roy, 1923-1997). Whaam! 1963, colour lithograph on two sheets, both laid down on card, some marginal marks and soiling, right-hand sheet with some heavy soiling and discolouration, and burn mark towards lower left corner, overall size 62.5 x 146cm (24.75 x 57.5ins) Sold not subject to return. (1)

£100-150

364* Kissmer (Willi, 1951-). Aufsteigende Trauer, scraped aquatint with drypoint, signed, titled and numbered 33/199, plate size 38.6 x 26.5cm (15.25 x 10.5ins), framed and glazed (1)

£100-150

367* Mirea (Ion, 1912-1987). “Nu”, c. 1980, colour lithograph, signed in pencil to lower right and numbered 49/50, sheet size, 64 x 50cm (25 x 19.75ins), mounted (1)

Lot 365

153

£100-150

368 Picasso (Pablo, 1881-1973). La pique, Le picador, Jeu de cape & Les banderilles, 1961, one colour and three uncoloured lithographs, as issued in Jaime Sabartés, Picasso: Toreros, first English edition, published by A. Zwemmer & A. Sauret, 1961, the first uncoloured lithograph (La pique) with circular library inkstamp to lower right corner, numerous illustrations, contemp. moroccobacked library cloth, with library stamps to front endpapers, title verso and final leaf of text, oblong folio (sheet size 24 x 30.5cm, 9.5 x 12ins) Cramer, Picasso Illustrated Books, 113. (1)

£300-500

369*AR Piper (John, 1903-1992). Bridge at Blenheim Palace Grounds, 1988, colour screenprint on Arches paper, signed, and numbered 77 from the edition of 100, image size 42 x 59.5cm (16.5 x 23.5ins), framed and glazed Ledinson 416. (1)

Lot 368

Lot 369

154

£400-600

370* Piper (John, 1903-1992 & Josef Herman, 1911-2000). For the Investiture of the Prince of Wales, offset colour lithograph on thick wove paper incorporating a red Welsh dragon by John Piper and two Welsh miners (printed in blue) on a green background, by Josef Herman, with poem to centre by Cecil Day Lewis, an artist’s proof, aside from the numbered edition of 150, signed by John Piper, C. Day Lewis and Josef Herman, and marked in pencil Artist’s Proof lower left, sheet size 50 x 74.5cm (19.75 x 29.25ins) (1)

£100-150

Lot 372

371* Rowell (Kenneth, 1922-1999). Two Figures in a Landscape, 1964, colour lithograph, signed in pencil, dated and numbered 3/25, sheet size 57 x 80cm (22.5 x 31.5ins), together with Ceremony, [1965], colour lithograph, signed in pencil and numbered 15/75, sheet size 80 x 57.5cm (31.5 x 22.75ins), plus eight other lithographs etc by Albany Wiseman, Debby Mason, Johnathan Skelton and others, including two duplicates (10)

£200-300

372* Spradbery (Walter Ernest, 1889-1969). The Proud City: The Temple Church and Library after bombardment, 1944, colour lithograph poster, printed by Johnson, Riddle & Co., some light creasing and minor fraying to extreme edges, 7cm closed tear towards centre of lower margin, 101.5 x 63.5cm (40 x 25ins) (1)

£200-300

373* Spradbery (Walter Ernest, 1889-1969). The Proud City: A New View of St. Paul’s Cathedral from Bread Street, 1944, colour lithograph poster, printed by The Baynard Press, some very slight creasing to extreme margins, 6cm closed tear to top margin, 101 x 63cm (39.75 x 24.75ins) (1)

Lot 373

£200-300

155

374* Spradbery (Walter Ernest, 1889-1969). The Proud City: Chelsea Power House from Meek Street, 1944, colour lithograph poster, printed by Johnson, Riddle & Co., signed and dated in the image, 101.5 x 63.5cm (40 x 25ins) (1)

£200-300

375* Steadman (Ralph, 1936-). Alice Through The Looking Glass, 1972, the set of four etchings, printed on thick wove, all unsigned proofs aside from the published edition of 65 signed, the full sheets in exellent condition, sheet size 58 x 79cm (22.8 x 31.1ins) The titles are: Through The Looking Glass, All the King’s Horses, Wool and Water, and Sunset. (4) £300-500

Lot 374

Lot 375 156

378* Trevelyan (Julian, 1910-1988). College Buildings, colour lithograph, image size 38 x 43.5cm (15 x 17ins), sheet size 51 x 56cm (20 x 22ins), signed and numbered 61/70 to lower margin, framed and glazed

376* Stevens (Norman, 1937-1988). Stonehenge, 1974, colour etching with aquatint, published by Editions Alecto, signed, dated, titled and numbered 51/83, with publisher’s blindstamps to lower margin, plate size 44 x 46cm (17.25 x 18ins), 67 x 67cm (26.5 x 26.5ins), framed and glazed (glass cracked) (1)

(1)

£100-150

379* Uglow (Euan, 1932-2000). Pig’s Head, 1959, etching on folded wove paper, signed with the artist’s initials, and dated, issued by the artist as a Christmas card and inscribed inside ‘To Craigie wishing you and your mother a very happy Christmas and a good new year love Euan’, some soiling and waterstains, contained in partly broken old frame, plate size 102 x 76mm (4 x 3ins), together with Glass of Wine and Fruit, etching on wove paper, plate size 76 x 102mm (3 x 4ins), sheet size 124 x 190mm (5 x 7.5ins), inscribed by the artist to top margin ‘To Lady Aitchison wishing you a very happy christmas and a grand new year. Love Euan’, plus one other similar etching issued as a folded Christmas card, and inscribed inside ‘To Freddy, and Lady Aitchison A Happy New Year Love Clare & Euan’ (plate size 126 x 101mm (5 x 4ins)), and another similar woodcut card of hands clapsed, with circular red stamp Happy Christmas love Euan

377* Sutton (Philip, 1928-). Great Australian Bight, 1966, colour lithograph, signed in pencil and numbered 215/250, sheet size 58 x 78cm (22.75 x 30.75ins) (1)

£200-300

£100-150

Provenance: Christmas cards sent by the artist Euan Uglow to fellow artist Craigie Aitchison and his mother. (4) £200-300

157

Lot 380 158

Lot 380 380* Various Artists. The Freud Museum, 10th Anniversary Portfolio 1997, ten colour screenprints by Peter Blake, Patrick Caulfield, Prunella Clough, Susan Hiller, Matthew Hilton, Joseph Kosuth, Claes Oldenberg, Cornelia Parker, Alison Watt, and Paul Wunderlich, printed by Gresham Studio, Cambridge, and numbered 10 from an edition of 100, each print signed and numbered by the artist, 61 x 51cm (24 x 20ins), all loosely contained in orig. pubs. maroon cloth portfolio, lightly dampmarked to edges, large folio (67.5 x 52cm, 26.5 x 20.5ins) (1)

£1500-2000

381* Weight (Carel, 1907-1997). The Day of Doom/Allegro Strepitoso, two colour lithographs, old tap marks, tears and damp mottling, largely confined to margins, both with pencil signatures, titles and limitations in the lower margin, 59 x 64cm (23 x 25ins), and 50 x 65cm (20 x 25.5ins) Limited editions 5/250 and artist proof I/XV respetively. (2)

£150-200

382* Wunderlich (Paul, 1927-2010). La Fleur, 1969, colour lithograph, signed in pencil lower left and numbered 62/75, sheet size 65.5 x 50 (25.75 x 19.75ins) (1)

£100-150

Lot 381 159

ILLUSTRATIONS

383* Bateman (Henry Mayo, 1887-1970). Omar Khayyam and female attendant, 1923, pen and black ink on wove paper, signed and dated lower right, captioned beneath: “LXV. But fill me with the old familiar juice. Methinks I might recover by and by.”, 22.25 x 16.75cm (8.75 x 6.5ins) As reproduced on page 89 of The Book of the Omar Khayyam Club (Second Book, 1910-1929), privately printed, 1910-1931. (1) £200-300

385* Egan (Beresford Patrick, 1905-1984). ‘The Glad-eye of Justice’, 1927, & ‘In the House on the Tiles’, 1928, pen and black ink drawing on paper, heightened with bodycolour, laid down on card (the second work on Clifford Milburn watercolour board), signed and dated lower left and lower right respectively, each additionally titled and dated in ink to verso, 34.8 x 27.7cm (13.7 x 10.9ins), and 38 x 26.5cm (15 x 10.5ins) respectively (2)

384* Broderick (Muriel Alice, 1910-1954). “Medieval Craft Play at Coventry”, gouache, together with “Nativity Play in Peterborough Cathedral”, “Miracle Play performed outside Rochester Cathedral”, and “Miracle Play performed on village green, each signed lower right 36.5 x 29cm (14.5 x 11.5ins), all mounted, framed and glazed A pencilled note on the verso indicates that these pictures was reproduced in ‘The Illustrated London News’, Christmas Number 1935. (4) £400-600

160

£300-400

386* Hornby (Lester George, 1882-1956). A collection of 20 original pencil views of Aberdeen, 1920’s, all pencil on laid paper on card, including At Torry, The Old Tolbooth, Bridge of Dee, Duthie Park, Music Hall, The Green - Friday Market (signed lower left), Corner of Union Terrace, most captioned, some occasional light spotting, the largest 22 x 16cm (8.5 x 6.25ins), together with Edinburgh, a Sketch Book, 1926 reprint (with illustrations by Hornby) (21)

£200-300

387* Hurry (Leslie, 1909-1978). Five stage costume designs, c.1957, together five pen & ink, watercolour and charcoal drawings with attached textile swatches, three designs 360 x 260mm, one design 280 x 380mm and one 260 x 560mm, all mounted, framed and glazed Leslie Hurry was a British artist and set designer for the theatre, ballet and opera. (5) £800-1200

388* Low (David 1891-1963). “Omar Ma’khayy Club”, [1928], pen and black ink on laid paper, signed top left (with white bodycolour at foot erasing writing, one or two small spots and marginal tears), 40.5 x 32.25cm (16 x 12.75ins), together with “Plat du Jour John Henderson”, pen and black ink on laid paper, signed lower right, 38 x 34cm (15 x 13.25ins) First illustration reproduced on page 143 in The Book of the Omar Khayyam Club (Second Book 1910-1929), privately printed in 1931. (2) £200-300

Lot 386

Lot 387

161

389* May (Phil, 1864-1903). Roddy, pen and ink caricature on brown paper, signed lower right and titled in pencil upper left, 14 x 11.5cm (5.5 x 4.5ins), framed and glazed (1)

£70-100

391* Pett (Norman, 1891-1960). Picnic scene cartoon, pen & ink, signed, 25 x 20cm (9.5 x 8ins), pencil caption to mount, old swept gilt frame Pett was a frequent contributor to Punch, Passing show and other similar publications, as well as creating the saucy WW2 comic-strip heroine Jane. The caption reads: Mother (to small son busy with pen knife “I suppose you won’t be happy ‘till you’ve bought it crashing down on us!” (1) £70-100

390* Meredith (Norman, 1909-2005). The Enthusiast, 1981, watercolour on paper, heightened with bodycolour, signed and dated lower left, 28 x 22cm (11 x 8.7ins), framed and glazed, with Chris Beetles’ label to verso (1)

Lot 392

£150-200

162

392* Richardson (Agnes, 1885-1951). Original illustration for a birthday card, gouache with pen, ink, and watercolour, on artist’s board, depicting a small boy reading a book entitled ‘Wonderland’, with various fairytale characters in the background (incl. St. George and the Dragon, Puss-in-Boots, Little Red Riding Hood), against a large numeral ‘5’, captioned ‘Birthday Greetings’, signed lower right, together with seven similar designs for birthday cards, all featuring a single-figure number and depicting a small child, variously dressed as Little Jack Horner, playing with toy farm animals, dressed as a cowboy riding a small horse, dressed as a cowboy with three teddy bears, dressed as a cowboy sitting next to a teddy bear, dressed as a cowboy lassoing a teddy bear, dressed a cowboy leading a small dog, dressed as a cowboy and carrying a lasso, etc., image size 20 x 20cm (8 x 8ins) (9)

£400-600

Lot 394

393* Von Luttich (Mila, 1872-1929). Nature Sprites (illustration for Meggendorfer-Blatter), pastel on thick wove paper, signed with monogram lower right, image size 37 x 26cm (14.5 x 10.25ins), sheet size 47 x 38.5cm (18.5 x 15.25ins), with inkstamp to verso of the Meggendorfer-Blatter Munchen, supplying the artist’s name in ink to verso, mounted The Austrian painter and illustrator Mila von Luttich (1872-1929) worked mostly for the illustrated magazine Meggendorfer-Blatter. Her work is influenced by the Vienna Secession and the work of Koloman Moser. (1) £300-500

394* Attributed to Adolophe Leon Willette (1857-1926). First World War Medical Orderly comforting a matron, pen and ink black crayon and pencil on paper, signed with monogram WA lower right, some light spotting, sheet size 44.5 x 28.5cm (17.5 x 11.25ins), together with another similar original magazine illustration depicting a drunken Prussian officer supported by a woman, pen & ink, with black crayon and grey wash on paper, monogrammed W surmounted by crown lower left, sheet size 38 x 25.5cm (15 x 10ins)

395* Williams (Gluyas, 1888-1982). ‘Traveling’, pen and black ink cartoon, signed and inscribed ‘To Martyn Grew’s mother with the good wishes of ...’, 25 x 22cm (10 x 8.5ins) mount aperture, framed and glazed

(2)

(1)

£150-200

163

£150-200

MODERN WATERCOLOURS

396* Ackermann (Arthur Gerald, 1876-1960). Stiffkey, Blakeney Channel, Norfolk, watercolour on paper, 165 x 254mm (6.5 x 10ins), framed and glazed, with Fry Gallery label to verso

398* Ackermann (Arthur Gerald, 1876-1960). Post Mill at Lewes, pencil on laid paper, inscribed Lewes lower left, 24 x 35cm (9.5 x 13.75ins), framed and glazed, with Cromer Antique Gallery label to verso

Provenance: From the collection of Ethel Violet Scully (née Ackermann), sister of the artist (according to label). (1) £200-300

(1)

397* Ackermann (Arthur Gerald, 1876-1960). Blakeney, Norfolk, watercolour and pencil on paper, 14 x 20.8cm (5.5 x 8.2ins), framed and glazed, with Fry Gallery label to verso, and typed postcard signed by Cyril Fry also mounted to verso (1)

£100-150

399* Austria. View of Innsbruck, with St. Ann’s Column, and Karwendel Mountains beyond, early 20th century watercolour miniature, indistinctly signed lower left (Straus?), 8.5 x 12cm (3.3 x 4.75ins), framed and glazed

£200-300

(1)

164

£100-150

400* Baynes (Keith Stuart, 1887-1977). Mediterranean harbour, 1922, watercolour on paper, signed and dated lower right, 23.5 x 34cm (9.25 x 13.25ins), framed and glazed (1)

£200-300

401* Bone (Sir David Muirhead, 1876-1953). “The Sardinian Embassy”, charcoal and pencil on paper, signed lower right, 27 x 21.5cm (10.5 x 8.5ins) mount aperture, framed and glazed Provenance: original label to verso with manuscript title, artist name and his address at 28 Church Row, Hampstead. (1) £100-150

402*AR Bosshard (Rodolphe Theophile, 1889-1960). Reclining nude, 1929, charcoal on card, signed with initials and dated ‘29 lower left, 22.5 x 29.5cm (8.75 x 11.6ins), framed and glazed (1)

Lot 400

Lot 402

165

£1000-1500

Lot 403

Lot 405

403* Brangwyn (Frank, 1867-1956 ). Fishing boats and figures on the shore, watercolour heightened with gouache on paper, with traces of black chalk, signed lower right, 31 x 38.5cm (12.25 x 15.25ins), framed and glazed (1)

405* Bury (Adrian, 1891-1991). Marie Fell after Quentin de la Tour, pastel on laid paper, signed and titled lower left, 35 x 24cm (12 x 9.5ins), framed and glazed A copy of the famous pastel portrait by Maurice Quentin de la Tour (17041788) in the Musée Antoine Lecuier, Saint-Quentin, France, of the Opera Singer Marie Fel. (1) £150-200

£300-500

404*AR Buffet (Bernard, 1928-1999, attrib.). Factory with chimney behind a long brick wall, watercolour on off-white thick paper mounted on card, brown and grey colours, signed and dated upper left ‘Bernard Buffet 41’, within double-rule pencil border, some marginal toning and creases, 10.5 x 21.5cm (4.25 x 8.5ins) (1)

£200-300

406* Bury (Adrian, 1891-1991). Winter, Syon Park, 1938, watercolour, signed, dated, titled, and inscribed ‘To my dear friends Polly and Granville Fell’, 26.5 x 37cm (10.5 x 14.5ins), together with another watercolour portrait study of a young woman, dated December 6, 1938, and inscribed by the artist ‘To Gracie and Barry. From Adrian’, 27.5 x 18.5cm (10.8 x 7.25ins), both framed and glazed (2)

166

£150-200

407* Collister (Alfred James, 1869-1964). Ballaugh, Isle of Man, watercolour on paper, signed lower right, 41.5 x 55.5cm (16.25 x 21.75ins), framed and glazed, with old handwritten label to verso, together with another similar watercolour landscape by Collister, signed lower right, 42 x 56cm (16.5 x 22ins), oak frame, glazed (2)

£400-600

408* Cooper (Alfred Egerton, 1883-1974). Cookham on Thames, watercolour, signed with initials lower left, 36 x 38cm (14 x 15ins), framed and glazed, with artist’s signature and title to verso (1)

£300-500

409* Darwin (Elinor Mary Monsell, 1871-1954). Gwen John sketching at The Slade, 1895-96, pencil on paper, initialled E. M. to lower right corner, and with a study in red chalk to verso of a male figure, 23 x 18cm (9 x 7ins), mounted, framed and glazed The subject is identified by a typewritten note attached to the verso of the frame. Elinor Mary Darwin (née Monsell) (1871-1954), was an Irish painter and illustrator who studied at the Slade School of Art in London, earning a scholarship in 1896. She married the golf writer Bernard Darwin and illustrated several of his books for children, including the Tale of Mr. Tootleoo. She is known to have taught engraving to her husband’s cousin Gwen Raverat. (1) £300-500

Lot 408

Lot 409 167

410* De Zwart (Willem, 1862-1931). Summer Landscape, watercolour, heightened with bodycolour, signed lower left left, 17 x 26cm (6.7 x 10.25ins), framed and glazed (1)

£150-200

411* East (Alfred, 1849-1913). Middle Eastern citadel, watercolour, pen & ink and black crayon on wove paper, heightened with bodycolour, signed in monogram lower right, captioned in ink “To the Omar Khayyam Club, from Alfred East, 16.12.1912”, 25 x 32.5cm (9.75 x 12.75ins) mount aperture, framed As reproduced on page 37 in The Book of the Omar Khayyam Club (Second Book), 1910-1931. (1) £200-300

Lot 410

Lot 411

168

Lot 412

412* Egginton (Wycliffe, 1875-1951). A passing storm, Dartmoor, watercolour, signed lower left, 52.5 x 73.5cm (20.6 x 29ins), mount aperture, framed and glazed (1)

ÂŁ200-400

413* Emanuel (Frank Lewis, 1866-1948). St. Omer, 1932, watercolour on paper, signed, titled and dated lower left, 24 x 34.5cm (9.5 x 13.5ins), framed and glazed, with Fry Gallery and Peter Ward Gallery labels to verso (1)

ÂŁ150-200

Lot 413

169

415* Fell (Herbert Granville, 1872-1951). Grand Pic de la Meije et Breche de la Meije, black chalk on paper, signed with initials, and titled lower right, two pin holes visible to lower margin, 38 x 44.5cm (15 x 17.5ins) mount aperture, framed and glazed (1)

£300-500

416 Fraser (Claud Lovat, 1890-1921). Houses at night, 1915, black crayon on wove paper, signed and dated on the mount lower right, 190 x 197mm (7.5 x 7.75ins), framed and glazed (1)

417* Freeth (Hubert Andrew, 1912-1986). Lesconile, Brittany, 1965, watercolour and gouache with pen & ink, signed, dated and titled, 27 x 42cm (10.5 x 16.5ins), framed and glazed

414* English School. Profile portrait of a young woman, c.192025, fine pencil drawing on laid paper, with traces of red crayon, inscribed “Ashmore”, 23 x 19.5cm (9 x 7.75ins), framed and glazed (1)

£100-150

(1)

£200-300

Lot 415 170

£200-300

418*AR Gill (Eric, 1882-1940). Seated Nude, pencil on cream vellum paper, signed with monogram lower right, dated (twice) 20.4.’32 and 19.10.’37 lower left, 42 x 28.5cm (16.5 x 11.25ins), mount aperture, framed and glazed Eric Gill took up life drawing relatively late in his career (1926), when he was 44 years old. He commented ‘Drawing from life properly comes late in life rather than early for the training of the imagination is the first thing to be seen to, and this is best achieved by life and experience’. Two selections of similar drawings of the nude were published in book form by Hague and Gill, entitled ‘Twenty-five Nudes’ (1938) and ‘Drawings from Life’ (1940). (1) £2000-3000

171

421* Hall (Edna Clarke, 1879-1979). The Artist’s younger son Denis, c. 1925, watercolour and pencil on laid paper, 24 x 16.5cm (9.5 x 6.5ins) mount aperture, framed and glazed, with Abbott & Holder printed card for the exhibition of watercolours by Edna Clarke Hall 2006 attached to verso, entitled Cornish Summers at Gillan Creek 1915-1925, together with a pencil and brown wash study of a seated girl by Henry F. Tidey (1815-1872), inscribed Annie lower left, paper watermarked J. Whatman 1855 (according to label to verso), 22.5 x 17.5cm (9 x 7ins), framed and glazed, with Fry Gallery label to verso (2)

£100-150

419* Grossman (Maurice, c.1900-1976). Untitled/Allen Ginsberg, 1968, acrylic and gouache montage on buff paper, inscribed “For Pepik, Maurice, 1968” lower right, 46 x 51cm (18 x 20ins) (1)

£100-150

420* Guthrie (Kathleen, 1905-1981). Bathers at Cassis, gouache on paper, signed lower left, 18 x 25cm (7 x 10ins), framed and glazed, with Mulberry Gallery label to verso (1)

£300-500

422* Hardie (Martin, 1875-1952). Sémur 1921, watercolour, heightened with bodycolour, signed, titled and dated lower left, 30.5 x 40.5cm (12 x 16ins), framed and glazed with old Colnaghi label to verso (1)

Lot 420

£150-200

Lot 421 172

424* Herman (Josef, 1911-2000). Three women, watercolour and black ink on paper, 23.5 x 30.5cm (9.25 x 12ins), framed and glazed (1)

£200-300

425* Hutchinson (Lt. Col. Graham Seton). Dickebusch Lake, Ypres, 1918, watercolour on paper, signed and dated lower left, 24 x 34.5cm (9.5 x 13.5ins), framed and glazed

423 Hardy (Dudley, 1865-1922). Five original drawings, watercolour or pen & ink, subjects include four female head and shoulders portraits and one other, all mounted on one sheet measuring 18.5 x 18.5cm (7.5 x 8.5ins), framed & glazed

(1)

The son of the marine artist Thomas Bush Hardy, he attended the Dusselforf Academy and Antwerp Academy and painted scenes in the Middle East and Brittany, later producing posters inspired by French imagery of the Belle Epoque. (1) £200-400

Lot 425 173

£150-200

426* Jones (Van, 20th c.). Noss Mayo, looking from Newton Creek, gouache on paper, signed lower right, 26.5 x 35.5cm (10.25 x 13.75 ins, framed and glazed (1)

ÂŁ300-500

427* Jones (Van, 20th c.). Estuary scene, gouache on paper, signed lower left, 26 x 32.5cm (10.25 x 12.5ins) framed and glazed (1)

300-500

174

429* Kelly (Peter, 1931-). Morning Mist, Rouen Docks, watercolour, signed lower right, 48 x 68cm (19 x 26.75ins), framed and glazed, with Mulberry Gallery label to verso (1)

430* Kemp-Welch (Lucy, 1869-1958). ‘Boysie’, a Pomeranian, 1910, black pencil on paper, signed, titled and dated to lower right, some light soiling, sheet size 163 x 152mm (6.4 x 6ins), mounted on album sheet

428* Kainer (Ludwig, 1885-1967). Carnaval, c. 1910, pencil and black ink with watercolour on thin wove paper, signed and titled to lower margin, a sketch book sheet with serrated top margin, torn with a little loss to upper outer corners, sheet size 26 x 21cm (10.25 x 8.25ins) (1)

£300-500

The subject would appear to have belonged to the Atkinson family of Northumberland, of which there were three sisters: Ethel, Lorna and Islay. This sheet comes from an album compiled by Ethel or Essie B. Atkinson, who later married Burnell Lundbeck. (1) £400-600

£100-150

Lot 429 175

431* Lamb (Chloe, 1960-). Still life of a lemon on a saucer, 1997, pastel on board, signed and dated lower right, 20 x 21cm (8 x 8.25ins), framed and glazed (1)

£150-200

432* Leaver (Noel Harry, 1889-1951). Figures by a Mosque, watercolour, 25 x 38.5cm (10 x 15.5ins), mounted, framed and glazed

433* Leaver (Noel Harry, 1889-1951). Interior of Westminster Abbey, watercolour, heightened with bodycolour, apparently unsigned, 51.5 x 35.5cm (20.25 x 14ins) mount aperture, framed and glazed, with old typewritten title label and biographical note to verso

Noel Harry Leaver is best-known for his evocative North African landscapes. He attended the Burnley School of Art from the age of thirteen, afterwards moving to London to study at the Royal College of Art, where he received a travel scholarship which took him to Italy in 1911. He subsequently studied at the Royal Institute of British Architects, where he received the Owen Jones travel scholarship which enabled him to return to Italy, and also visit North Africa in 1912. He taught at Halifax Technical College between 1912 and 1915 and, at the end of WWI, took up watercolour as a medium, painting extensively in Algeria and Morocco in the following two decades. (1) £250-350

(1)

£150-200

434* Littleford (Robert, 1940-). A Day at the Beach, watercolour, signed in pencil, 16.5 x 23.5cm (6.5 x 9.25ins), framed & glazed (1)

Lot 434

176

£300-500

Lot 435 435* Livens (Horace Mann, 1862-1936). Row of Houses with Figures, 1910, gouache, watercolour and black chalk, signed and dated lower right, 28.5 x 38cm (11.25 x 15ins), framed and glazed, with Peter Ward Gallery of Cirencester label to verso (1)

£300-500

436* Lockyer (Isabel de B., exhibited 1914-1939). The Shop Window, gouache on paper, signed in ink and dated 1930, 21 x 17cm (8.25 x 6.75ins), framed & glazed The original design for a linocut printed in the same year. Little is known about the artist, though her work bears the influence of the Grosvenor School and William Giles. (1) £600-800

437* Makart (Hans, 1840-1884). Portrait of a man, head study in black chalk on buff paper, signed in initials lower right, 37 x 31cm (14.5 x 12.25ins), together with two pencil and chalk drawings on paper of women, by Charles Jean Agard (1866-1950), each signed, the largest 34 x 23cm (13.25 x 9ins) (3)

£150-200

438* Malet (Guy Seymour Warre, 1900-1973). Still Life of a silk tassled cloth on a table by a window, with vase and plant pot, oil on board, unsigned, 30.5 x 40.5cm (12 x 16ins), framed, together with a pair of early-mid 20th century unsigned English watercolours of a woman seated in an armchair and a summer landscape with a woman resting, both unsigned, 25 x 29.5cm (10 x 11.75ins) and similar, both framed and glazed, plus two later 20th century pen, ink and watercolour still life studies, one large scale depicting vegetables on tiered stands and another small scale study of shells, both framed and glazed (3)

Lot 436

£100-150

177

Lot 439

Lot 440

Lot 441 178

Lot 442

Lot 443

439* Matthew (Robert, 1906-1975). Building under Construction, untitled charcoal drawing on paper, signed, 51 x 76cm (20 x 30ins), mounted, framed and glazed

441* Matthew (Robert, 1906-1975). Still Life of Cocktail Glasses, untitled charcoal drawing, signed and dated 1962, approx. 51 x 76cm (20 x 30ins), mounted, framed and glazed

This drawing was exhibited at the now defunct Gallery 13, Dundas Street, Edinburgh, and illustrated in the catalogue. Sir Robert Matthew (1906-1975) was president of the International Union of Architects, the Commonwealth Association of Architects and the British Institute of Architects. He is probably best known for the masterplan of Pakistan’s new capital Islamabad. He was appointed architect to London County Council in 1946 and designed iconic buildings such as New Zealand House and the Festival Hall. He returned to Edinburgh in 1953 to become the first Professor of Architecture at Edinburgh University, his most notable buildings being the sleek David Hume Tower and the ultra-modernist Commonwealth Pool. (1) £300-500

(1)

442 Maze (Paul Lucien, 1887-1979). Nude study, 1986, red chalk on paper, signed lower right, 44.5 x 28cm (17.5 x 11ins), framed and glazed Provenance: Fosse Gallery, with label to verso. (1)

£200-300

443* Milliere (Maurice, 1871-1946). Jeune fille en profil, watercolour and black crayon on paper, signed in brown ink to lower margin, some light creases and soiling, sheet size 35 x 20.5cm (13.75 x 8ins), mounted

440* Matthew (Robert, 1906-1975). Abstract Composition (street scene), untitled charcoal drawing on paper, signed Matthew 1962, approx. 51 x 76cm (20 x 30ins), mounted, framed and glazed (1)

£300-500

(1)

£300-500

179

£200-300

444* Monk (William, 1863-1937). Panoramic View from Leith Hill Tower, near Dorking, watercolour, signed lower left, 32.5 x 49.2cm (12.75 x 19.3ins), period frame, glazed (1)

ÂŁ150-200

445* Nagrebelny (Oleg, 20th century). The Lavra Museum, Kiev, 1994, watercolour on laid paper, signed and dated lower right, 29 x 46cm (11.5 x 18ins), framed and glazed, together with another slightly larger version of the same image by the artist, signed lower right, 37 x 57cm (14.5 x 22.5ins), framed, plus four other watercolours by the same artist, including another view of the Lavra Museum, Kiev, at street level, signed and dated 1994, and three studies of sunlight throught trees, each signed and dated 1997/98, the largest 68.5 x 39.5cm (27 x 15.5ins), framed and glazed (6)

Lot 445

180

ÂŁ300-500

447 Newell-Walker (Ursula, 20th c.). “Flowers and Coffee Cup”, gouache on paper, signed middle right, 37 x 27.5cm (14.5 x 10.75ins) mount aperture, framed and glazed (1)

£100-150

446* Nash (John, 1893-1977). Crocuses & Narcissus Juncifolus Rupicola, two pen & ink drawings on paper, the second heightened with bodycolour, 7.5 x 10cm (3 x 4ins), and 12 x 9.5cm (4.75 x 3.75ins) respectively, matching frames, glazed, with New Grafton Gallery label to verso of each, dated 1987, and another exhibition label to verso of the second drawing for The Minories exhibiton of John Nash book designs in 1986 (2)

£200-300

448* Newland (H.B., 20th c.). Two portraits of ladies, 1926 & 1929, pastel on paper, each signed and dated lower right, 24 x 17cm (9.5 x 6.75ins) mount aperture, framed and glazed (2)

181

£100-150

449 Newlyn School. An album belonging to Mrs. Alfred Sidgwick, early 20th c., approx. fifty leaves (a number blank), with a variety of mounted (and a few loose) original drawings, greetings cards, photographs, invitations, and engravings, incl. eight original sketches, two by Samuel John “Lamorna” Birch, one a landscape with buildings and church, inscribed to lower margin ‘A merry Xmas! Good luck from John B. 1913’, 13 x 13cm (5 x 5ins), the other of a coastal scene with buildings and a boat, signed ‘S.J.L.B. Xmas 1932’, and inscribed ‘My Dear Aunt Cec & Alfred, Just a new sketch to wish you every good thing for Xmas - and to send my love. Yours affly. John’, image size 9 x 11.5cm (3.5 x 34.5ins), a pen & ink caricature of Crosbie Garstin, a cartoon featuring Mr. Garstin, Mr. Collins, and Mrs. Leader’s Laughing Jackass ‘Cronje’, several photographs, incl. a three-quarter length profile photograph of Dame Laura Knight in a landscape holding a palette and paint brush, signed by photographer on mount ‘E. Paul, Penzance’, and a large photograph of a young man cleaning a landscape in a moulded frame, a number of greetings cards, incl. three litho. Christmas cards from Norman Garstin (for 1911, 1912, 1913), a Christmas card from Mr. & Mrs. Stanhope Forbes to the Sidgwicks (Newlyn, 1933), several invitations, incl. one inviting the Sidgwicks to the marriage of Crosbie Garstin, orig. maroon half morocco, rubbed and sl. worn, folio Mrs. Alfred Sidgwick (c.1855-1934) published forty-one novels and short stories, and four works of non-fiction between 1889 and her death in 1934. From about 1907 the Sidgwicks lived at St. Buryan in Cornwall, near to the flourishing colonies of artists and writers at Newlyn and Lamorna, and Cornish settings and characters are common in her works. The Sidgwicks were close friends with the Garstins. Norman Garstin (1847-1926) was an artist and teacher of painting, and his son, Crosbie (1887-1930), was a writer of poetry and prose, who coauthored the novel ‘The Black Knight’ with Mrs. Sidgwick (published 1920). (1) £500-800

450* Oxley (Ursula, 1918-). Portrait of Allen Ginsberg, 1967, pencil and pastel on buff card, titled “Alan Ginsberg” top right, signed and dated lower right, 38 x 28cm (15 x 11ins), framed

Lot 449

Provenance: Summer Salon, Royal Institute Galleries, label to verso. (1) £200-300

182

451* Pope (Hilda Chancellor, 1913-1976). Cornish Cove, gouache and black crayon on paper, 32 x 38cm (12.5 x 15ins), framed and glazed, with Leicester Galleries labels to verso Exhibited: Artists of Fame & Promise, Part II, Leicester Galleries, AugustSeptember circa 1955, number 35. (1) £150-200

Lot 453

452*AR Power (Cyril Edward, 1872-1951). The Mount, Bury St Edmunds, c. 1930s, watercolour on paper, unsigned and undated, pencil title details to verso, 28.5 x 38.5cm (11.25 x 15ins) Provenance: Giles Power, grandson of the artist. (1)

£300-400

453*AR Power (Cyril Edward, 1872-1951). Still life of a vase of flowers on a table, c. 1935, watercolour on paper, signed twice lower right (once in capital letters), 38 x 28cm (15 x 11ins) Provenance: Giles Power, grandson of the artist. (1)

£300-400

454*AR Power (Cyril Edward, 1872-1951). Roof of the Solon[?], Tyrells, Woolpit, [Suffolk], c. 1930, watercolour on paper, signed lower right, initialled title to verso, 50 x 36cm (19.75 x 14ins) Provenance: Giles Power, grandson of the artist. (1)

£300-400

Lot 454

183

455*AR Power (Cyril Edward, 1872-1951). Vase of flowers with reflection, 17 May 1932, watercolour on paper, pencil date lower left, signed lower right, thin brown paper border created before painting with brushstrokes touching margins, 54 x 36.5cm (21.25 x 14.5ins) Provenance: Giles Power, grandson of the artist. (1)

£300-400

456*AR Power (Cyril Edward, 1872-1951). Windsor, 1944, oil on thick paper, showing figures in a boat and other figures picnicking on the grass beside, unsigned, pencil title and date to verso, corner pin holes, 29 x 39.5cm (11.5 x 15.5ins) Provenance: Giles Power, grandson of the artist. (1)

£300-400

Lot 455

457*AR Power (Cyril Edward, 1872-1951). Easter Mass, Sabbato Sancto, Westminster Cath[edra]l, 1944, oil on thick paper, unsigned, pencil title and date to verso, corner pin holes, 39.5 x 29cm (15.5 x 11.5ins) Provenance: Giles Power, grandson of the artist. (1)

Lot 456

184

£300-400

458*AR Procktor (Patrick, 1936-2003). Alan Bates in ‘Patriot For Me’, 1982, watercolour on thick wove paper, signed and dated lower right, a little surface abrasion to extreme top edge, 45 x 34.5cm (17.75 x 13.5ins), framed and glazed (1)

£700-1000

185

461*AR Spare (Austin Osman, 1888-1956). Anatomy of Ecstasy (Arboreal Metaphor), pencil and body colour on wood panel, 45 x 61cm (17.75 x 24ins), framed and glazed with Sebastian D’Orsai framer’s label to verso (1)

£2000-3000

459* Schneider (Gustav, 1910-). Tubingen, 1956, watercolour with pen and ink on thick wove, signed and dated lower right, additionally inscribed with the artist’s name and title to verso, 16 x 22.5cm (6.25 x 8.9ins), framed and glazed (1)

£100-150

462* Sykes (Charles Robinson, 1875-1950). Portrait of Stanley Grimm, painter, 1927, pencil on paper, signed, titled and dated, some overall spotting, size 25 x 20cm (10 x 8ins) Stanley Grimm (1891-1966) was born in London, and studied at Reiga Arts School, 1910-13, and Munich, 1913-14. He exhibited overseas, and in England at the Royal Academy, Redfern, Goupil and Leicester Galleries. (1) £100-150

460* Skeaping (John Rattenbury, 1901-1980). Study of a young antelope, signed in pencil lower right, sheet size 36.5 x31cm (14.5 x 12ins), framed and glazed, together with Animal Drawing by John Skeaping, 1st ed., The Studio, 1936, numerous plates and illustrations, original cloth-backed pictorial boards, lightly marked and spotted, small 4to (2)

463* Thornton (Cecil Jeffrey, 1911-2001). Landscape with stream and cattle, watercolour on paper, signed lower right, 27 x 18cm (10.25 x 15ins), framed and glazed

£200-300

(1)

186

£150-200

Lot 461

187

464* Thornton (Cecil Jeffrey, 1911-2001). Landscape with stream and cattle, watercolour on paper, signed lower right, 18 x 26.5cm (7 x 10.5ins), framed and glazed (1)

£150-200

465 Thornton (Cecil Jeffrey, 1911-2001). Winter landscape with oak trees, gate and cattle in a field, watercolour on paper, signed lower right, 48 x 63cm (19 x 24.25ins), framed and glazed (1)

Lot 464

£300-500

466* Thornton (Cecil Jeffrey, 1911-2001). Stormy rural landscape with cows in a field, watercolour on paper, signed lower right, 48 x 66 (19 x 26ins), framed and glazed (1)

£300-500

Lot 465

467* Villa (Georges, 1883-1965). Elegante, 1927, coloured pastels on paper, signed and dated to lower centre, small paper tear to centre of image, some light soiling, 59 x 48.5cm (23.25 x 19ins) (1)

Lot 466 188

£200-300

470* Willis (John Christopher T., 1900-1969). Poole Quay, watercolour on paper, signed lower right, 23 x 33cm (9 x 13ins), framed and glazed, with artist’s address label (and title) to verso (1)

£150-200

468* Wagner (André Frédéric, 1885-). Views of the Place de la Concorde, Paris, a pair of watercolours on paper showing the fountain and obelisk, and Marly horses, each signed in pencil, 19 x 15cm (7.5 x 6ins), period glass frames, with circular label to verso for L’Art et les Cadres, 218 Faubourg Saint Honoré (2)

£100-150

471* Wood (Albert Victor Ormsby, 1904-1977). Original sketch album, containing pencil drawings, some with crayon or watercolour, subjects including full-length or head and shoulders portraits, mostly female subjects of a typically stylized form, the album containing 27 leaves with content on most pages, bound in original cloth-backed boards (23 x 29cm), together with another c.1950 sketch album containing very competent drawings of cats by William John Prince of Wandsworth Common

469* Attributed to William Walcot (1874-1943). Continental treelined square with fountain, figures and church facade beyond, watercolour and gouache, unsigned, 35.5 x 50.5cm (14 x 20ins), framed and glazed, with Reigate Galleries label to verso (1)

£200-300

Born in Dublin and attended Metropolitan School of Art in Dublin. Moved to London in the late 1920s and exhibited at the RA and RHA, later living a reclusive life at Ansty, Sussex. (2) £200-300

189

Lot 472 472* Young (Eileen, 1896-1986). Stormy Weather, watercolour, signed with initials, titled on label to verso, 24 x 35cm (9.5 x 13.75ins), together with six similar watercolours and one pencil drawing by the same hand, plus Cornish Coastline, watercolour, signed with initials, titled on label to verso, 24 x 36cm (9.5 x 14ins), together with five similar watercolours and one pencil drawing by the same hand, and Rain over the Weald, watercolour, signed with initials, titled on label to verso, 27.5 x 38cm (10.75 x 15ins), plus five similar watercolours and one pencil drawing by the same hand, all framed & glazed Studied under Myles Tonks and exhibited at the RA, NEAC, Leicester Galleries, RWS and other London venues. Several insitutions hold examples of her work including the Ashmolean Museum, Whitworth Art Gallery, Harris Museum and the Mellon Collection. (22) £300-500

473* Zinkeisen (Doris Clare, 1898-1991). “Beatrice Lille in ‘Streamline’”, pencil and watercolour, heightened with glitter, signed lower right, 46 x 30cm (18 x 12ins), titled on mount (1)

£200-300

Lot 473

190

REGINALD JAMES LLOYD (1926-) Reginald James Lloyd was born in Hereford and at the age of two the family moved to Dawlish in South Devon. After army service, he attended Exeter School of Art for one term, where he was taught by the artist George Adamson. After this he struck out on his own, and gradually developed his style independently. His impressive output includes painting, printmaking, sculpture, stained glass and large scale architectural projects. His work relates to the landscape of the South West and its ancient standing stones and hill forts, such as Avebury, Silbury Hill, Stonehenge and Maiden Castle. His strong individual style bears comparison to British Neo-Romantic painting of the 1940s and 50s. Lloyd and his family moved to Bideford, Devon in 1956 (where he has lived ever since), and in the following year he was invited to exhibit his work at the Fifth Devon Festival, alongside the work of Piper, Hitchens, Epstein, Gaudier Brzeska, Rodin and Picasso. The poet Ted Hughes was a close friend from the early sixties and a regular visitor to Lloyd’s home in Bideford. They collaborated on a series of silk screen prints for Hughes’ Crow poems: King of Carrion, That Moment, Crows Last Stand, and Crow and the Birds, in 1970, and illustrated books of poetry including What is the Truth?, The Cat and the Cuckoo, The Mermaid’s Purse, and Earth Dances, all published between 1984 and 1995. Lloyd’s work with and for Ted Hughes forms an important part of the artist’s output.

474*AR Lloyd (Reginald J., 1926-). Harbour Lane, 2005, acrylic on canvas, depicting a figure looking down a lane lined with seaside cottages towards boats in a harbour, signed and dated lower right, 99.5 x 80cm (39.25 x 31.5ins), framed, captioned and dated to stetcher (1)

£700-1000

191

475*AR Lloyd (Reginald J., 1926-). Silbury Moon, 1996, acrylic on board, depicting a figure looking towards Silbury Hill with the full moon above, signed lower left, 75 x 85.5cm (29.5 x 33.5ins), framed, back board bearing label of the R.J. Lloyd Exhibition, Burton Art Gallery, Bideford, Devon, 1996 (1)

ÂŁ500-800

192

476* Lloyd (Reginald J., 1926-). The Old Rectory Sluice Gate Much Hadam, 1954, pen, ink and wash on light blue toned and flecked laid paper, captioned, signed and dated in pencil to lower edge, 32 x 24cm (12.5 x 9.5ins), framed and glazed

477* Lloyd (Reginald J., 1926-). The Bather, 1972, monotype and watercolour wash on wove, signed and dated in pencil lower right, 34 x 24cm (13.5 x 9.5ins), framed and glazed, captioned and dated to back board

(1)

£150-250

£150-200

478* Lloyd (Reginald J., 1926-). Check Dress, 1967, acrylic on hardboard, signed and dated lower right, 20.2 x 41cm (8 x 16ins), moulded frame, artist caption label to verso of frame (1)

£150-200

193

479* Lloyd (Reginald J., 1926-). The Railway Bridge, 1951, pen, ink and watercolour wash on paper, signed and dated lower right, 25.7 x 35.5cm (10.25 x 14ins), framed and glazed, signed, captioned and dated to back board (1)

£150-250

480* Lloyd (Reginald J., 1926-). The Path to the Village, pen, ink and watercolour wash on wove, signed in pencil lower right, slight spotting, framed and glazed, caption in ink and ‘Hereford City Museum & Art Gallery R.J. Lloyd Retrospective Exhibition’ label and artist’s label dated 1996 to verso (1)

£150-200

Lot 479

481* Lloyd (Reginald J., 1926-). Rosewarne Downs near Camborne, 1951, watercolour on wove paper, signed and dated lower left, some spotting, 26.5 x 37.4cm (10.5 x 14.75ins), framed and glazed, captioned to verso (1)

£150-200

482* Lloyd (Reginald J., 1926-). Chalk Pit, 1953, pen, ink and watercolour with resist on wove paper, signed and dated lower left, 13.3 x 35.5cm (5.25 x 14ins), framed and glazed

Lot 480

(1)

Lot 482

194

£150-200

484* Lloyd (Reginald J., 1926-). Burnt Shore, 1951, watercolour on wove paper, signed and dated left edge, 25 x 35.8cm (10 x 14ins), framed and glazed, captioned and dated to back board (1)

483* Lloyd (Reginald J., 1926-). The Lily Pond, 1953, pen, ink and monotone watercolour wash on wove paper, signed and dated in pencil lower right, 14.5 x 18.3cm (5.75 x 7.25ins), framed and glazed, captioned and dated to back board (1)

£150-250

485* Lloyd (Reginald J., 1926-). The Dutch Barn, Much Hadham, 1954, watercolour on wove, captioned, signed and dated in pencil to lower edge, 27 x 37.5cm (10.5 x 14.75ins), framed and glazed

£150-200

(1)

Lot 484

195

£150-200

486* Lloyd (Reginald J., 1926-). Interior with Figures, 1965, pen, ink and watercolour, signed and dated lower right, some spotting and mottling, 11.5 x 23.5cm (4.5 x 9.25ins), framed and glazed, captioned and dated to back board (1)

£100-200

488* Lloyd (Reginald J., 1926-). Clay Figures, 1990, acrylic on paper, signed and dated lower right, 51 x 35.5cm (20 x 14ins), framed and glazed, back board bearing label of the R.J. Lloyd Exhibition, Burton Art Gallery, Bideford, Devon, 1996

487* Lloyd (Reginald J., 1926-). Ritual Stone, 1984, Monotype and watercolour on wove paper, captioned, signed and dated to lower margin, 17 x 22cm (6.75 x 8.5ins), framed and glazed (1)

(1)

£150-200

196

£200-300

490* Lloyd (Reginald J., 1926-). Cliff Figures, 2008, watercolour on wove paper, signed and dated lower left, 19.5 x 28cm (7.75 x 11ins), framed and glazed, captioned and dated to back board (1)

£150-200

489* Lloyd (Reginald J., 1926-). Beach Figure, 2008, watercolour on wove paper, signed and dated lower right, 18.5 x 24cm (7.25 x 9.5ins), framed and glazed, captioned and dated to back board, together with Single Bollard, 2008, watercolour on wove paper, signed and dated lower left, 18.5 x 24cm (7.25 x 9.5ins), framed and glazed, captioned and dated to back board (2)

£200-300

491* Lloyd (Reginald J., 1926-). Trewavas 3, 2012, acrylic on hardboard, signed and dated lower right, 40 x 42cm (15.75 x 16.5ins), framed, captioned to verso (1)

197

£150-200

SCULPTURE 492* Manner of Eric Gill, Madonna & Child, early 20th century, carved from the teak of a ship, well detailed on a square base signed ‘A. Kent’, 175cm h (68.25ins) Provenance: From a decommissioned chapel in the Kent/Sussex Weald. (1) £500-800

493AR Pye (William, 1938-). An untitled small-scale sculpture, 1987, verdigris bronze with conjoined circular and tetrahedron forms, the tilted circular base with raised unpatinated ellipse and an off-centre spindle of polished steel, a semi-circle of partly sheathed steel wires radiating from the spindle’s pointed apex around the circle’s highest edge, signed ‘PYE 3J8 1987’, 18 x 31.5 x 22cm (7 x 12.5 x 8.75ins) William Pye works on both private and public commissions, but is bestknown as a pre-eminent water sculptor whose dramatic works are to be found in public spaces worldwide. Public collections holding Pyes works include the Arts Council of Great Britain, Museum of Modern Art, New York, Contemporary Arts Society, National Museum of Wales and the Government Art Collection. (1) £700-1000

494* Renda (Giuseppe, 1859/62-1939). Head of a Lady, bronze head and shoulders portrait, signed G. Renda and inscribed Napoli to lower edge, height 24cm (9.5ins) (1)

Lot 492

198

£400-600

Lot 493 199

MODERN PAINTINGS 495* Aguilar-Agon (Jorge, 1936-). Mooring boats, oil on canvas, signed lower right, 61 x 91cm (24 x 35.75ins), framed (1)

£200-300

496* Aguilar-Agon (Jorge, 1936-). Boats at rest, oil on canvas, signed lower right, 61 x 91cm (24 x 35.75ins), framed

Lot 495

(1)

£200-300

497* Aguilar-Agon (Jorge, 1936-). Fishing boats at low tide, oil on canvas, signed lower left, 76 x 50.5cm (30 x 19.75ins), framed (1)

£150-200

498*AR Al-Jadir (Khaled, 1924-1990). Middle East coastal landscape, oil on canvas, possibly on the Moroccan shoreline, signed lower right, 38 x 55cm (15 x 21.5ins), framed The Iraqi artist Khaled Al-Jadir was born in Baghdad and studied at the National Institute of Arts in that city and later in Paris. From 1980 he lived in Rabat, Morocco, where he produced some of his best work. (1) £1000-1500

Lot 497 200

Lot 496

Lot 498 201

499*AR Alison (David, 1882-1955). Still life of summer flowers, oil on canvas, signed lower right, 76 x 63.5cm (30 x 25ins), framed Provenance: Purchased by the present owner from Edwards Bigwood & Bewlay 12th February 1986 (according to handwritten label to verso). David Alison studied at the Glasgow School of Art and became friends with his Scottish contemporary, Francis Cadell, who introduced him to the other major Scottish colourist, Samuel J. Peploe. Alison was a member of the Society of Eight, which included John Lavery, Patrick Adam, Peploe and others. He exhibited over forty works at the Royal Academy, twice that many at the Royal Scottish Academy, and obtained the silver medal at the Paris Salon. (1) ÂŁ1500-2000

202

500 Beerts (Albert, late 19th-early 20th century). Un Episode de la Bataille de la Marne, 1914, oil on board, signed and dated 6 September 1914, 33 x 51cm (13 x 20ins), framed A scene from the First Battle of the Marne, 5-12 September 1914, during which the French army commandeered 600 Paris taxis to transport 6000 infantry reserves into the line which halted the German offensive on Paris and effectively led to the four year stalemate on the Western Front. A postcard reproduced from this painting titled ‘Arrivee de l’Armee de Paris en taxi-autos a Barcy’ was produced in 1916. (1) £300-400

Lot 502

501* Board (Edwin John, 1886-1975). British coastal scene with lighthouse on a rocky headland beside a sandy beach, oil on board, monogram lower right, a few marks, 40.5 x 51cm (16 x 20ins) (1)

£150-200

502* Bratby (John Randall, 1928-1992). Acropolis Belly Dancer/Aphrodite Girl, Hastings Jan 20, 1991, pencil, pastel and watercolour on paper, signed lower left, 57 x 36cm (22.25 x 14ins), framed and glazed (1)

£300-400

503* Bratby (John Randall, 1928-1992). The Aphrodite Belly Dancer, the Taverna, Hastings, 13 Feb. 1991, pencil, pastel and watercolour, signed top right, 56.5 x 38cm (22.25 x 15ins), framed and glazed (1)

£300-400

Lot 503

203

506* Camp (Jeffery Bruce, 1923-). Porcelain and Gilt Trinket Box, oil on thin panel, signed (indistinctly) lower right, 152 x 232mm (6 x 9.2ins), mounted on wooden plaque, and inscribed by artist to verso ‘For Craigie with love Jeffery’

504* Bridge (Edna D., 20th-c.). Flower Fields near Penzance, Cornwall, oil on canvas, signed lower left, 40.5 x 56cm (16 x 22ins), framed

Provenance: A painted gift to his fellow artist Craigie Aitchison (1926-2009). Bequeathed by Aitchison to the present owner. (1) £150-200

Edna Bridge was born in Essex, but moved to Newlyn in the 1950s were she set up her studio. She was a member of the Newlyn Society of Artists, which holds two of her paintings in its collection. (1) £150-200

507* Chenu (Lucien, 1913-2004). Eglise au bord de marais, La Vendée, oil on canvas, signed, 50 x 61cm (19.75 x 24ins), framed

505*AR Bussy (Simon-Albert, 1869/70-1954). Crapaud, 1950, oil on wood panel, inscribed with title to verso, and stencilled ‘5’, signed with monogram and dated lower right, 22.5 x 17.5cm (8.8 x 6.9ins), framed and glazed (1)

(1)

£150-200

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

£4000-6000

(2)

£100-150

509*AR Cooper (Alfred Egerton, 1883-1974). Airship 9, oil study on board, depicting an R101 airship over the English countryside, signed with initials lower left, 28 x 40.5cm (11 x 16ins), framed, with partial handwritten labels to verso (1)

£700-1000

204

Lot 505 205

511* Doig (Maxwell, 1966-). “Figure dissolving into a Wall”, oil and sand on prepared paper, signed lower right, 51.5 x 61cm (20.25 x 24ins), framed (1)

£150-200

510* D’Achille (Gino, 1935-). Corgi, Lovers Living, Lovers Dead, c. 1970, oil on board, signed in initials lower left, 36.5 x 21.5cm (14.25 x 8.5ins), framed and glazed Provenence: Sotheby’s, lot 311, 22/02/2006. (1)

£400-600

512*AR Dunstan (Bernard, born 1920). The Glass of Water, oil on canvas board, initials lower left, 22 x 17cm (8.75 x 6.75ins), framed and glazed, captioned in pencil to back board (1)

206

£400-600

Lot 513

513* Enness (Augustus William, 1876-1948). Hayricks, oil on canvas, signed lower left, 43 x 66cm (17 x 26ins), framed (1)

ÂŁ400-600

514* German School. Farmworker digging with spirits rising from the ground, circa 1940s-50s, oil on canvas, 65 x 81cm (25.5 x 32ins), framed (1)

ÂŁ300-500

Lot 514

207

Lot 515

515*AR Gosling (Annabel, 1942-). ‘Afternoon Shadows’, oil on canvas, signed lower right, 51 x 76cm (20 x 30ins), framed (1)

£400-600

516* Hilton (Arthur Cyril, 1897-1960). Composition, oil on board, signed lower right, 35 x 40cm (13.75 x 15.75ins), framed With a Crane Kalman Gallery exhibition catalogue of Arthur Hilton’s works from 1959. (1) £150-200

Lot 516

208

517* Johansen (Svein, 1946-). Oslo River scene with bridge, 1946, oil on canvas, signed lower right, 114 x 160cm (45 x 63ins) (1)

ÂŁ500-800

518* Johansen (Svein, 1946-). Norwegian Museum with monument of a rearing horse in front, 1946, oil on canvas, signed lower right, 114 x 160cm (45 x 63ins) (1)

ÂŁ500-800

209

521AR Kelly (Felix, 1917-1994). An English country house in summertime, with lawn and statuary, oil on board, signed lower right, 57 x 72.530cm (22.5 x 28.5ins), framed (1)

522* School of Laura Knight (1877-1970). Woman standing by a vase of flowers, oil on heavy canvas, unsigned, 94 x 71cm (37 x 28ins), gilt moulded frame

519* School of Gwen John (1876-1939). Female nude, oil on canvas of a full-length standing female nude, unsigned, 109 x 70cm (43 x 27.5ins), period gilt frame (1)

(1)

£1000-1500

520*AR Kelly (Felix, 1917-1994). First Act of Duel of Angels (by Jean Giraudoux), oil on board, signed lower right, 30.5 x 40.5cm (12 x 16ins), framed and glazed, with Arthur Jeffress Gallery, 28 Davies Street, London, label to verso (1)

£1500-2000

210

£700-1000

Lot 520

Lot 521 211

Lot 523

523*AR Komarov (Valeriy Vladimirovich, 1949-). Wooden Russian churches in a snow, 1989, tempera on board, monogram ‘K.B.’ lower right, artist’s name, title and date in pencil to backing board, 38.5 x 52.5cm (15 x 20.5ins), framed and glazed Seemingly titled ‘Severnaya Zem[ly]a’, an archipelago in the Russian high Arctic. (1) £300-500

524* Kraus (Walter, 20th c.). Still life, oil on board, signed top left, 36.5 x 37.5 (14.25 x 14.75), framed (1)

Lot 524

212

£200-300

527* Lebourg (Albert Marie, 1849-1928). Ile de Paris, oil study on board, with circular studio stamp to upper left, inscribed with title to verso, and with stamp of The Paris American Art Co., 125 Boulevard Montparnasse, Paris, 16 x 22.5cm (6.25 x 8.75ins), framed (1)

£400-600

525*AR Laudy (Jean, 1877-1956). Still life of a bouquet of pink roses in vase, oil on paper, signed J. Laudy lower right, 58.5 x 45cm (23 x 17.75ins), framed and glazed Jean Auguste Laudy (1877-1956) was born in Venlo, Netherlands. He was a painter of portraits, interiors and flowers and still lifes. He studied at the Antwerp and Brussels Academies of Fine Arts, where he worked with Isidore Verheyden from 1894 to 1895. He moved to Belgium in 1893 and obtained a Belgin citizenship in 1921. (1) £700-900

528* Lessore (Helen, 1907-1994). Summer Garden, oil on card, inscribed in pencil to image ‘Greetings Telegram to Craigie Good wishes for Tuesday - Love from Helen’, 197 x 150mm (7.75 x 6ins)

526* Le Bas (Edward, 1904-1966). Calf on the farm at Perle Place, Sussex, oil on canvas board, framed and glazed, with Green and Stone framer’s label to verso

Provenance: A painted telegram from Helen Lessore to the artist Craigie Aitchison (1926-2009). Bequeathed by Aitchison to the present owner. A close friend of Craigie Aitchison, Helen Lessore was the first to promote his work through her gallery, the Beaux Arts Gallery in the late 1950s and early 1960s. (1) £150-200

Provenance: Collection of Captain and Mrs Michael Boyle, Hampshire. (1) £300-500

213

529* Long (Michael, 1940-). Midsummer Landscape with Church and Wheatfield, Early Evening, acrylic on paper, signed lower right, 35 x 45cm (13.75 x 17.75ins), framed and glazed (1)

£150-200

531* Maddox (Conroy, 1912-2005). The Threat, 1990, oil on board, signed, titled and dated to verso, 178 x 127mm (7 x 5ins), framed and glazed (1)

£300-500

532* Madrigali (Olynthe, 1887-1950). Cimetiere Arabe, 1925, oil on board, signed lower right, 24 x 33cm (9.5 x 13ins), inscribed with title, and dated Juillet 1925 to verso 530* Mackinnon (Hugh, 1925-). Portrait of art lecturer and author David Greysmith, oil on board, 35 x 27cm (13.75 x 10.5ins)

(1)

Note to verso states that the image was painted between 1973-1982. (1) £200-300

214

£200-300

535* Morrow (Edwin A., 1877-1952). La Panne, Belgium, 1929, oil on board, signed, titled and dated lower left, 28 x 37cm (11 x 14.5ins) Edwin Morrow was born in Belfast, and studied at the South Kensington’s schools in London. He exhibited at the Royal Academy in 1903, 1905 and 1909. He was elected a member of the Belfast Art Society in 1904. (1) £200-300

536* Mumford (Robert T., 1895-1939). Amberley Brooks, Sussex, oil on board, signed and indistinctly dated lower left, 26 x 38cm (10.25 x 15ins), contemp. gilt frame (1)

£70-100

533* Mathews (Denis, 1913-1997). Pub in Chungking, China, c. 1954-55, drybrush oil on paper, 40 x 52cm (15.75 x 20.5ins), framed and glazed, with original Redfern Gallery label to verso Provenance: Exhibited Redfern Gallery, London, 3-26 February 1955, no. 93, where purchased by Dr. R. Ramsay Garden. Denis Mathews (1913-1997) studied at the Slade School 1930-33 and 1935-36. His first one-man show was the Leicester Galleries in 1947, and he also exhibited at the Redfern Gallery and Agnew’s. He was secretary of the Contemporary Art Society from 1946 to 1956. He travelled widely in Europe, Morocco and China (where he travelled as part of the second labour delegation to China). See Patrick Wright, Passport to Peking, A Very British Mission to Mao’s China, Oxford University Press, 1910. (1) £200-300

534* No lot

537* Murphy (T.C., 1953-). “The Warrior”, oil on paper, signed in initials lower right, 50 x 39.5cm (19.75 x 15.5ins) mount aperture, framed and glazed (1)

Lot 535

215

£150-200

539* Perry (Roy, 1935-1993 ). On the Beach, Hunstanton, oil on card, signed lower left, 17.5 x 25.5cm (7 x 10ins), framed and glazed (1)

£80-120

540* Phillips (S., 20th century). The Thames, looking towards Tower Bridge, oil on board, signed, 38 x 51.5cm (15 x 20.25ins), framed, together with a hand colourd engraving of cricketers at Radley College, signed in pencil and measuring 35 x 49cm, framed & glazed (2)

£70-100

541* Rees (Richard, 1900-1970). Rooftops in France, 1939, oil on canvas, signed and dated lower right, 30.5 x 40.5cm (12 x 16ins), together with another similar oil on board by the same artist, depicting a country lane with houses, unsigned, 25.5 x 35.5cm (10 x 14ins)

538* Parker (Colin, 1941-). Coffee House, Como, Northern Italy, acrylic on board, signed lower right, 50 x 39cm (19.5 x 15ins), framed, with title inscribed to verso Colin Parker is a contemporary Australian artist best known for his views of the Outback, although he has also painted in Paris and Southern France, and Rome and Northern Italy. (1) £300-500

Provenance: From the collection of the artist R. J. Lloyd, Devon. (2) £200-300

542* Rees (Richard, 1900-1970). Summer landscape, France, c. 1930s-40s, oil on canvas, unsigned, 51 x 71cm (20 x 28ins), framed Provenance: From the collection of the artist R. J. Lloyd, Devon. (1) £200-400

543* Rees (Richard, 1900-1970). London Rooftops, c. 1930s-40s, oil on board, signed to verso, 56 x 75cm (22 x 29.5ins), framed and glazed Provenance: From the collection of the artist R. J. Lloyd, Devon. (1) £200-400

Lot 539

216

Lot 542

Lot 543

217

Lot 545

Lot 544

544 Roder (Endre, 1933-). Figures by the water, oil on board, signed lower left, 122 x 61cm (48 x 24ins) Provenance: Previously purchased from the studio sale of the artist’s work. A retrospective of Endre Roder’s paintings was recently held at Bath Contemporary gallery in Bath, May 2013. (1) £300-500

545* Roeder (E.K., 20th c.). Elsa and Lohengrin, c. 1930, oil on canvas, small marginal hole top right, 127 x 81cm (50 x 31.75ins), framed (1)

£200-300

546* Sayer (Derrick Latimer, 1917-1992). Mermaids and Fish, oil on canvas, signed lower right, 32 x 48cm (12.5 x 19ins) mount aperture, framed and glazed (1)

Lot 546

£100-150

218

Lot 547

547* Smyth (Montague, 1863-1965). Imperial Confucian Temple, Nan King, China, oil on canvas, signed (indistinctly) lower right, 46 x 61.5cm (18 x 24.25ins), framed, with stencil WB211 to verso (1)

£400-600

548* Sturdee (Percy, 1861-1939). “Under the protection of his ancestors”, 1893, oil on canvas, signed, inscribed Kanagawa, Japan, April 1893 to lower left, relined, with printed title slip pasted to verso, 76 x 63.5cm (30 x 25ins), framed An exhibiton of paintings of Japan by Percy Sturdee was held at the Clifford Gallery, London in 1896, in which the present work may have been included. Kanagawa is a prefecture to the South of Tokyo, with Yokohama as its regional capital. (1) £700-1000

Lot 548 219

549* Van Heddeghem (Alice, exhibited 1906-1927). Summer Flowers, oil on canvas board, signed lower right, 54.5 x 80cm (21.5 x 31.5ins), framed and glazed (1)

ÂŁ300-500

550* Verpilleux (Emile Antoine, 1888-1964). Summer Landscape, 1936, oil on board, signed and dated lower right, 33 x 40.5cm (13 x 16ins), contemp. art deco moulded frame, glazed The London-born Belgian painter and print maker, Emile Antoine Verpilleux, studied fine art at the Academie des Beaux Arts in Antwerp. He applied unsuccessfully to join the London Group in 1914. (1) ÂŁ300-500

220

Lot 552

551* Walsh (Tessa, 1918-2012). A collection of fifteen framed abstract works in oil or gouache, including Forms in Space, Tableau: The Lavender Girl, The Nun, and The Devils of Loudun, all signed, together with The Art of Containment, 1983, oil pastel on paper, signed with initials lower right, framed and glazed with Royal Academy Summer Exhibition label from 1985 to verso, and other similar oil paintings by the same artist, of biomorphic forms, framed Ethetia Walsh, or Tess as she liked to be called, lived an unconventional life, devoted almost entirely to creative endeavour. She spent many years working as a landscape gardener in the summer months, earning enough to spend the remainder of the year in Devon and Cornwall, where she devoted her time to painting and writing poetry and prose. Despite her assured and fluid style she had no formal art training, and she was also a self-taught carpenter and picture-frame maker. In 1976 Walsh moved to Siddington in Gloucestershire where she continued painting and framing in her studioworkroom. She exhibited at Le Salon de Nations, Paris, in 1984. (15) ÂŁ300-500

552* Warren (Charles Wyatt, 1908-1993). Benllech, Anglesey, coastal view looking south east, oil on board, signed lower left, 23.5 x 54cm (9.25 x 21.25ins), framed

Lot 551

(1)

221

ÂŁ200-300

553* Wyndham (Richard, 1896-1948). Alpes Maritimes, oil on canvas, signed lower left, 40 x 60cm (15.75 x 23.5ins), framed, with Arthur Tooth gallery label, and Walker Art Gallery, Liverpool, exhibition label to verso Captain Richard ‘Dick’ Wyndham (1896-1948) studied under Harold Speed. An exhibition of his paintings was held by Arthur Tooth & Sons, March 22 to April 13, 1933, and a retrospective exhibition of his work was held at Henry Wyndham Fine Art, London in 1993. (1) £1000-1500

554*AR Yi (Man Fung, 1968-). Abstract composition, oil on canvas, signed to verso, 125 x 154cm (49 x 61ins) Man Fung Yi is a contemporary Hong Kong artist best known for her sculptures and installations. (1) £1500-2000

222

DAY TWO

CERAMICS & GLASS To commence at 11am

560* A large salt glazed stoneware bottle (Bellarmine), c. 1650, of ovoid with bearded face at neck, 45cm high (lacking handle)

563* A collection of European ceramics, including a Dutch blue and white delft bowl, 18th century, decorated in the Chinoiserie style, blue mark to base, 35cm diameter (13.75ins), damaged, together with a shaped faience charger, decorated with sprays of flowers, 31cm diameter (12.25ins), a Meissen commemorative porcelain blue and white plate, decorated with the ‘A.R.’ crest (Augustus Rex) dated 1828 - 1898, 1873 - 1898, blue crossed swords mark to base, 25cm diameter (9.75ins), plus a Quimper pottery ink well, typically decorated with cover, 10cm long (4ins)

Originally known as Greybeards these bottles were produced in Germany and Netherlands c.1600-1650, the caricature is supposed to be Cardinal Bellarmine, an Italian Jesuit whose opposition to Protestantism turned him into a figure of hate. (1) £100-150

()

£100-150

561* A collection of Beswick horses, including a Highland Pony, 21cm long, a horse and three foals, a stallion with a brown mat finish, 26cm long plus an unmarked brown horse possibly Beswick (7)

£100-150

564* A rare Clarice Cliff Bizaar “Viscaria” pottery dish, of rectangular form decorated with flowers in yellow, violet and pink, with large central bowl, the reverse with two bowls, unmarked but impressed ‘581’, 33cm wide (13ins) (1)

565* Clarice Cliff “Crocus” pattern tea and sandwich set, comprising nine teacups, nine saucers, milk jug, sugar pot and cover, rectangular sandwich plate and twelve side plates, differing backstamps printed in gold or green, some damage

562* A WMF myra glass bowl, early 20th century, with an iridescent crackle finish on a pronounced foot, 36.5cm diameter (1)

£200-300

£50-70

(33)

224

£100-150

Lot 566

Lot 567

Lot 568

566* An Elers red ware coffee pot, early 18th century, the body applied with vases and flowers, moulded mask head spout and key moulded foot, with domed cover, 25cm high, chips and repair to spout

568* A Pearlware pottery custard cup and cover, early 19th century, of baluster form with domed cover, painted with blue banded decoration, 10cm high, some chips notably to the rim of cover

(1)

£150-200

£100-150

569* A Bristol delft plate, 18th century, decorated in yellow, green and blue with a vase of flowers, within a similarly decorated border, 23cm diameter (9ins)

567* A Wedgwood creamware Veilleuse and fittings, c. 1800, impressed mark to base, 30cm (12ins) overall Provenance: By family descent, Caroline Dora Taylor (nee Rushbrook), Clifton, Bristol. (1) £150-200

(1)

£150-200

570* A pair of Derby porcelain candlesticks, c.1770, modelled as a courting couple picking flowers, encrusted with flowers on a Rococo scroll base, 26cm high (10ins), some damage (1)

Lot 569

£200-300

Lot 570

225

571 A pair of Derby porcelain candlesticks, c.1770, modelled as Mars and Diana surounded by bocage, on Rococo bases, 21cm high (8.25ins), restored

572* A pair of Derby figures, c.1820, modelled as the Welsh tailor and is companion each riding a goat, incised ‘No 62’, 15cm high (6ins), some damage

(1)

(2)

£200-300

573* A Victorian pottery part dinner service by BrownWesthead & Moore, c.1870, flow blue printed with citrus fruit, leaves and blossom, comprising a game meat dish, six oval serving dishes, a soup tureen and stand, pair of oval vegetable tureens, a round tureen, pair of oval sauce tureens, twelve soup plates, twelve dinner plates and ten side plates, impressed marks ()

Lot 573

226

£1000-1500

574* A 16th century Iznik pottery jug, c.1570, of baluster form decorated with red tulips and and other flowers showing signs of gilt paint, with curved handle and short flared foot, 23cm high (9.25ins) A similar example can be found in the Louvre Museum, Paris. (1)

227

ÂŁ2000-3000

575* A large Victorian majolica pottery vase, of baluster form moulded with a dragon clambering over a sky blue ground with polychrome stars and clouds, painted ‘S.D.’ mark to base, 27ins high (69cm) (1)

£300-500

576* Medieval encaustic pottery tiles, comprising five of variable condition, including a complete fleur de lys decorated example approx. 5.5 x 5.5ins (14 x 14cm) Provenance: By family repute, from the nave of the Bristol cathedral, given to Joseph Bell who ran a successful stained glass business from the 1840s and supplied windows to the cathedral during renovation work in 1870s/80s. (5) £300-500

577 A Meissen porcelain panel, late 19th century, decorated with hunting vignette on a white ground, blue crossed swords mark, 13.5cm x 18.5cm in a Florentine gesso frame, some gesso missing (1)

£300-500

Lot 575

578* A Victorian porcelain dessert service by Minton, comprising two high comports (13cm), four low comports (7cm) and twelve plates (22.5cm), each individually painted with differing landscape many figural, within a gilded vine and berry border on a crimson ground, painted ‘No 4668’ mark to base, minor damage Lot 577

(18)

228

£500-800

582* A collection of Royal Doulton character jugs, comprising ‘Auld Mac D.5823’, ‘Robin Hood D.6527’, ‘The Cavalier’, plus six miniature character jugs

579* A rare Italian Nove pottery monteith, late 19th century, painted throughout with sprays of flowers on a shaped pedestal base, 28cm (11ins) wide, damaged (1)

(9)

£100-150

£80-120

583* A Worcester porcelain blue and white tea bowl, c.1760, decorated in the “fence pattern”, the interior with single flower and two blue bands, crescent mark to base, 6.5cm diameter (2.5ins), together with three Worcester saucers each in the same pattern, largest 13cm diameter (5.25ins), smallest 11cm diameter (4.25ins), minor chips to one saucer (4)

580 A parian figure of a nude, modelled as a classical female with drapery on a rocky circular base, together with a pair of late 19th century pottery spaniels, typically modelled with black patches and gilt collar and chain, 32.5cm high, some old hairlines and firing faults, plus a Victorian Wedgwood green majolica dessert service, comprising twin handle oval tray and six side plates (10)

£80-100

£100-150

581* A pair of Austrian cold painted pottery puppies, c.1900, each in a seated position with glass eyes, 11cm high (4.25ins)

584 A Victorian Wemyss oversized pottery tyg, painted with roses and leaves, green painted ‘Wemyss’ mark to base, 24cm high (9.5ins), firing faults and old hairlines

(2)

(1)

£100-150

229

£600-800

COINS

588* Elizabeth I (1558-1603). Hammered coinage, Third Issue shilling with i.m. bell for 1583, Fine/Good Fine, with full flan, North 2014

585* South Africa. Krugerrand, dated 1981, 1 oz gold (1)

£700-1000

(1)

£80-120

586* Moroccan Mithqual (10 Dirhams) coin, silver, dated 1191, Rabat-Al-Fath mint, 28.3 g Mithqual - Mohammad III (1757-1790) although dated 1191 is of the Islamic hegira era which translates 1777. (1) £200-250

589* Elizabeth I (1558-1603). Milled sixpence, variety with large bust and small rose, i.m. Star, 1563, Nearly Fine, (North 2027), together with France. Charles VI (1360 - 1422). Blanc ‘guenar’ or Gros, first issue, silver, after 1381, (Duplessy 377), Nearly Very Fine Purchased from Seaby’s in 1972. (2)

£50-100

587* English Hammered Coins. Charles I ‘Tower’ shilling 4th bust, i.m.portcullis for 1633 - 34, Fine (North 2223), together with Edward III half-groat, standard type F., London mint, Fine, with Henry VIII posthumous issue groat minted at Southwark, base metal, Fair (North 1872), and Elizabeth I sixpence, 2nd issue, i.m. coronet, 1568, Fine, plus James I sixpence, 2nd Coinage, i.m. escallop, 1616, Fair/Fine

590* Charles II (1660-85). Milled coinage, Crown dated 1664 with XVI edge, Fine, together with Charles II half-crown with Tricesimo Primo edge, 1679, Nearly Fine/Fine

(5)

(2)

£80-120

230

£200-300

593* Victoria (1837-1901). ‘Jubilee head’ gold two pounds, 1887, about 16 grams, Extremely Fine (1)

£450-550

594* Victoria (1837-1901). ‘Jubilee head’ gold two pounds, 1887, about 16.6 grams, Fine, with scroll mount and ring (1)

£300-400

591* Anne (1704-14). Shilling. Fourth bust, plain reverse, 1711, Nearly Very Fine/Very Fine, together with William III (1694 - 1702). Sixpence, First bust/Early harp type, 1696, Good Very Fine, and a brass coin weight for 18 shillings, 18th century, Very Fine (3)

£100-150

595* Victoria (1837-1901). ‘Old Head’ gold sovereign, 1896, about 7.98 grams, Good/Very Fine (1)

592* George III (1760-1820). ‘Cartwheel’ twopence, 1797, Nearly Very Fine, together with Victoria. Florin, 1887, Good Very Fine, and another, Very Fine but with lead solder stains on obverse, and a ‘Jubilee’ shilling, 1887, Very Fine, plus two ‘History of British Currency’ medallions, one depicting Stonehenge, in plastic cases, about 1970, White metal, 50mm, Extremely Fine (6)

£150-200

596* Victoria (1837-1901). Young head, type A sixpence, 1839, Very Fine, with a Double-florin, 1887, with Roman ‘I’ in date, Very Fine/Extremely Fine

£80-120

(2)

231

£80-120

602* Elizabeth II. ‘Golden Jubilee’ Proof Collection by the Royal Mint, 9 coins from £5 to lp in a plastic case within a card box, 2002, Uncirculated, with a Specimen Golden Jubilee (crown) in a card folder, 2002, cupro-nickel, Uncirculated, and Isle of Man. Proof crown by the Royal Mint with Manx cat reverse, 1970, Sterling silver, Extremely fine but with some tarnishing, with Canada. Specimen 21st Olympiad 5 dollars in a plastic case, cupro-nickel, Uncirculated, and other items including a Prince of Wales Investiture, boxed medal, 1969, gilt bronze, 58mm, Uncirculated but a little discoloured, and an Edward VIII unofficial crown/medal in cupro-nickel, dated 1936 but made much later, Uncirculated, and other crowns, mainly fine or better (31)

£80-120

597* George V (1910-36). Gold half sovereign, 1913, about 4.01 grams, Extremely Fine (1)

£100-150

598* George V (1910-36). George V crown, silver, 1933, Very Fine, reverse better but showing some tarnishing and slight scratch on the obverse, with other English coins including a George III ‘cartwheel’ twopence, 1797, Fine but with some bangs on the edge and obverse, and an Edward VII half-crown, 1902, Good Fine, and two George VI boxed ‘Festival of Britain’ crowns, 1951, with six Elizabeth II specimen 50p coins, 1953, all with their original Royal Mint boxes, uncirculated, and a quantity of modern English coins, mainly coppers (55), Fine or better (66)

603* Margaret Thatcher P M. Proof crown-sized medal by the Pobjoy mint commemorating Margaret Thatcher P. M., 1971, in case of issue, 38mm, 22ct gold plate on sterling silver, obverse: portrait of Baroness Thatcher, reverse: DIRIGE DEUS GRESSUS MEOS around Una and the lion, with other crown-sized proof medals in silver by the Pobjoy mint commemorating Earl Mountbatten of Burma, 1979; the ‘First Scheduled Passenger Service by Concorde from London to New York’, 1976; and the ‘First Scheduled Passenger Service by Concorde from London to New York’, 1977, all boxed and in uncirculated condition

£50-100

599* George VI (1936-52). ‘Festival of Britain’ crown, 1952, uncirculated, together with two half-crowns, 1938 and 1950, both extremely Fine; Florin, 1937, Extremely Fine; three Shillings, 1937 (English), 1938 (Scots) and 1950 (Scots), all Extremely Fine or better; Sixpence, 1937, Extremely Fine; Currency silver threepence, 1938, Extremely Fine and brass threepence, 1937, Extremely Fine (10)

£100-200

Only 2500 of the first are said to have been struck. (4)

600* Elizabeth II Crowns. Proof ‘Golden Wedding’ crown in official card case, 1997, with Elizabeth II ‘Coronation’ crowns (4), 1953, and ‘Churchill’ crowns (38), 1965, with ‘Silver Wedding’ crowns (89), 1972, ‘Silver Jubilee’ crowns (6), 1977, ‘Queens Mother’s 80th Birthday’ crown, 1980 and ‘Royal Wedding’ crowns (5), 1981, in Extremely Fine or uncirculated condition (144)

604* Isle of Man. Elizabeth II Proof Coins by the Pobjoy Mint. Elizabeth II proof Decimal Coin set, 6 coins from 50p to 1/2p in perspex case in card box, 1975, with a proof silver crown with reverse, Manx cat in red plasticized case, 1975, and proof silver crowns (2) commemorating the Bi-centenary of the American War of Independence with reverse type, bust of George Washington, and proof silver crown commemorating the Centenary of the Horse Tram, 1976, all uncirculated, one or two coins with slight discoloration

£50-100

601* Elizabeth II Currency Sets. Proof ‘Last £ S D Currency’ sets (5) from half-crown to halfpenny in perspex cases within card boxes, dated 1970 but issued 1971-3, with currency sets (2) from half-crown to farthing, encapsulated in plastic (the ‘Plastic Set’), 1953, and decimal currency sets (‘Britains First decimal Coins’) (3), from 10p to 1/2p in blue plastic folders, 1971, and unofficial currency sets (2), from half-crown to halfpenny in perspex cases, 1967, with an unofficial ‘Royal Silver Wedding’ currency set in perspex case, dated 1972 but coins dated 1968 - 73, all Uncirculated (10)

£100-150

(10)

£100-150

605* Isle of Man. Elizabeth II Proof Coins by the Pobjoy Mint. Elizabeth II, set of two proof one pound coins dated 1979 in silver and virenium, together with one specimen coin in cupro-nickel in a blue velveteen case, 1979, with a proof one pound coin in virenium in a grey velveteen case, 1979, and a cased proof silver crown commemorating the Tercentenery of the Manx coinage, 1979, with a cased proof silver crown commemorating the Silver Jubilee, with reverse design of three crowns around a triskelis, 1977, and boxed proof silver crowns (4) commemorating the Silver Jubilee Appeal with reverse design centered around the royal monogram, 1977, and a cased proof silver crown commemorating the 25th anniversary of the Coronation, 1978, all in Uncirculated condition, slight discoloration and wear to some of the boxes

£80-120

(11)

232

£100-150

606* Proof Silver Crown/Medals by the Pobjoy Mint. Elizabeth II proof crown/medals (3) for the Ascension Islands, Tristan da Cunha and St. Helena by the Pobjoy mint, issued to commemorate the 25th anniversary of the Queen’s coronation, 1978, in a single blue leatherette case, sterling silver, diams. 38mm, 28.6 grams, with Seychelles, Elizabeth II proof 25 rupees struck by the Birmingham Mint Ltd. to commemorate the Queen’s silver jubilee, 1977, in a blue leatherette case, 8.6mm, 28 grams, and Turks and Caicos Islands, Elizabeth II proof 20 crowns to commemorate the Bicentennial of the United States, 1976, in perspex box in card case, sterling silver, 44mm, 38.7 grams, all Uncirculated (5)

£80-120

611* America. Gold ‘Eagle’, 1885. Liberty head gold ‘Eagle’ (10 dollars), minted at San Francisco, 1885, about 16.79 grams, Extremely fine but remains of brooch clasp on reverse (1)

607* Bahamas. Gold 50 Dollars Proof by the Franklin Mint. Elizabeth II proof 50 dollars commemorating the first anniversary of the commonwealth’s independence, 1973, obverse: portrait of the queen by Machin, reverse: 2 flamingoes facing, with sunrise in the background, in blue leatherette case, 14 carat gold, about 15.64 grams, Uncirculated (1)

612* America. Gold Dollar, 1856. ‘Indian princes head’ gold dollar (variety with large head), 1856 (date with slanting 5), about 1.65 grams, Fine

£200-250

608* Bahamas. Proof Coin Set by the Franklin Mint, 1974. Proof set of 9 coins of the Commonwealth of the Bahamas from 5 dollars to 1 cent, the 5 and 2 dollars in sterling silver; the l dollar and 50 cents in .800 fine silver; 25 cents in nickel; 15, 10 and 5 cents in cupro-nickel; 1 cent in brass, in red leatherette case and card slip cover, with four other proof sets the same but one without the card slip cover, Uncirculated (45)

£300-400

(1)

£80-120

£150-250

609* Barbados. ‘First National Coinage’ Proof Set by the Franklin Mint, 1973. Proof set of 8 Barbados coins from 10 dollars to 1 cent, 10 dollars in sterling silver; 5 dollars in .800 fine Silver; 2 and 1 dollars, 25 and 10 cents in cupro-nickel; 5 cents in brass; l cent in bronze, in blue leatherette case with card slip cover, with one other set, the same, Uncirculated, but one coin with slight tarnish (16)

£80-120

613* America. ‘Morgan’ Dollars. Silver ‘Morgan’ dollar dated 1881 S (for San Francisco), in plastic coin holder, Extremely fine but with a few scuff marks on the obverse, with another dated 1881, similar condition and another dated 1887, Extremely Fine

610* Jamaica. Proof 25 Dollars, 1978. Elizabeth II proof 25 dollars by Valcambi, S.A., commemorating the 25th anniversary of the Coronation, obverse: seated half-length figure of Elizabeth II, crowned, holding orb and sceptre, reverse: Arms of Jamaica, in box of issue within card case, sterling silver, 136.08 grams (about 4 3/4 ozs.), 63mm, Uncirculated but some discoloration around the rim of the reverse (1)

(3)

£80-120

614* America. ‘Morgan’ Dollar. Silver ‘Morgan’ dollar dated 1881 S (for San Francisco), Uncirculated but some scuff marks on the obverse and slight tarnishing around the rim, with a ‘Liberty seated’ silver quarter dollar, 1853, Good Fine, and a silver dime, 1897, Very Fine, together with other 20th century American coins (14) ranging from one cent to one dollar, Fine to Extremely Fine

£80-120

(18)

233

£80-120

615* Austria. Maria Theresa Thaler. Maria Theresa silver thaler dated 1780, mounted in a perspex frame, Uncirculated but with some tarnishing and minute copper corrosion spots on the obverse, with Canada, Elizabeth II ‘Voyageur’ dollar in plastic coin case, 1969, Uncirculated, and a boxed dollar struck to commemorate the Centenary of the Royal Canadian Mounted Police, 1973, Uncirculated but tarnished, and other coins (13) including a Roman silver denarius of Faustina II; a 1919 Peace Celebrations medal from Streatham; and an Indian temple coin, mainly Fine (17)

£50-100

620* German Religious Medal by Gottfried Loos (1773 - 1843). Religious medal depicting the head of Christ and the Agnus Dei. signed ‘G. Loos’, silver, 35mm, 13.87 grams, Extremely Fine but tarnished, with another unsigned religious medal depicting the head of Christ and an altar with an inscription from Mark 16, v.16, Extremely Fine but tarnished, with other medallions (10) including a medal commemorating the Battle of Jutland, 1916, silver, 22mm, Good Very Fine, and an anti-German ‘For Kultur’ medal, 1914 - 18, iron, 40mm, an Edward VII Coronation medal, 1902. silver, about 18.7 grams 31mm. Fine but some corrosion on reverse, a Victoria Diamond Jubilee medal, 1897, silver, 25mm, about 9.65 grams, Very Fine but tarnished, and an Italian medal commemorating the heavy cruiser, R. N. Trento. Base silver, 29mm, Very Fine

616* German States. Bavaria, Otto (1886 - 1913), 10 Marks struck at ‘D’ mint, 1896, about 3.99 grams, Fine/Very Fine (1)

£100-200

Trento, built in 1925, was a leading cruiser in the Italian fleet. On 15 June 1942 it was navigating in a battle fleet to prevent a large alloyed convoy (Operation Vigorous) from reaching Malta. It was attacked and immobilized by a Malta-based Bristol Beaufort bomber flown by f/o Arthur Aldridge and crew and the following day torpedoed and sunk by the submarine, H M S Umbra with much loss of life. (12) £100-200

621* Prussia. Wilhelm II (1888 - 1918). Two marks, 1986 A, silver, Extremely Fine, with Two marks commemorating the 200th Anniversary of the founding of the kingdom, 1901, silver, Nearly Extremely Fine/Extremely Fine, and Hanover, George VI (1820 - 30). 3 Marien groschen, 1820, base silver, Fine, and German Empire. One mark, 1903 A, silver, Fine, with a half Mark, 1906 A, silver, Very Fine, and Kriegsgeld-Coins from Duren, Kassel and Munster, base metal, Mainly Fine (8)

617* Christian II of Saxony (Dukes Christian II, 1591 - 1601, with Johan Georg and August). Thaler minted by Friedrich Wilhelm of Saxe-Altenburg as Regent, under Hans Biener, mint-master, 1592, silver, 41mm, 30 grams, Good Fine with attractive toning but with a later suspension loop (Davenport 9820) (1)

£50-100

£70-100

618* Friedrich I ‘The Great’ of Prussia. (Friedrich II 1740 - 86). Half thaler minted at Breslau, 1767, silver, Fine with suspension loop, together with Friedrich Wilhelm III (1797 - 1840). Mining thaler with inscription on the reverse, minted in Berlin, silver, 1836, Fine/Very Fine, and another dated 1834, Fine, together with Saxony, Johann V (1854 - 73). Mining Thaler struck at ‘B’ mint, 1861, silver, Fine (4)

£50-100

622* Panama. Proof 20 Balboas. 20 Balboas proof coin minted for Panama by the Franklin Mint, 1974, in original box of issue, 61mm, 4.7 ozs, uncirculated, and another, also in its original box of issue, uncirculated

619* Prussia. Wilhelm I (1861 - 88). Coronation thaler with accollated crowned busts of the king and queen, silver, 1861, Extremely Fine with some tarnish, and Wilhelm II (1888 - 1918). Two marks commemorating the 200th anniversary of the founding of the kingdom, with busts of Friedrich l and Wilhelm II, silver, 1901, Extremely Fine but some tarnish, and Two Marks commemorating the centenary of the War of Liberation, silver, 1913, Good Very Fine but some tarnish (3)

Weighing over 1/4 lb of silver, this coin has been considered both the largest and the heaviest silver coin to have been minted. The Jamaica proof 25 dollars (see lot 620) is, however slightly bigger. (2) £100-200

£50-100

234

623* Panama. Proof 20 Balboas. Two further examples as previous lot, but lacking the lid of one of the boxes, both Uncirculated (2)

629* Commonwealth Countries. 1836 to Present. Collection of coins from Commonwealth countries (65) including William IV (I), Victoria (21 including Ceylon, 50 cents. silver, 1894. Very Fine, and 10 cents, silver, 1894, Very Fine), Edward VII (3), George V (15, including Australia, Florin, 1927, Extremely Fine and Rhodesia, two shillings, 1932, Very Fine), Edward VIII (2 - East Africa, 10 cents, 1936, Good Fine, and New Guinea, one penny, 1936, nearly Extremely Fine), George VI (15, including Australia, crown, silver, 1936. Good Very Fine but small scratch on obverse) and Elizabeth II (9 including Canada, ‘Winnipeg’ dollar, 1974, Extremely Fine), others Fine to Very Fine, a few better, some pierced, with other English and world coins (126), mainly 18th to 20th cents, and of low denominations, many Very Fine

£100-200

624* Phillippines. President Marcos (1965-86). Boxed proof 50 Piso coin by the Franklin Mint, 1975, sterling silver, 40mm, with two others, the same, and an Italian medal by Michael Rizzello commemorating the 500th anniversary of the birth of Michelangelo, 1975, Sterling silver, 38mm 22.5 grams, encapsulated in plastic, mounted in a First Day Cover with three franked Italian stamps in a card presentation pack, and an American medal by the Franklin Mint, commemorating the Apollo - Soyuz space link-up, 1975, sterling silver, 39mm., 2/3 oz. mounted in a card display stand with a franked Russian and a franked American Stamp, all Uncirculated (5)

(191)

630* World Coins. A collection of mainly low denomination coins from nearly 60 countries around the globe, mainly 20th century, about 12 lbs in weight, chiefly Fine to Very Fine, some better

£100-150

625* Senegal. President Leopold Senghor (1960 - 80). Proof 150 francs issued to commemorate the 25th anniversary of the Eurafrique Programme, in its mint sealed plastic bag within a Pobjoy Mint box, 1975, Silver, 50mm., 82.15 grams, uncirculated (1)

(a lot)

626* Sweden. Karl XI (1660 - 97). One ore struck at Avesta, I680, copper, 45mm, 37.4 grams, Good Fine, reverse off centre and showing die flaw, with Singapore, Proof 5 dollars issued to commemorate 25 years of Nation Building, 1984, encapsulated in plastic in a red leather case, Sterling silver, 28.5mm, 20 grams, Uncirculated £50-100

One coin found at Petra. One coin purchased at El Djem, Tunisia. (7) £100-200

£100-200

628* English Coins in Silver, Cupro-nickel and Bronze. 19th 20th Centuries. Collection of pre-decimal English coins - 5/- (l), 2/6 (38), 2/-(82), 1/- (175) 6d. (171), 3d. (30) Id. (1250), 1/2d. (141) and 1/4d. (90). together with decimal coins 40p (4), 10p (7), 5p (5) and 1/2p (63), and some counterfeits, tokens, medallions and miscellaneous coins, all from circulation, mainly Fine but a number Very Fine or better (over 2000)

£50-100

632* Roman Gold Solidus. Theodosius I (379 - 395). Solidus minted at Constantinople, gold, about 4.5 grams, Fine but with loop mount, with other Roman and Byzantine coins (6) including a Roman Republican denarius of L. Cornelius Piso L. f. Frugi, plated silver, Fine and a copper antoninianus of Probus (276 - 282), reverse type VIRTUS PROBI AUG, Very Fine

627* English Silver Coins, George III to George V. Collection of English silver coins comprising George III (10, including two crowns, 1819, fair, one stamped with initials on the obverse), George IV( halfcrown, 1820, nearly Fine), William IV (5), Victoria (19, including a threepence, 1838, Very Fine; a fourpence, 1839, Very Fine and shilling, 1840, Fine), Edward VII (6 including two half-crowns 1909, Fine) and George V (13), mainly Fair to Fine, a few pierced, gilded (52)

£50-100

631* World Coins. A collection of mainly low denomination coins from countries around the globe, 19th and 20th centuries, Chiefly Very Fine or better

£200-250

(approx. 1400)

(2)

£80-120

£50-100

235

Lot 633

633* A cased set of 100 Franklin Mint silver medals, from the ‘Greatest Masterpieces’ series, each weighing approx. 2oz each, plus another medal, combined weight approx. 202oz, with certificates (2)

634 Seaby’s Coin and Medal Bulletin, a broken run, c. 1938-88, mostly loose issues bound in orig. grey stiff wrappers, 8vo, plus a quantity of Coin & Medal News and similar (2 cartons)

£1500-2000

236

£30-50

SILVER & GOLD

Lot 635 635* A Continental silver deskpiece, c.1900-20, modelled as a seated Arab beggar boy next to a silver and enamel engine turned casket, the hinged lid enclosing gilded interior, all mounted on a detailed silver carpet and rectangular hardstone base, stamped 925 with a series of indistict hallmarks, 9.5cm wide (1)

£150-200

637* A Victorian silver bowl, with spiral twist decoration, engraved with a bee and motto ‘Amice’, James Wakely & Frank Clark Wheeler, London, 1896, 10.5cm diameter (4ins), 5.3 oz (1)

636* A George V Arts & Crafts-style pedestal bowl, with two lion mask ring handles, on a beaten finish, the interior of the bowl decorated with the rays of the sun, Albert Cowley Bloxham, London, 1926, 12cm diameter (4.75ins), 9.5 oz (1)

£180-220

237

£80-120

Lot 638

238

638* A Victorian silver four-light candelabrum, the knopped column supported by three branches each with detachable sconce and drip tray, the central column with detachable flame snuffer and drip tray, all individually hallmarked, engraved ‘From A.A.A Hungerford to I. Arrowsmith in remembrance of his skill & unremitting attention DURING A SEVERE ILLNESS AT YATTENDEN, Augt 1844’, Creswick & Company, Sheffield, 1843, 65cm high (25.5ins), weighted, in original oak fitted box (1)

£1500-2000

641* A Victorian silver cream jug, of ovoid form, with mask spout and figural handle on pedestal foot, Israel Sigmund Greenberg, Birmingham, 1878, 9cm high, 3.6 oz, together with an Indian silver cream jug with cobra handle, 9cm high, 3.3 oz (2)

£150-200

639 A pair of twinlight Old Sheffield Plate Candleabra, c.1830, each on tapered column and domed foot detailed in acanthus and shell decoration, 57cm high (22.5ins) (2)

£200-300

642* An enamel and silver bird by Suhai, finely detailed in enamel and silver gilt filagree, stamped ‘925’, mounted on a circular agate base incised ‘Suhai’, 4.5ins high (10cm) (1)

640* A Victorian silver helmet-shape pedestal cream jug, with looped handle and series of dots around the edge, John Milward Banks, Birmingham, 1891, 12.5cm high (5ins), 2.9 oz (1)

£80-120

239

£100-150

645* A Tiffany & Co 14K gold lighter, c.1920, decorated with a basket weave design, stamped ‘Tiffany & Co 14K’, incised ‘2407’ and with initials ‘N.P.’, weight of case 17g

643* A George V silver hot water pot, of tapered form with woven cane handle 20cm high (8ins), 19oz, Walker & Hall, Sheffield, 1919 (1)

(1)

£150-200

£200-300

646* A George III Old Sheffield Plate centrepiece, the curved square base with tapered reeded uprights leading to lions paw feet each with patarae, the seven scroll supports rising to hold a large navette bowl, with eight smaller bowls each supported by scroll supports the uprights with each having chains to support a further four bowls, all pieced in the Neo-Classical taste, 56cm high x 56cm wide Provenance: This item belonged to Sir Michael and Lady Palairet (grandparents of The Earl of Oxford, present owner) and would have been used in various diplomatic postings during Sir Michael’s career. He entered the diplomatic service in 1905 and was part of the British delegation at the Paris peace conference, 1918-1919. He was counsellor at Tokyo, 1922 - 25, Rome in 1928, and was appointed minister at Bucharest in 1929, Stockholm in 1935, Vienna in 1937 and Athens in 1939. He became Ambassador to the Greek Monarch in 1942 and retired in 1943. (1) £700-1000

644* An unusual electroplated ice bucket from the “Kit-Cat Club”, with reeded everted rim detailed with acanthus style decoration, engraved with the armorial of the club, manufactured by Alexander Scott, 19.5cm (7.5ins) high

647* A pair of George II silver salts, each of squat ogee form on three cabriole supports each with hoof feet, William Plummer, London, 1748, 6cm diameter (2.5ins), 4 oz

The infamous Kit-Cat Club was an English club established in London in the 18th century, it had strong political and literary associations, committed to the furtherance of Whig objectives. The first meetings were held at a tavern in Shire Lane which was run by an inkeeper called Christopher Catling. He gave his name to the mutton pies known as “Kit Cats” from which the name derived. (1) £70-100

(1)

240

£100-150

Lot 646

648* A set of four Victorian electroplated salts, each modelled with a dolphin surmounted by a nautilus shell on a rocaille base, 4ins high (10cm)

649* A George III Irish silver fiddle-pattern sauce ladle, plain and engraved with crest, Tudor & Whitford, Dublin, 1805, 18cm long (7ins), 1.7 oz

(4)

(1)

ÂŁ80-120

241

ÂŁ100-150

650* A Edward VII silver pedestal sugar caster, of octagonal form with pierced cover, 16.5cm high (6.5ins), hallmarks worn, Chester 1906, 3.4oz, together with a Victorian christening mug, engraved with brite-cut decoration, Hilliard & Thomason, Birmingham 1875, 3.6oz, plus a trophy cup, Birmingham 1924, 1.6oz, combined weight 8.7oz (3)

£80-120

652 A Victorian Scottish silver coloured metal miniature, finely engraved with a man playing the bagpipes and with dancing figures beneath, 5.5cm x 4.5cm, in black frame (1)

651* A pair of George V silver sauce boats, each with shaped edge, flying scroll handle on three cabriole supports, makers mark worn, Birmingham 1924, 5.5oz, in a fitted case together with five silver napkin rings, three-piece condiment set and other condiments, total weighable silver approx 13oz ()

£70-100

653* A silver twin handle quaiche and cover, plain with flared rim and and deep foot, engraved with initials, S. Blankensee & Son Ltd, Birmingham 1904 together with a pedestal cream jug, with shaped rim and flying scroll handle, John & William Deakin, Sheffield 1907 plus a part silver manicure set and case, napkin ring and salt spoon, weighable silver approx.12.5oz

£100-150

()

242

£100-150

656* An American silver pedestal cup, c.1920s, , of baluster form with presentation inscriptions and angular handle, 9cm high (3.5ins), stamped ‘Sterling Silver’, 3.3oz, together with a 19th century French silver cup, of circular tapered form, with engine turned decoration, engraved scroll armorial, interior gilded, serpent mark to base, 8cm high (3.25ins), 3.3oz, combined weight 6.6oz, plus a George III silver coloured metal punch ladle, the bowl inset with 1723 coin, on a twisted whale-bone handle

654 A George III circular silver box, the cover engraved with initial, and further presentation inscription to inner lid, 8.5cm diameter (3.25ins), London 1815, 4.6oz, together with a George III pedestal milk jug embossed with flowers, vacant C-scroll cartouche and scroll handle, 13cm high (5ins), makers mark worn, London 1770, 3.3oz, combined weight 7.9oz (2)

(3)

£100-150

£80-120

657 A George V silver tea canister, of circular form with gadrooned edges, with engraved rococo cartouche, James Dixon & Sons, Sheffield 1909, 11.5cm high (4.5ins), 7oz, together with a silver cigarette box, hallmarks worn, London c.1920-30, 19cm wide (7.5ins) (2)

£80-120

655* A George II silver mug, of baluster form engraved with an armorial, scroll handle on a pedestal foot, the base engraved 'B T A', 12cm high (4.75ins), John Swift, London 1743, 14.5oz The armorial represents the Hebborn (or Hebburne) family of Northumberland, showing a lion in repose with uncovered iron pans blazing with fire. The pans of fire are probably an illusion to the beacons that were lit on the family estates on the edge of the (1) £200-300

658 A George V silver three-piece teaset, of oblong half gadrooned form, Walker & Hall, Sheffield 1919, total weight 41.5oz (3)

243

£400-600

COLLECTABLES

660* A Victorian book cover, set with a gilt metal cross with four malachite cabochons, with four further bosses each set with malachite on an agate panel, with scroll and bead gilt metal frame, 31 x 25.5cm (12.25 x 10ins) (1)

659* American War of Independence. A fine 18th century etui, the tapered green fish-skin case set with oval silver plaque engraved ‘Capt James Nicholson Continental Navy 1776’, the hinged lid with brass button enclosing divisional interior and five instruments including brass compass, ivory parallel rule (6 pieces missing), the inner lid later inscribed in ink ‘Thomas Williams 1850’, 18cm long

£70-100

661* A mahogany chess board, inlaid with satinwood and rosewood parquetry, on four bun feet, 48cm square (18.75ins) (1)

£70-100

Senior Captain James Nicholson (1737-1804), born Chestertown, Maryland, USA, served in the colonial Navy with the British during the assault on Havana in 1762. Commissioned Captain with the Continental Navy 1776, commanded various ships including Defense, Trumbull and Virginia, and served with George Washington at the Battle of Trenton. Nicholson had an undistinguished career losing his first command whilst commanding Virginia, on his orders she tried to run past the British squadron blockading the mouth of the Chesapeake Bay, running the Viginia aground, Nicholson chose to flee to shore rather than fight, leaving the crew to be captured. He reported to the Congress that his flight was an “escape”. (1) £400-600

662* An Indian carved stick in the form of a serpent with a figure in its mouth, well detailed throughout, 80cm long, various metalware including a bronzed Art Deco plate stylistically decorated with a leaping springbok, indistinct markings to base, 21.5cm diameter, a copper measure with tall neck, curved base and scroll handle, 25cm high (10)

244

£150-200

663* A Victorian miniature lead fireplace, the architectural surround surmounted by Royal Navy fouled anchor and crown ‘Gibraltar Per M. Terram (Royal Marines)’, flanked with berry and vine leaves, 28cm h x 30cm w (1)

£80-120

664* A pair of etched glass panels, c.1900, each curved with acid etched stags head within Greek key border, 111cm h x 69cm w, probably from a Tavern (2)

£100-150

665* A Victorian terrestrial globe, by A.J. Caley & Son, Norwich, manufactured in Berlin, the globe with twelve printed and paper gores fixed on an ebonised baluster turned pillar support base, 8ins high (20cm), probably for a student (1)

£150-200

666* Herbinier (Arsene, 1869-c. 1950). Original copper-faced printing block for the month of November, c. 1900, art-nouveau copper-faced printing block for the month of November from a calendar, with floral decoration enclosing a central panel giving dates and Saints days, and with Novembre above, signed in the block to lower edge, 161 x 58mm

Lot 663

Herbinier was a French printmaker and poster designer, who studied with Luc-Olivier Merson, Eugene Grasset and Alfred Jean Marie Broquelet. He produced a poster for the 38th Salon des Cent exhibition in 1898. (1) £100-150

Lot 664

667* A Victorian white marble bust of Lord Brougham, well carved in drapery resting on a book, 68cm high (26.75ins), some restoration, on a faux marble column Henry Brougham, 1st Baron Brougham and Vaux (1778-1868), British Statesman and Inventor of the Brougham (a well known carriage of its day built to Lord Broughams specifications). (1) £400-600

Lot 665

245

668* A 17th century Quern-stone mortar, of square form, carved and dated ‘1610’, also initials ‘WW’ and ‘CEII’?, 30cm h x 23cm w (1)

£300-500

669* A pair of horse hoof pin cusions, late 19th century, each with domed cushion stitched with a heart in silver bullion, 13cm (5ins) (2)

£100-150

670* A gold coloured metal open face pocket watch, early 19th century, the 5cm diameter white enamel dial with black Arab numerals signed ‘Courvoisier Freres ‘, the back plate engraved ‘Courvoisier Freres 48446’ with quarter repeater movement, the movement plate also engraved with maker and corresponding serial number, with key and George III oval tortoiseshell box, with silver hinges and finely engraved with a crest, sold with a copied letter of provenance from a family member dated (19)53, reputedly the watch and case belonged to Captain Frederick Marryat, Royal Navy and was passed down the line by descent, there is also a copy invoice for restoration dated 2010 Captain Frederick Marryat (1792-1848), served with the Royal Navy and was also a contemporary and acquaintance of Charles Dickens. He was born in London and was the son of Joseph Marryat a “crown prince” and member of Parliament, he joined the Royal Navy in 1806 as a Midshipman serving in HMS Imperieuse later serving in HMS Victorious, in 1812 he was promoted to Lieutenant advancing to Commander in 1815, he had an interesting Naval career retiring from service in 1830 and wrote many famous published books including Mr Midshipman Easy in 1836. (3) £800-1200

Lot 668

671 A recently engraved scrimshaw powder horn, depicting a map of the Chesapeake Bay and inscribed to Captain John Sutton, “dated 1773” within heartshape device inset with brass nails, 12.5ins long (32cm)

Lot 669

John II (c.1735-1810) known as Captain John Sutton, born in Albemarle, Orange County, Virginia, Sutton was a Sergeant in the Revolutionary War and died in Scott, Kentucky 14th June 1810. (1) £100-150

672* A bone Prisoner of War style model of a 98 gun man-owar, unrigged, planked and pinned hull, planked deck with carved female ships figure head, approx. 70cm (27.5 inches) long, housed in an oak display case with three glass panels

Lot 670

(1)

246

£150-200

675* A Middle Eastern embroidered quilt, probably Egyptian, 1920s, the large central panel with circular geometric decoration with script surrounded by blue border with script, and eagles with spread wings and other geometric devices on a red ground, approx. 280cm x 180cm (1)

673* A late Victorian tortoishell ladies purse, inlaid with a dove and sprigs, with a white metal vacant letter shape cartouche, lined with crimson silk, 3.25ins (8cm) long (1)

£100-150

676 A pair of Royal Navy silk embroidered pictures, c.1910, each with Royal Coat of Arms flanked by four Union Jack flags with three mast ship behind, 51cm x 43.5cm (20 x 17ins), each in a contemporary oak frame and glazed

£80-120

(2)

£50-70

674* A patchwork quilt, probably 19th c., stitched with various octagonal fabric panels on a violet fabric ground, 176 x 180cm

677* An ivory erotic tooth, carved in relief with a native plantation worker embracing his mistress, approx. 13.5cm long

(1)

£100-150

247

£300-500

678* A Regency musical piano form sewing box, with ivory and rosewood keys, the hinged lid enclosing fitted interior and accessories in mother-of-pearl, over four turned uprights, 16cm h x 20cm w x 30cm d (1)

681* A mahogany table top spinning wheel, mid 19th century, probably French, with large eight spoke wheel, ivory and brass mounts and accessories, on a curved rectangular base inset with leather, 28cm h x 43cm w

£700-1000

(1)

£300-500

682* A Spratts Dog Food enamel sign, “Spratt’s builds up a dog!”, c. 1930s, decorative imagery in the form of a canine outline motif, black and brown lettering on cream ground, rectangular format, 12 x 24 ins (30 x 61cm) (1)

£100-150

679* A brass ship’s bulk-head clock, with fusee movement, the 16.5cm diameter circular brass dial with black roman numerals, subsidiary second and slow/fast lever beneath IIX, with brass case for bulkhead securing and brass key (1)

£150-200

680* A brass mechanical ships log, c.1900 by Thomas Walker, of circular form the white enamel dial with nautical miles calibration, stamped with serial number ‘R6591’ and manufacturers plate for ‘Walker’s “Trident” Ship log “Cherub” Rotations Used’, ‘Thos. Walker & Son, Ltd. 58, Oxford Street, Birmingham, Eng. T.W.’, on a gimballed stand, 26cm (10 inches) overall (1)

£80-120

683* A pair of South American white metal bell stirrups, each decorated with figures on horseback, foliage and with double eagle swivel suspensions, 22cm high (2)

248

£100-150

684* A 1 3/4 inch single-draw telescope by George Stebbing, Portsmouth, early 19th century, the brown leather-covered outer body complete with brass lens cap, the draw engraved ‘Geo Stebbing Portsmouth Optician Vc. to the R.Y.C.’, 83cm (32.75ins) fully extended George Stebbing (1775-1847), Instrument Maker. (1)

£150-200

685* A brass 2 inch three-draw telescope, unsigned, with leather covered outer body, with rayshade and dust cap, the folding oxydised-brass tripod stand engraved ‘J.H. Steward, London’, approx. 47.5 ins (121cm) overall

Lot 684

(1)

£100-150

686* A rare 3-inch refracting library telescope by Powell & Lealand, London, the 101.5cm (40 inch) long body tube signed Power & Lealand, with four eye-pieces including a star diagonal by Broadhurst Clarkson, on azimuth mounting, raised on mahogany stand, approx. 173cm (68 inches) high Powell & Lealand were largely known for their manufacturing of microscopes and not telescopes, therefore this may have been an exhibition piece or specially commissioned. (5) £700-1000

Lot 685

687* An Austrian wall clock, 19th c., the oval case supporting painted glass dial decorated with flowers on a white and black ground, with black roman numerals, brass hands in an ebonised and silvered frame, with chains and two brass weights, 40 x 34cm (15.75 ins x 13.25ins) (1)

Lot 686

249

£100-150

METALWARE

690 An English Civil War cannon ball, mounted on an oak block, with two brass plaques engraved ‘Battle of Barber’s Bridge 1642’, and ‘Found When Making The Railway 1885’

688 A bronze bell by J. Warner & Sons, London, 19th century, cast bronze with manufacturer markings in relief, dated 1878, with clapper, approx. 34cm high (13.25ins)

The Barber’s Bridge railway station was built in 1885 and was on the Ledbury and Gloucestershire line, it was closed to passengers in 1959 and fully closed 1964, the cannon ball was recovered by workers in 1885 and is a relic of a bloody civil war battle which took place in Tibberton in 1643, see lot 691 (1) £200-300

Provenance: Tibberton Court, Gloucestershire. John Warner & Sons produced bells for churches all around the world, one of their most notable commissions was the clock chime at the Houses of Parliament, which they cast at their Cripplgate Foundry. (1) £150-200

691* An English Civil War cannon ball, recovered from Bovone Farm, Tibberton, Gloucestershire, loose mounted on an oak block inscribed ‘From Bovone Farm Tibberton After Battle of Barber’s Bridge 1643’

689* An Indian silvered copper Paandani box, 19th c., circular with geometric decoration, swing carrying handle, brass and catch, the hinged lid enclosing various copper containers for Paan (leaf), supari (nuts), 27cm diameter (10.5ins) (1)

The Battle of Barber’s Bridge took place in 1643 when Welsh Royalists clashed with Oliver Cromwells Roundheads, fought in Highnam, Gloucestershire and the near by village of Tibberton. In 1868 eighty-six skeletons believed to be those of the Welsh soldiers who fell during the battle were discovered and a monument on Barber’s Bridge was erected which commemorates the battle. (1) £100-150

£100-150

250

Lot 693

692* An unusual coconut shredder, probably Indian, 19th century, the rectangular steel plate with hinged cover to reveal a grater with a further hinged grater beneath, set with a rotating shredder with bulbous mace type head and treen handle plus a guillotine type cutter, primitively assembled with engraved brass plates, on four curved uprights (1)

695* A Victorian copper jelly mould by Benham & Froud, with a sprial and turret design, stamped 368 with manufacturers mark, 11cm high (4.5ins) (1)

£200-300

£100-150

693* A substantial pair of brass curtain poles, 19th century, each with large spherical ball ends, 195cm wide (76.75ins), with wall mounting brackets and other accessories (2)

£150-200

696* A Victorian copper jelly mould by Benham & Froud, with a chain design, stamped ‘443’ with manufacturers mark, 12.5cm (4.75ins)

694 A copper fire bucket, 19th century, engraved with an armorial, flanked by two guards, with brass carrying handle, 32cm h x 34.5cm d (1)

(1)

£70-100

251

£100-150

697* A copper plaquette after Henning, ‘Cavalcade Proceeding to the Tournament’, late 19th c., various markings, embossed into a rectangular copper plate, 15cm h x 40.5cm w, together with a collection of similar pieces including two by the same hand titled ‘The Canterbury Pilgrimage’, plus a circular plaque embossed with a bust of Camoens de Luis, 20cm diameter (26)

£100-150

699* A pair of Edwardian brass column table lamps, each with square capital over fluted column and square base, 60cm high (2)

£150-200

698* A Coalbrookdale cast iron stick stand, 19th c., modelled as a putto entwined with a snake, on a grassy base with a detachable drip tray, 82cm h (32.25ins)

700* A good Regency copper tea urn, c. 1820, of barrel form with oval cover and turned finial, twin ring handle, brass lid with ivory handle, supported by four tapered reeded uprights leading to lion’s paw feet united by shaped under tier with central vase-shape cover, on four turned feet

(1)

£300-500

252

£200-300

ORIENTAL WORKS OF ART & CHINESE JADE

701* A pair of Chinese red “amber” vases, c.1900, detailed with figures and deer, each with loose ring handles, 12cm high (4.75ins), lacking covers (2)

£300-500

703* A Chinese gold, jade and onyx bangle, set with three apple green jade panel and single onyx panel, the gold with engraved decoration, stamped 14K (1)

£150-200

704* A Chinese porcelain blanc de chine figural group, 18th century, modelled as Guanyin holding a ruyi whilst seated on a recumbent dog of fo, 5.5ins wide (14cm) (1)

702* A Chinese porcelain baluster vase, 19th century, polychrome decorated in enamels with panels of exotic birds, insects, and foliage on a celadon ground with twin dragon handle, the flared rim decorated with imperial dragons chasing the sacred pearl, 17.5ins high (44.5cm), some damage and old restoration (1)

£100-200

253

£200-300

707* A Chinese porcelain blue & white bowl, 19th c., decorated with Imperial dragons chasing the sacred pearl, four character mark to base, 20cm diameter (8ins), chip to rim, together with a Japanese cloisonne bowl, decorated with dragons on a black ground, 30cm diameter (11.75ins) on a pierced hardwood stand, three pieces of Japanese satsuma pottery and other Oriental wares (9)

708 A Chinese turquoise ground porcelain bowl, 19th century, the flaring sides decorated inside and out with children at play, the centre with seated child, red Jiaqing mark to base but later, 18cm diameter (7ins)

705* A Chinese porcelain blue and white bottle vase, 18th century, painted with two panels of river landscapes, within foliate decorated borders on a raised base, 9ins high (23cm), chip around rim and reduced (1)

£100-150

(1)

£200-300

£80-120

709* A collection of Indian brass figures including the god Vishnu, seated on a lotus base, 5.5cm high, four deity figures, together with plaster figures and plaque, Chinese silk embroidered clothes, c. 1900, plus electrotype copies of Ancient Roman coins, 19th c., Chinese bronze mirror cast with cranes, 5.5cm diameter, and other items (-)

706* A Chinese blue & white bowl, 19th c., decorated with scaly deer with foliate decorated ground, six character mark to base within two cobalt blue rings, 36.5cm diameter (14.25ins) (1)

£180-220

254

£100-150

710* A Chinese bronze figure of a recumbent horse, in the Tang style his head turned to the left with saddle and stirrups, 18cm long (7ins), together with Knopf (Alfred. A.), The Great Bronze Age of China, The Metropolitan Museum 1980, hbb, 386pp, numerous illustrations plus Kerr (Ross), Later Chinese Bronzes, Victorian & Albert Museum 1980, hbb, 115pp, numerous illustrations (3)

712* A Chinese hardstone brush pot, carved with a bearded dragon, 15cm wide (6ins)

£70-100

(1)

£70-100

713* A collection of Chinese brush pots, including a jade pot carved with a crab on a lilly pad, 11cm wide (4.25ins), a soapstone pot carved with chilongs, 8cm diameter, two hardstone pots each carved with fish (6)

711* A bronze figure of a Bodhisattva, modelled in a standing position with right hand raised on raised openwork base, lacking one support, traces of gilding, 14cm high, together with a collection of oriental bronze antiquities (-)

£80-120

255

£50-70

714* A Sino-Indian marble buddha, 19th century, seated crossed legs on a lotus throne, 42cm high (16.6ins), some damage (1)

£150-200

718* A Chinese blue & white charger, 18th c., decorated with exotic birds and flowers, within geometric borders dispersed with floral sprays, 39cm diameter (15.25ins)

715* A Chinese iron head of a Buddha, late Ming (1364-1644), heavily cast with well defined features and a slight smile, the hair delineated in blue and the unisha in red,the face painted in gold and much later, 12.25 ins high (31cm), mounted on a modern base, 18ins overall (46cm)

(1)

£200-300

Provenance: Purchased from Asian Art, London and formerly from a Private Collection. (1) £1500-2000

716* A Chinese pottery celadon glazed bowl, on a shallow foot, 18cm diameter (7ins), together with two Chinese polychrome decorated bowls, some damage (3)

£50-70

719* A Chinese porcelain celadon charger, 19th century, decorated with stylised flowers, deep foot rim, 16ins diameter (41cm), together with a similar charger, 14.5ins diameter (17cm), old chips around the rim (2)

Lot 717 717* A Japanese porcelain blue & white charger, Meiji period, decorated with sailing boat and two birds in flight, 38cm d (14.25ins) (1)

£70-100

256

£200-300

Lot 715

257

722* A pair of Chinese flambé cats, each seated with their heads turned to one side, decorated in an all over deep purple glaze, hollow bases with impressed five character mark, 6.75ins high (17cm)

720* A Chinese export ivory chess set, 19th century, the white and red side modelled as an emperor and empress, bishops as mandarins, knights on horseback, rooks as elephants surmounted by turret and mahout, pawns and soldiers on waisted plinth bases, king 3.75ins high (9.5cm), pawn 2.75ins high (4.5cm), some damage, in a period rosewood and mahogany case, the lid with parquetry inlaid chess board, with mother of pearl inlaid key escutcheon, 2.5ins h x 10.75ins square (6.5 x 27cm square), complete (1)

A similar pair sold at Woolley & Wallis, lot 597 21.5.2008 refer. (1)

£300-500

723* A Chinese porcelain blue and white coffee pot, 18th century, of ovoid form painted with an Imperial dragon chasing the sacred pearl within a cloudy sky, with domed cover and shaped handle on a deep foot, 23cm high (9ins), cover damaged, together with a Chinese porcelain coffee pot, 19th century, of flat double gourd form, polychrome decorated in yellow, manganese and green, with four panels painted with figures, the cover and handle with woven effect, the base painted with a green leaf, 24.5cm high (9.75) (2)

£200-300

721* A Chinese blue and white plate, 19th century, decorated with farmers, buildings and landscape, within floral border, six character mark to base within double circle, 29cm diameter (11.5ins), together with various Chinese porcelain including a tea bowl and saucer, plus a pair of famille-rose export plates (6)

£100-150

724* A Chinese hardstone dog, archaically carved in a recumbent position, 14cm long (5.5ins) (1)

258

£80-120

727* Four Chinese export porcelain plates, 18th century, painted with floral sprays in cobalt blue and iron red, 22.5cm diameter (8.75ins), some damage (4)

£150-200

725* A Chinese porcelain incense burner, 19th century, modelled as a caparisoned elephant, his head turned to one side, surmounted by a baluster vase, 11cm high (4.5ins) (1)

£150-200

726* A Chinese necklace, c.1900, predominantly tigers eye with larger amethyst beads and an apple-green jade drop

728* A Chinese yellow porcelain vase, early 20th century, of baluster form with two panels decorated with children at play on a yellow ground with scrolls, flowers and Chinese symbols, with blue, red and yellow neck similarly decorated, the base and inner rim of the neck with green glaze and blue reign mark, 24cm high (9.25ins)

(1)

£500-700

259

£100-150

731* A Chinese bronze brush washer, modelled as a fish, cast with its mouth wide and tail curling, 12cm long (4.75ins), together with a Chinese rosewood carving of a frog inset with glass eye, character marks to base, 10cm long (4ins), plus a mahogany life preserver, with mallet head and turned grip, 28.5cm long (11.25ins) (3)

£80-120

729* A pair of Chinese porcelain vases, 20th century, each of ovoid form with a long slender neck, polychrome painted with peach trees on a peach ground, the footrim with iron red geometric decoration, various painted markings to base, 41cm high (16ins) (2)

£200-300

732* An embroidered silk robe, c.1900, cream silk asymmetrical T-shaped garment, embroidered overall with cherry blossom, bamboo, maple leaves, bats, butterflies, and other insects and floral motifs, in shades of blue, pink, peach, lilac, and beige, with a wide floral border to neck, sleeves, and hem, in white and shades of blue on a black ground, worked mainly in satin stitch, fastened on the right-hand side with buttons and loops, pale blue lining, some edgefraying and staining, length approx. 125cm (49ins), together with a Chinese dark blue silk T-shaped coat, embroidered overall with flowers and butterflies, in white and shades of blue, worked in satin stitch, bordered with woven ribbon, pale blue lining, centre fastening with buttons and loops, some minor wear, length approx. 104cm (41ins), plus two matching pieces, incl. a cap with long black plait, plus an embroidered silk skirt similar

730* A Chinese porcelain Guan style celadon tripod vessel, circular with crackleglaze, 3.5ins diameter (9cm) Probably a Q’ing interpretation of Song Guan ware. (1)

£150-200

(5)

260

£200-300

735* A Japanese cloisonne box, Meiji Period, the cover decorated with a dragon and a pheonix on a pink ground, sides with a dragon and butterfly on a gold and brown ground, 6.5cm wide (2.5ins)

733* A collection of Chinese porcelain, 18th century and later, including a blue and white bute shape teacup decorated with buildings and bridge before a lake and mountainous landscape, the handle and rim painted in gold 7.5cm high, together with a similarly decorated tea bowl, 14.5cm diameter, a blue and white cylidrical box and cover decorated with Imperial dragons, blue printed six character mark to base, 12cm diameter, a squat porcelain bowl and cover decorated in iron red and gold with Imperial dragons chasing the sacred pearl in a cloudy sky, red seal mark to base, 12cm diameter, plus a pair of porcelain cups each in the Ming style decorated with doucai grape and vine decoration, blue six character mark to base, 8cm high (one damaged) (9)

(1)

£100-150

736 A Chinese rock crystal brush pot, 19th century, carved as a flowering branch on an intricately carved hardwood stand, 12cm wide (4.75ins) (1)

734* A collection of Chinese blue and white vases, including a provincial ovoid pottery vase, with foliate decoration, with ‘Philippines National Museum’ label to base, 13.5cm high, a tall slender vase with an overall crackle glaze and blue prunus blossom decoration, blue six character mark to base 32cm overall, a large provincial ginger jar painted with figures and buildings by a boat and mountainous landscape, 19cm high, plus a lobed charger, printed with an exotic bird amongst trees, 32.5cm diameter (5)

£100-150

261

£150-200

737* Twelve Chinese porcelain dishes, Jiaqing Period, recovered from the wreck of the Diana Cargo, each decorated in blue and white with a starburst and other patterns, 28cm diameter (10.75ins) The Diana was wrecked in 1817, many pieces were recovered and sold at Christies, Amsterdam in 1995. (12) £600-800

739* A Chinese porcelain blue and white bowl, 19th century, painted with a dragon chasing the sacred pearl within a stormy sky, three character mark to base, 9.25ins diameter (23.5cm) (1)

738* A Chinese porcelain blue & white dish, 19th c., decorated with exotic birds amongst foliage, within a geometric border, 31cm diameter (12.25ins), minor fritting around edge (1)

£150-200

740* A Chinese iron duck ewer and cover, Kangxi, archaically constructed the cover with a smaller duck forming the finial and with two twisted iron carrying handles, Chinese characters on the reverse of the base cast in relief for ‘it was made on the lucky day in June of Kangxi 44th year’, 28cm (11ins) long

£100-150

(1)

262

£500-800

741* A Chinese soapstone “boys with elephant” carving, the elephants head turned to one side, surmounted by two boys, one holding a ruyi sceptre, the other telling the other to be quiet whilst holding a vessel, 13cm wide (5.25ins) (1)

£200-300

742* A Tibetan tantric bronze, 18th/19th century, modelled as a deity in an embrace, his outstreched arms each holding a vajra, on a lotus base, 20cm high (8ins), enclosed base, signs of verdigris commensurate with age (1)

£500-800

Lot 741

743* A Chinese ivory figural group, carved as an Immortal carrying a peach branch on his shoulder, his left hand carrying a sack of peaches whilst a monkey tries to tug one from him, 8ins high (20cm) mounted on a hardwood base Peaches are symbolic of eternal life. (1)

Lot 742

263

£700-1000

746* A Chinese hardstone carving of a bearded dragon, 26cm long (10.25ins), together with three further carvings of mythical creatures (4)

£70-100

747* A Chinese hardstone carving of two frogs on a rock, 12cm long (4.5ins), together with a hardstone carving of a recumbent horse, a bowenite vase mounted on a stand, plus a hardstone carving of a horse by a tree (4)

£70-100

748* A pair of Chinese celadon jade horses, 20th c., each carved in a recumbent position, 11cm long (4.25ins) (2)

£200-300

744* A Chinese porcelain blanc de chine figure of Guanyin, 18th/19th century, typically modelled in a standing position holding a scroll, 48cm high (18.75ins), some damage (1)

£200-300

749 A pair of Japanese porcelain Imari vases, 19th century, of square tapered form decorated with flowers in iron red and cobalt blue with ormolu mounts linked by chains, on a square beaded base, 25.5cm high (9.75ins) (2)

745* Three Chinese bronze circular mirrors, probably Han Dynasty, including a mirror with central knop cast with tiger and dragon design, within banded borders, 11cm diameter (4.25ins) (3)

£300-500

264

£300-500

750* Three Chinese porcelain figures, early 20th century, each modelled as an Immortal, polychrome decorated predominantly wearing peach gowns, impressed mark to base, 51cm high (20ins) (3)

£300-500

754* An Indian bronze circular tray, finely moulded with a lioness and her cubs with figures within a floral decorated ground, 12ins diameter (32.5cm) (1)

£100-150

751* A Chinese mottled jade incense bowl, 20th century, carved with stylised chilong with bifad tail with mask ring handles, 29cm diameter (11.25ins) (1)

£100-150

752* A Chinese bowenite incense casket and cover, rectangular with two loose rings handles, the cover with dog finial, carved with scrolls throughout, 14cm wide (5.5ins) (1)

£50-70

753* An Anglo-Indian inlaid dressing chest, with geometric bone and mother of pearl inlay throughout, the hinged lid enclosing mirror, 17cm h x 33cm w x 19cm d

755* A collection of Chinese inksticks, including a hexagonal stick decorated with an Imperial dragon and gilt painted characters, another with boats, building and mountainous landscapes, two sticks in a black laquer case the lid with four characters

(1)

(19)

£150-200

265

£150-200

756* A Chinese jade boulder, 20th century, carved in relief with an elder, child and pine tree before a mountainous landscape, 16cm wide (6.5ins) (1)

£100-150

759* A Chinese hardstone camel, 20th century, carved in a standing position with two humps and talisman face saddle on a rectangular base, 18cm high (11ins) (1)

£50-70

757* A Chinese spinach jade bowl, 20th century, 11.5cm diameter (4.5ins) (1)

£100-150

758* A Chinese jade buffalo, carved in the recumbent position with a boy clambering onto its back as he holds a ling-xi, 15cm wide (6ins), together with another jade carving of a recumbent buffalo, 13cm wide (5ins) (2)

760* A Chinese celadon jade carving, late Q’ing Dynasty to early Republic, carved as a boy holding a ruyi sceptre whilst seated on a pomegranate, 5cm high (2ins) The pomegranate represents sons and daughters. (1)

£150-200

266

£500-800

763* A Japanese Samurai archers (mounted) Armour (Kyudo Yotsudake), late 19th century, comprising, leather gloves, aids, tools, horn resin and spare, in a rattan box (1)

761* A Chinese celadon jade “Pei”, carved as an elder and child standing before a ling-xi tree, the reverse carved with a poetic essay, apocryphal mark and signed ‘Zigang’, pierced for suspension, 6cm high (2.25ins), together with a “Bi” with archaistic design within sectioned panels,and stylised chilongs to each shoulder the centre with rice grain pattern, 11.5cm wide (4.5ins), plus a hardstone pendant carved as a basket of flowers, with gold coloured metal suspension ring, 6cm high (2.25ins) (3)

£100-150

764* A Japanese box (Kaboko), Meiji period, decorated with pine needles in Maki-e lacquer on a black ground, the lid enclosing a central lift out tray, 6.5cm h x 11cm w x 8cm d

£300-500

(1)

£70-100

762* Japanese Samurai thigh armour (Haidate), Mid Edo Period (1750-1810), with 28 metal plates to each side joined by rings, mounted on a patterned cloth with cords (1)

£70-100

765* A Japanese bronze dish, Meiji Period, overlaid in coloured metals with three figures before a tree in a landscape, the base signed, 27.5cm diameter (1)

267

£150-200

Lot 766

Lot 767

Lot 768

766* A collection of Japanese items, mostly Meiji Period, including a pipe and case applied with a brass fruit and vine, with embroidered cloth bag with a dragon design over brass catch of Mount Fuji with dragon beneath, together with a square marble paste box, applied with a dragonfly, cricket and snake, approx. 4.5cm

768* A Japanese Wakizashi, Late Edo Period, the 59.5cm (23.5in) unsigned blade, with copper habaki, iron tsuba, bronze fuchi and menuke, remains of fish-skin and cord, 80cm (31.5ins) in its black painted Saya, in need of restoration, together with a lacquered Tanto Saya, 39cm (15.25ins)

(4)

(2)

£100-150

769 Japanese Lacquer. Catalogue of a Small Collection of Japanese Lacquer made by James Orange, Hong Kong, printed for private circulation, 1907, fifty-two half-tone plts. with tissue guards, (a few tissue guards torn), orig. Japanese-style silk binding, soiled and some wear, 8vo (printed in a very small number, possibly only 150 copies(?), this copy inscribed on flyleaf by James Orange to Mr and Mrs Osbourne - now scratched out), together with Joly (Henri L.), W.L. Behrens Collection, Fascicule III, Parts 1-4 (Netsuke, Lacquer & Inro, Tsuba, Varia), pub. Glendining & Co. Ltd., 1913-14, numerous halftone plts. with tissue guards, orig. printed wrappers contained in orig. blue cloth folder with twin popper fastenings, 4to (ex-libris Jack Coutu, with etched bookplate designed by him and signed in pencil), with others or Oriental art interest, including Present-Day Japan (Overseas Trade Number), Osaka & Tokyo, 1929, and Japan Today & Tomorrow 1930-31, col. plts. and numerous other illusts., orig. printed, wrappers, a little worn and frayed at edges, folio

Lot 767 (detail) 767 A Japanese Kanemote Wakizashi, the 41cm (16.25ins) Shinogi-zukuri blade signed with two characters reading ‘Kanemoto’, with copper habaki, with plain grip, 62.5cm (24.5ins) overall, in its Shirasaya (1)

£100-150

(18)

£300-500

268

£100-150

770* A Japanese Samurai ‘Jingasa’ travelling hat, late Edo period, of traditional circular conical form, painted in gold lacquer, the underside with single character mark, 41cm diameter (16ins) (1)

£70-100

Lot 772

771* A Chinese spinach green hardstone libation cup, 20th century, carved as an elephants head with three clambering chilong each with bifad tail, 8cm high (3ins) (1)

£100-150

772* An Indo-Persian white metal Moghul hilt, decorated with flowers in relief and rams-head terminal, 4.5ins long (12cm) (1)

£100-150

773 Nott (Stanley Charles). Chinese Jades in the Stanley Charles Nott Collection ..., with an introduction by Dr. Lin Yutang and a foreword by Dr. Chih Menge, West Palm Beach, Florida, 1942, colour portrait frontis., 118 b&w plts. from photos, b&w text illusts., orig. ribbed cloth gilt, heavily rubbed, sl. splitting to upper joints and a few nicks to extrems., 4to Limited edition 527/1000. (1)

£200-300

774* A Japanese carved ivory okimono, late Meiji period, in the form of a fisherman holding a net and basket his back foot resting on a shell on a shaped base, 10.75ins high (27cm), some glued repairs (1)

Lot 774

£400-600

269

775* A Chinese hardstone pendant, of circular form carved with a face, drilled for suspension, 12cm high (4.75ins) (1)

778* A Chinese porcelain pillow, 18th century, decorated in the famille-rose pallet with vases and floral sprays, the ends pierced, 15cm high (5.75ins)

£80-120

(1)

£200-300

776* A pair of Tibetan green hardstone bowls, each with applied silvered metal depicting dragons and pheonix, with impressed four character mark to base, 11cm diameter, together with a white jade carving of a recumbent cub, 5.5cm wide, a bone netsuke carved as a monkey perched on a peach, a pair of Japanese satsuma vases, each typically decorated with geisha girls on a blue ground, 13cm high with stands, satsuma buckle and various other items (10)

£100-150

777* A hardstone carving, possibly Chinese, curved and drilled with a cutting device to the base, approx. 22cm wide (8.5ins) (1)

779* A Chinese porcelain blue & white plate, 19th c., decorated with exotic birds, insects and flowers, within leafy scroll border, 29cm diameter (11.25ins)

£50-70

(1)

270

£100-150

780* A Chinese blue and white porcelain plate, 18th century, painted with a vase of flowers within patterned border, 28cm diameter (10.75ins), together with a similar plate plus a rectangular porcelain tureen stand decorated with flowers, 26cm wide (10.25ins) (3)

£200-300

782* A fine spinach green jade snuff bottle, c. 1800-80, carved as a finger citron, the fluted neck wrapped with gnarled branches and young fruits, well hollowed out, the stopper of horn and coral and a fine ivory spoon, 7.5cm long (1)

£700-800

781* A pair of Chinese porcelain vases, early 20th century, polychrome painted with exotic birds and floral decoration on a yellow ground, 25cm high, together with a lobed terracotta bowl incised with characters under a repeating geometric border, the interior and the foot with a grey crackle glaze, small chip around the rim, 17cm diameter plus a Continental faience pottery candlestick, modelled as a dog of fo, polychrome decorated throughout on a canted rectangular base, 22cm high, some chips and flaking (4)

£80-120

783* A large natural grey pebble, late Q’ing Dynasty to early Republic, intricately carved with an openwork design to depict a scaly dragon against a backdrop of storm clouds spiralling through the universe, the exterior with a patch of natural russet skin carved as ling-xi, 11cm wide (1)

271

£500-700

784* A small mutton fat white jade pebble, late 18th/early 19th c., carved as two mandarin ducks, one holding a leafy branch of lotus, 3.5cm wide Mandarin ducks mate for life and represent a happy marriage. (1)

£80-120

786* A chicken bone jade openwork pei (garment ornament), 18th c., the openwork design depicting a lotus flower with a gnarled branch and other flowers below, all surrounded with a border of scalloped circular panels, 5.5cm wide Purchased by the current vendor from John Sparks, London, in the 1970s. (1) £500-700

785* An icy white mutton fat pebble carving, late Q’ing Dynasty, depicting a squirrel feeding upon a large bunch of grapes, attached to a leafy vine, some yellowish skin still visible, 5cm wide (1)

£500-700

787* A small mottled grey carving, late 18th/early 19th c., suffused with darker brown areas and well carved to depict a group of peapods hanging from a leafy vine (1)

272

£250-350

790* A small celadon green jade carving of a young boy, midlate Q’ing Dynasty, dressed in loosely fitting robes, he holds within his hands sprigs of numerous ling-xi and leafy vines, 5.5cm high

788* A fine and good pale green celadon jade carving, late Q’ing Dynasty, of a large double gourd suspended from a gnarled branch also supporting smaller fruit with vines and tendrils decorating the reverse, a good example with some areas of wear (1)

(1)

£200-300

£500-700

791* A very fine mutton fat jade pebble of ovoid form, late Q’ing to early Republic, carved on front in deep relief to depict a seated Guanyin, in a peaceful pose, some area of ochre and russet skin remaining, the top drilled for suspension, 5cm high (1)

789* An interesting greyish white jade with deeper celadon tones wrist rest, 18th c., with bold carving of three sinuous chilongs cavorting through a cloudy sky, 9cm long Possibly adapted from a section brush pot and was adapted to be used as a wrist rest at a later date. (1) £500-700

273

£500-700

794* An early gilt bronze libation cup, possibly Vietnamese, 18th century or earlier, neatly incised overall with symbols of longevity, fans, insects, birds and bronze vessels, the handle formed as a dragon’s head and raised upon an ovoid recessed base, 10cm long (1)

795* An extremely fine and rare shallow dish, the canton enamel brightly painted overall, the central motif of a full frontal Imperial fiveclaw dragon chasing a flaming pearl, the outer rim painted with seasonal fruits, flowers and abundant peach, the reverse raised upon a broad circular foot containing six characters in blue framed withing a square to read “Dai Qing Quianlong Nian-zhi” (respectfully made in the reign of the Quianlong Emperor in the Qing Dynasty 1736-95 and of the period), 19cm d (7.5ins), excellent condition throughout with some stress lines visible

792* A fine and rare quartz “Pei”, late Q’ing to early Republic, well carved on front in two distinct layers through the green and brown natural skin to depict two herons feeding close to lotus and lillies, drilled for suspension, 6cm long (1)

£100-150

From the estate of Marcia Knowles. (1)

£300-500

£500-700

796* A small and delicate Cantonese enamel wine cup, 18th century, of square form with fluted corners, painted in famille colours with peonies set upon a yellow background, 3.5cm hi (1.5ins) (1)

797* A blue and white porcelain wine cup, decorated on the interior with stylised flowers and leafy vines, small chips to the foot, signed ‘Dai Ming Cheng Hua Nian Zhi’ (respectfully made in the Cheng Hua period in the Ming Dynasty and possibly Kang-xi period)

793* A very fine contemporary jade “Bi”, carved in bold relief with a sinuous chilong in the manner of the 18th c., the lower area appears to be calcified and is completed with various coma detailing on the reverse, could possibly be used as a scroll weight, 6cm diameter (1)

£80-120

(1)

£300-500

274

£850-1250

Lot 795

Lot 797

275

Lot 798

Lot 799

276

798* A very fine pair of famille rose porcelain tea bowls, late Qing Dynasty, vividly painted in bright enamels with tree rose, vine supporting multiple gourds, chrysanthemum and wild peony, the palette is vibrant and lively, signed in copper oxide 'Dai Qing Guang-Hsu-Nien-Zhi’, 10.5cm d (4.25ins) (1)

800* A Chinese blue, white and yellow glazed porcelain bowl, the interior with central medallion, vibrantly printed with an imperial five-claw dragon chasing the sacred pearl within a stormy sky, the exterior following the same theme with two imperial dragons cavorting in a stormy sky, signed on the base with six blue characters, ‘Guang-Hsu’ mark and period, 12.5cm d (5ins)

£1200-1400

(1)

799* A pair of shallow porcelain sauce dishes, decorated in puce and famille rose colours, to depict an imperial dragon and a phoenix chasing the pearl of immortality within a storm cloud sky, the exterior with additional floral decoration, a six character underglaze mark, ‘Guang-Hsu’ mark and period, 8.5cm d (3.5ins) (1)

£600-800

Lot 800

277

£2000-3000

801* A very rare famille rose porcelain ‘Baragon Tumed’ bowl, Daoguang period (1821-1850), delicately painted with a host of auspicious symbolism and characters of longevity, the interior with a Varja surrounded by multiple layers of petals, the base with ‘Baragon Tumed’ mark in red, 8.5cm diameter (3.5ins) A specially commissioned piece from the wedding set of Qianlong's great granddaughter to the Mongol Prince Baragon Tumed. From the estate of Marcia Knowles. (1) £1500-2000

278

802* An extremely large sage green and mottled creamy brown jade carving of a recumbent horse resting on all fours, Ming Dynasty, his head turned back and resting quietly on its back, his tail neatly tucked over his hind quarters, the carving is boldly rendered and the detail of his hairwork is neatly incised overall, the composition is strong and very typical of the earlier style of carving associated with the Ming Dynasty, one ear has a minor chip otherwise the carving retains a soft polish, 24cm long (9.5ins) By family repute, this item was acquired in China shortly after the Second World War and has remained in the vedorâ&#x20AC;&#x2122;s family until present. (1)

279

ÂŁ15000-20000

804* Two Chinese inksticks, both Q’ing Dynasty, one decorated with a sage seated beneath a tree, the reverse with extensive calligraphy appeared to be broken in half and restored, the second showing a Chinese sword hung with tassels, the reverse with a six character inscription (2)

£100-150

803* A fine and rare early bronze vase of baluster form, Ming Dynasty, each shoulder with elephant head finials, their trunks bowed and attached to the main body forming handle, a simple fluted linear band decorating the lower half and rising to a neatly flared rim, the heavy body with slightly recessed foot with a single square deeply impressed and containing four archaistic characters, referring to the original maker, 16th c. or earlier, 18cm hi (7ins)

805* A collection of ten Chinese snuff bottles, including an overlaid glass bottle carved with a horse before a tree on a blue ground, with stopper, 7cm high, a tigers-eye bottle carved as a turtle with pearl stopper, plus an agate bottle carved with faux ring turn handles with agate domed stopper, together with Curtis (Mattoon. M.), The Story of Snuff and Snuff Boxes, New York 1935, hbb, 149pp, 117p illustrations

(1)

(11)

£1200-1500

Lot 805

280

£100-150

808* A Chinese geomantic box-wood combination sundial and compass, 19th century, with painted symbols (sundial needle lacking), 15cm long The Chinese geomantic system (Feng shui) believes in good and evil influences of natural surroundings. These compasses would have been used to get the correct balance of ying and yang. (1) £100-150

806* A large Chinese soapstone figure of Guanyin, carved in a standing position holding a scroll, 32cm high (12.5ins), together with a similar carving (2)

£200-300

809* A Chinese Yixing red stoneware teapot, square with curved sides and decorated with character marks, seal mark to base, 12cm high (4.75ins) (1)

£150-200

807* A pair of Chinese Yixing red stoneware vases, of baluster form decorated with an Imperial dragon in a cloudy sky, the rims with a key design, 24cm high (9.5ins)

810* An agate bead, probably Tibetan currency, typically carved with bands of agate, drilled through the centre, 6ins long (15cm)

(2)

(1)

£150-200

281

£100-150

813* A Chinese famille-verte porcelain vase and cover, 19th century, of baluster form, decorated with panels of vases and flowers, on a green ground with geometric borders, 27cm high (10.5ins), together with a blue and white porcelain cylindrical vase, damaged plus an ovoid porcelain vase decorated with females and landscapes, character marks painted in black, lacking cover

811 An Iron tsuba, c.1600, shaped and decorated in gold, signed, Muromachi Period (3)

(3)

814 A pair of Japanese cloisonne vases, early 20th c., decorated with cranes in flight against a black background, 31cm high (12.25ins), some damage

812* A Japanese bronze wave Usubata Ikebana (flower arrangements) stand, Meiji period, cast with a tortoise amongst clusters of waves, signed, 20cm wide (8ins), together with a similar stand, signed, 26cm wide (10.25ins) (2)

£200-300

£100-150

(2)

£100-150

£300-500

815* A collection of Chinese hardstone vessels, including a bowenite pot and cover with ring handles and cover carved with a bird, 11cm high, a jade pot and domed cover with archaic carving, 9cm high (4)

£50-70

816* A collection of Chinese porcelain covers, recovered from the Vung Tau Cargo, all blue and white with variable designs and sizes, some bearing Christie’s ’Vung Tau Cargo’ lot labels The Vung Tau Cargo was discovered off the coast of South China about a 100 miles from Vung Tau, Vietnam in 1990, over 48,000 pieces of Q’ing Dynasty porcelain was recovered and in 1992 Christie’s, Amsterdam sold 25,000 pieces. (70) £200-300

282

Lot 816

Lot 817

817* A Japanese wooden Inro, 20th century, carved in three sections with two horses by a tree, approx. 9cm long, suspended by cord and netsuke carved as a horse, each signed, together with a similar inro, 6.5cm long, with horse netsuke, each signed, plus Bushell (Raymond), The Inro Handbook, Studies of Netsuke, Inro and Lacquer, hbb, 3rd edition 2002, 263pp, numerous illustrations (3)

819* Pimms. Pimms no.1 cup, 2 bottles, together with 2 bottles Pimms Vodka based cup, 1 bottle of no.3 cup, 2 bottles of no.4 cup and 2 bottles of no.5 cup (9)

820* Port. Fonseca 1970, shipped by Whitwhams Wines Ltd. 5 bottles, together with 1 bottle of Taylors 10 year old Tawny port in wooden presentation box

£70-100

WINE

(6)

£150-200

821* Whiskey. Middleton Very Rare Irish Whisky, 1992, one bottle in wooden presentation case, together with 1 bottle of Dimple De Luxe whisky, 1 bottle of Boulard Calvados Pays D’Auge, 1 bottle of Exshaw Tres Rare Grande Champagne Premier Cru du Cognac and 1 bottle of Delemain Cognac

818* Lo Zoccolaio Suculé. Barbera D’Alba, 12 bottles, 2002, together with 2 bottles of Gevrey Chambertin Domaine Heresztyn 2004, 1 bottle Nuits Saint Georges, Clos des Forets St. George 1988 and 2 bottles of Châteauneuf-du-Pape (Tesco Selection) 2006 (17)

£50-80

£70-100

(6)

Lot 818

£100-200

Lot 820 283

Lot 821

TEA CADDIES & BOXES

824* A French kingwood table cabinet, late 19th c., with mirror back shelves, over two doors, each inset with oval ‘Sevres’ style plaques, each painted with floral sprays with sky blue border, surrounded by elaborate C-scroll mounts, and key plate, edged with gilt metal, 62cm h x 47cm w x 14cm d (1)

£1000-1500

825* A satinwood tea caddy, 19th century, of rectangular form with caddy top, brass carrying handle, ivory shield key escutcheon, boxwood stringing, the hinged lid enclosing, three compartments each with cover, 14cm h x 24cm w x 14cm d (1)

£100-150

822* A French kingwood and gilt metal corner shelf, 19th c., of shaped vertical form with three shelves and mirrored panels with gilt metal edging, 76cm h (29.75ins) (1)

£180-220

823* A George III Anglo-Indian stationery box, probably Vizagapatam, inlaid throughout with ivory panels, the hinged lid engraved with monogram within swags, festoons and geometric borders, with twin bow handles, enclosing segmented satinwood interior, 11cm high x 29.5cm wide x 24cm deep, (distressed)

826* A mahogany dome top tea caddy, 19th century, the lid and front panel inlaid with conch shell, within box wood stringing, the hinged lid enclosing, twin division interior each with cover, 13.5cm h x 19cm w x 11cm d

(1)

£100-150

284

£100-150

Lot 824

285

827* A satinwood rectangular tea caddy, 19th century, the lid inlaid with radial inlay on rosewood, brass handle, the front panel inlaid with two oval rosewood panels, enclosing twin division each with cover, 12.5cm h x 18.5cm w x 11cm d (1)

£100-150

828* A George III mahogany rectangular tea caddy, the lid inlaid with radial fan, rosewood crossbanding, brass shell handle, hinged cover enclosing three compartments with two covers, 15cm h x 24cm w x 14cm d (1)

£300-500

830* A Victorian coromandel travelling vanity box by Rodrigues, London, with brass edges, Bramah lock, the dark blue velvet lined interior fitted with manicure items, cut glass bottles and jars each with silver cover engraved with monograms within foliate scrolls, London 1881 with single drawer beneath with recessed brass handle, the front panel hinged to reveal a fitted ivory mirror, inset with brass plaque engraved ‘H. Rodrigues 42 Picadilly.’, 22.5cm h x 34.5cm w x 25cm d

829* A George III mahogany tea caddy, the canted lid inset with brass lion mask handle enclosing twin division on four brass lions paw supports, 12cm high x 20cm wide x 11cm deep (1)

£50-70

(1)

286

£700-1000

MUSICAL INSTRUMENTS

831* A Victorian inlaid walnut workbox, the lid inset with burr walnut lozenge and shaped cartouche, within a repeating border of mother of pearl and bone, the hinged lid enclosing fitted lift out tray, the inner lid lined with an oval bevel edged mirror and lined with blue silk, 15cm h x 33cm w x 22cm d, together with various items including two silver back brushes, silver handle scissors and button hook, plus treen needle case, costume jewellery etc. ()

£80-120

833* A German cello, late 19th century, with two piece back, paper label printed ‘Joseph Guarnerius Cremonas anno 1764 HIS’, 122cm (48ins) (1)

£100-150

832* A George IV rosewood brass bound campaign writing box, with shaped cartouche and keyplate, recessed brass carrying handles, the lock stamped ‘G.R Patent’, the hinged lid enclosing tooled leather fall, two brass top ink bottles, secret drawer beneath lift out tray, with two brass candle sconce, bearing cabinet makers label for ‘T. Handford, Strand, London’, 6.5cm h x 45.5cm w x 25.5cm d (1)

£300-500

834* A plated Class A euphonium, by Hawkes & Son, stamped with manufacturers markings, No 44489, 80cm (31.5ins), together with a brass Superior Class euphonium by Hawkes & Son, 80cm (31.5ins) (2)

287

£100-150

835* A fine Italian mandolin, by C. Cosentino, late 19th century, with ovoid fluted rosewood body inlaid with an Art Nouveau female bust within organic whips on a tortoiseshell ground, profusely inlaid with mother of pearl and abalone and tortoiseshell, with paper label printed ‘P. Costentino, Musical Instruments Depot, 11 Strada Marina Valletta’, 64cm (25.25ins), in its hard case engraved mounts (2)

838* A plated Class A soprano trombone, by Hawkes & Son, stamped with manufacturers markings, No 45333, foliate engraved mounts, 53cm (20.75ins) (1)

£100-150

£400-600

836* An Italian mandolin, by Pietro Tonelli, early 20th century, with ovoid rosewood body and inset with mother of pearl and tortoiseshell, paper label printed ‘Pietro Tonelli Fabbricanti di Mandolni Napoli’, 60cm long (23.5ins), in its hard case (2)

£80-120

837* A plated Class A trombone, by the Salvation Army, stamped with manufacturers markings and presentation inscription, No 5703, in its hard case, together with a plated Class A trombone by Hawkes & Son, Piccadilly London, stamped with manufacturers markings, No 44431, in its hard case (4)

839* A German viola, 19th c., two-piece with ebonised and scroll neck, 65cm overall (25.5ins), with bow inset with mother-of-pearl in a hard carrying case (1)

£100-150

£500-800

840* Two violin bows, inset with mother of pearl and German nickel mounts, together with a Kalbe’s Imperial Accordion, stamped with manufacturers markings and violin parts (-)

288

£50-80

841* A German Stradivarius copy violin, late 19th century, with two piece back, paper label printed ‘Antonius Stradivarius Deutiche Urbeit 1886’, 59cm (23.25ins), in its hard case, with bow inset with mother of pearl, 75.5cm long (29.75ins) (3)

£200-300

843* An English violin, by John Rae, London, early 20th century, with single piece back, painted with stringing, paper label printed ‘John Rae London’ inscribed ‘No 94’ and dated ‘1917’, 59cm (23.25ins), in its hard case with two bows, one inset with mother of pearl and German nickel mounts, the other with bone inset with abalone with German nickel mounts John Rae was born in Battersea, London 1843, he was employed in the Natural History department at the British Museum and made violins in his spare time, he made his first fiddle in 1869 and from 1883 three a year thereafter. Meredith Morris (William), British Violin Makers, refer. (4) £300-500

842* A French violin, late 19th century, with single piece back, the tailpiece inset with mother of pearl flowers, 60cm (23.5ins), in its hard case with two bows each inset with mother of pearl and German nickel mounts (4)

£200-300

289

TRIBAL ARTEFACTS

845* An Aboriginal bowl, well carved and painted in red, 70cm (27.5ins) (1)

£80-120

846* An Aboriginal bowl, painted with black circles and geometric decoration on a white spotted ground, 46cm (18ins) (1)

£80-120

847* An Aboriginal carved figure, detailed in red with yellow skirt and hair, typical aboriginal decoration, on a circular black base, 101.5 (40ins) high (1)

£80-120

844* A good English violin, by Emmanuel Whitmarsh, early 20th century, with two piece back, paper label inscribed ‘Emmanuel Whitmarsh London 1901’, 59.5cm (23.25ins), in its hard case with bow with carved ivory frog inset with abalone, and ivory screw with German nickel mounts Emmanuel Whitmarsh worked in London from the mid-19th century to the early part of the 20th century, he was prolific in the production of violins and specilaised in several models and varying varnish finishes, in 1885 we was awarded a medal at the Inventions Exhibition in London. (3) £700-1000

848* A Papua New Guinea carved ancester figure, well carved with scarification marks, feathers and cowry shell eyes, rush skirt, leg and ankles, 33cm (12.5ins) (1)

290

£80-120

851* A Solomon Islands carved twin handle wooden bowl, traces of geometric carving, 34cm (13ins) across, together with a Dog on stool, raised on four bulbous uprights, 22cm (8.5ins) high (2)

£50-80

852* A Maori carved wooden canoe, waka, 19th century, carved with an all over geometric pattern, approx. 165cm (64.75ins) (1)

Lot 849

£200-300

Lot 850 853* A Solomon Islands model canoe, of navette form with long curved bow, painted in black and and white, with seats and paddles, 128cm (50.25ins)

849* A Guro Antelope mask, Ivory Coast, carved with a long face, pierced eyes and hole to forehead, with long twisted antlers, 109cm (42.75ins)

(1)

£100-150

Believed collected by Margaret Carlin Ford (Anthropolgist and Stained Glass Artist). Used during sacrificial gatherings, funerals and celebrations, they honour protective spirits called “Zuzu”. (1) £100-150

850* A Baule figure, carved as two figures back to back on a geometric base, 29cm(11.5ins) (1)

£70-100

Lot 852 (detail)

Lot 852

291

Lot 857

Lot 858

857* A Cameroon hardwood chair, the pierced geometric arched back over circular seat with repeating elephant head carving, 84cm (33ins) high, old damage resulting in very weak back (1)

£80-120

858* An Aboriginal churinga, carved with a geometric design, 41cm (16ins) An object of religious significance. (1)

Lot 854

£80-120

Lot 855

854* A Papua New Guinea ceremonial board, of oval form with carved decoration in red and white, 103cm (42.5ins) (1)

£50-80

855* A Papua New Guinea ceremonial board, of oval form with carved decoration in red and white, 159cm (62.5ins) (1)

£50-80

856* A Papua New Guinea ceremonial drum, hollowed throughout and with relief carved geometric decoration, painted in red and black with snake or lizard skin, 96cm (38ins) (1)

£50-80

859* A Dyak sword, the 45cm steel blade with with engraved decoration and six holes, antler grip, 60cm overall, in its sheath profusely painted with scrolls and adorned by teeth (1)

292

£100-150

860* An Ethiopian convex shield, with engraved brass central boss surrounded by four bosses, religious devices and other patination on a red velvet ground reverse lined in red cloth with handle, 47cm (18.5ins) (1)

£120-180

861* An African maternity figure, carved as a female carrying a basket, 29cm high (11.75ins), two African carved masks, a collection of North African and Eastern metalwares including a steel balance, a copper pot and cover on three iron supports, an Indian silver coloured metal vase, 14cm h (5.5ins), a pierced brass Benares bowl etc. (-)

863* A Gelede, Yoruba headdress, carved as a head surmounted by a lidded container on a tray, painted with red, 40cm (15.75ins) high (1)

£100-150

864* A Gelede, Yoruba headdress, carved as a head surmounted by entwined serpents, 40cm (15.75ins)

862* A Nigerian ceremonial headdress, carved as a head with rush woven base and cord for wearing, 26cm (10ins)

The Gelede is a public display celebrating “Mothers” (awon iya wa) by way of colourful masks which combines art and ritual dance to amuse, educate and inspire worship. (1) £100-150

Provenance: Believed collected by Major Perry Stewart (1871-1962), Burnby Hall, Burnby, Yorkshire (Explorer, Collector & Big Game Hunter). (1) £200-200

293

867* A Lega pierced ivory spoon, carved to symbolise a figure, 15cm (6ins) (1)

865* A Shona headrest, Zimbabwe, carved over x-frame support, bearing label ‘Mr Robins Loan Jan/24, modern’, 14cm (5.5ins) (1)

£40-60

868* An African knobkerry, of typical form with spherical head and long haft, 25ins long (63.5cm)

£100-150

(1)

£100-150

866* A collection of African ivory carved figures, early 20th century, each individually carved including a figure in the kneeling position holding a bowl above his head, 15cm high, a figural group of an elephant and an ostrich, nicely detailed on a circular base, 14.5cm high, three elephants carved on top on one another, 15cm high, a maternity figure of a female in a kneeling position holding her right breast, 8.5cm high, together with a brooch possibly Taureg, detailed in geometrically gilded metal on a silver coloured metal ground, 5cm diameter Provenance, from the collection of Dr Ludwig G.A. Zohrer (1906-1983) an Austrian Ethnologist working in Africa during the 1930s. (8) £200-300

869* A Lega bone pendant, carved as two faces, hollowed though the centre on a feather string, 7cm (2.75ins) (1)

294

£100-150

873* A Zulu platter with integral bowl on four supports, 75cm (29ins) long (1)

£100-150

870* A Cameroon mask, c. 1900, well carved with a pronounced face and hair, 34cm (13ins) (1)

£100-150

874* An African rattan shield, of oval form with central carrying handle, 120cm (47.25ins) (1)

Lot 871

£60-80

Lot 872

871* A Baule carving of the Monkey Spirit, South Cameroon, his left hand raised to eat a fruit, on a hollowed base carved as a mask, 66cm (25.75ins) (1)

£150-200

872* Two Maori paddles, each typically carved, 163cm (64ins) and 146cm (57ins)

875* A Cameroon rattan shield, 95cm

(2)

(1)

£100-150

295

£40-60

Lot 876

Lot 877

Lot 878

Lot 879

876* A Senufo maternity figure, carved as a seated mother feeding her child, 34cm (13.5ins) (1)

£80-120

877* A Senufo Kpelie mask, Ivory Coast, carved with scarification marks, 34cm (13.5ins) mounted on a stepped wooden base (1)

£100-150

878* Three Papua New Guinea wooden staffs, including a large staff with the head carved as a bird, 184cm (72.75ins), another inlaid with mother of pearl, 142cm (57ins) (3)

£50-80

879* A Zulu staff, carved with figural carved grip, 102cm (40ins) (1)

£100-150

880 An unusual Zulu staff, carved with a “westerner’s” head inscribed ‘pax’ under a vine supported by three serpents and brass ferrule, 93cm (36.5ins), old worm holes throughout (1)

£100-150

881* A good sized Cameroon Chief’s iroko wood stool, the substantial solid circular top over six carved figural uprights united by three leopard stretchers on a circular base, 74cm (29ins) high x 75cm (29ins) diameter A similar example can be found in the Mankon Museum, Northwest Province of the Republic. This heavy table was carved from one piece of hardwood by a Tungo craftsman for the Chief’s reception chamber. (1) £400-600

Lot 881

296

Lot 880

882* A South African stool, oval seat over curved supports, some damage, 39cm (15.25ins) wide (1)

£60-80

883* A Hemba Tribe fertility figure, Congo, carved in a standing position, 62cm high (24.25ins) (1)

884* A Ceylonese rectangular work box, the lid profusely carved with foliate decoration, divisional interior and lift out tray on four carved dragon supports, 45cm h x 51cm w x 35cm d

£100-150

(1)

£80-120

885* A carved Yombe figure, Congo, carved as a mother holding her baby, 15cm (6ins) (1)

£80-120

886* A Zulu hide shield, 88cm (34.5ins) (1)

Lot 883

Lot 885

£40-60

Lot 886

297

ANTIQUE FURNITURE & EFFECTS

887* An oak bible box, 18th c., the rectangular cover over carved geometric front panel and iron lock plate, 26cm h x 55cm w x 35cm d (1)

£150-200

889* A Victorian mahogany bookcase, the frieze with dentil moulding, over twin glass doors, each with shaped moulding, enclosing shelves over similar base on a block plinth, 215cm h x 100cm w x 34cm d (1)

£200-300

890* A Victorian mahogany bookcase, the rectangular frieze over twin glazed doors, enclosing shelves over aperture for a folio sized book, flanked by twin panelled doors on block plinth, 190cm h x 100cm w x 49cm d (1)

£200-300

888 A Flemish oak bookcase, late 19th century, the ogee cornice over twin glazed doors enclosing shelves, flanked by figural pilasters each with lion head capital, the rectangular base supported by figural columns, two frieze drawers, over twin panel doors enlclosing shelves on a block base, 232cm h x 135cm w x 54cm d

891* A small glass-fronted polished oak bookcase, early 20th century, with brass handle and fittings, 70cm wide, 39.5cm tall, containing a consecutive run of 21 volumes of Wisden Cricketers’ Almanack 1984-2004, all hardback in orig. dust-wrappers

(1)

£200-300

298

£100-150

892* An oak cabinet, probably Continental late 19th century, with stepped frieze over panelled fall-front door encompassed by turned columns, a further door flanked by bulbous columns, on bun feet, 136cm h x 69.2cm w x 61cm d (1)

£80-120

895* An Oriental woollen carpet, 20th century, with four medallions within geometric repeating borders, on a dark red ground, 210 x 124cm (1)

£80-120

893* An Edwardian rectangular bijouterie cabinet, painted in green, with glass inset top painted with ropetwist border, the side panels decorated with a cherub and sphinx within floral swags, 77cm h x 107cm w x 39cm d (1)

£200-300

896* An elm Hepplewhite-style chair, c.1800, with shaped pierced splat, solid seat over block supports united by cross stretcher, 95cm, together with an elm ladder back kitchen chair armchair, outswept arms, solid seat over turned supports, 95cm high (2)

£100-150

897* A pair of leather and oak armchairs, c.1900, each with arched leather back inset with brass nails, curved arms over turned uprights, leather seat on bulbous supports united by cross stretcher, 110cm h (2)

898* A William Morris style chair, stained black with spindle uprights over arms, rush seat on spindle supports united by cross stretcher, 80cm high

894* A William IV mahogany pedestal card table, the rectangular top, hinged to reveal green baize, over square tapered pedestal on four splayed supports, with brass lions paw casters, 72cm h x 88cm w x 44cm d (1)

£70-100

(1)

£150-200

299

£100-150

899* A pair of Louis XV style bergere chairs, early 20th century, each with cream and green painted frames, rattan back and seat, foliate carved on curved supports, 80cm high (2)

£150-200

900* A George III mahogany cheese coaster, of typical form with turned ends each with roundels, on four brass casters, 23cm h x 43cm w x 26cm d (1)

£300-500

901* An oak chest of drawers, early 19th c., the rectangular top over two short and three long drawers each with bone key escutcheon, on bracket supports, 102cm h x 110cm w x 52cm d (1)

£200-300

Lot 899

902* A carved joint oak coffer, 18th c., the hinged rectangular top over geometric carved panel on planked uprights, 60cm h x 128cm w x 39cm d (1)

£300-500

Lot 900

903 An oak coffer, early 19th c., the twin panelled cover over repeating frieze and two panels, on reeded block supports, 56cm h x 82cm w x 45cm d (1)

Lot 901

300

£200-300

904* A Louis XV style bombé floral marquetry commode, the walnut serpentine top over three kingwood veneered drawers, each with gilt metal handles and key escutcheons, the sides with C-scroll mounts on flared supports, 90cm h x 90cm w x 46cm d (1)

906* An oak cricket table, late 18th/early 19th c., the planked circular top over three block supports united by under tier shelf, 74cm h

£600-800

(1)

£300-500

905* An oak and mahogany crossbanded bow front hanging corner cabinet, the two doors inlaid with an arched design, enclosing shelved interior, 100cm h x 69cm w x 43cm d

907* A Victorian rosewood davenport, with leather slope, over turned columns, four drawers and four dummy drawers on brass castors, 83cm h x 57cm w x 58cm d

(1)

£80-120

301

£100-150

Lot 909

302

908* A Victorian pitch pine Arts & Crafts period twin pedestal desk, with carved triangular back and rectangular top, over three frieze drawers, two panelled doors enclosing shelves, 124cm h x 146cm w x 60cm d, together with a matching stool with hinged top, 65cm h x 68cm w x 41cm d (2)

£200-300

909* A good oak dresser, early 19th c., the rack with shaped frieze over three shelves flanked by further storage units, over rectangular base with three frieze drawers over baluster uprights with under tier shelf on turned supports, 213cm h x 229cm w x 55cm d (1)

£800-1200

910* An oak dresser with shelved plate rack over base with three frieze drawers, two drawers beneath, brass handles, four turned uprights and solid undertier, 198cm high x 142cm wide x 43cm deep (1)

£300-500

Lot 908

911* An Art Nouveau cast iron fire surround, painted throughout with a faux walnut effect, with stylised organic decoration, 150cm h x 142cm w (1)

£300-500

912* An Edwardian oak gun cabinet, the stepped cornice over twin glazed doors enclosing a shelf, three drawers each with brass recessed handle and fittings for three guns, on four block supports, 185cm high x 88cm wide x 34cm deep (1)

Lot 910

303

£150-200

917* A walnut lowboy, early 18th c., the rectangular top quarter veneered with herringbone crossbanding over one long and two deep drawers each with brass handle and bats wing back plate, on cabriole supports, 76cm h x 104cm w x 60cm d (1)

Lot 913

£400-600

Lot 915

913* A Victorian walnut hall chair, the carved back with scrolls flanked by two angels over solid seat with acanthus carving and similarly carved, 111cm h (1)

£100-150

914 Hepplewhite (A.). The Cabinet-Maker and Upholsterer’s Guide; Or Repository of Designs for Every Article of Household Furniture, in the Newest and Most Approved Taste..., 3rd ed., improved, 1794, 127 engraved plates, including double-page plate 124/125 (loose), title and preliminaries soiled, frayed and detached, some light spotting, contents disbound, contemporary calf upper calf and spine only, some wear, folio (1)

£400-600

915 An Anglo-Indian mahogany child high chair, 19th century, carved with foliate decoration and monogram, with safety bar and adjustable foot rest, raised upon tapered acanthus supports, 91cm high (1)

918* A Victorian mirror, with heavy gesso frame moulded with floral decoration, 125cm x 146cm (1)

£300-500

916* An Edwardian lounge suite, comprising settee and pair of armchairs, each with beech frames, button upholstery, on cabriole supports, settee, 104cm h x 130cm w, chairs, 104cm h x 75cm w (3)

£150-200

919* A substantial Moorish mirror, of architectural form in brass and pewter, engraved with geometric decoration, 150cm h x 124cm w

£100-150

(1)

304

£100-150

920* A matched pair of George I carved giltwood wall mirrors, each with oval plate glass, foliate C-scroll frames, approx. 56cm high x 40cm w, one with wax seal to the reverse (1)

ÂŁ2500-3500

305

923* An Edwardian oak double pedestal desk, the rectangular top inset with leather, over three frieze drawers and three further drawers, on a block plinth, 58cm hi x 123cm w x 64cm d (1)

£200-300

921* An oak and mahogany crossbanded mule chest, early 19th c., the hinged top over two dummy drawers, one long drawer and three short drawers, flanked by reeded uprights, shaped apron on ogee supports, 94cm h x 148cm w x 54cm d (1)

£300-500

924* A Victorian rosewood harmonium, the rectangular hinged top enclosing ivory and ebonised keys, remains of maker’s label, lever engraved ‘Divided Swell’, ‘Patented 22nd May 1855’, over lyre supports united by shaped cross stretcher and iron peddles, 74cm h x 78cm w x 44cm d (1)

£200-300

922* A Black Forest bear occasional table, 19th c., the shaped pierced top having two hinged storage compartments, over finely detailed bear pedestal, his head hinged to reveal a compartment on a rocky base, approx. 80cm h (31.5ins)

925* A carved giltwood salon suite, 19th century, comprising a settee 105cm h x 128cm w, two open armchairs and two single chairs, each elaborately carved with C-scrolls with striped upholstery on cabriole supports

(1)

(5)

£1000-1500

306

£500-800

926* An oak single drawer side table, early 19th c., the rectangular top over single drawer inlaid with chequered stringing on four block supports (1)

£100-150

927* A Victorian oak wind-out dining table, with two additional leaves over bulbous fluted supports with brass castors, 226cm fully extended, 73cm h (1)

£150-200

928* A Victorian combined walnut games/work table, the shaped top hinged to reveal chess and backgammon boards, over single drawer and workbox inlaid with boxwood scrolls, over ring turned uprights on carved cabriole supports united by cross stretcher, 69cm high x 62cm wide x 40cm deep (1)

£300-500

929* A Victorian marble top wash stand by Shoolbred & Co., the rectangular marble with walnut splashback inset with six pottery tiles, over two drawers stamped ‘JAS SHOOLBRED & Co’, on four ring turned supports with ceramic casters, 102cm h x 107cm w x 53cm d

Lot 926

(1)

£150-200

Lot 927

930* A lead water fountain, 19th c., modelled as a putto holding a fish, on a later base, 98cm h (38.5ins) (1)

£500-800

931* A Victorian ladies writing desk, with roll top action opening to reveal three drawers, the hinged fall with painted panel depicting figures in 18th century costume, tooled leather inset, with single drawer similarly painted, brass panel inserts to the sides and gilt painted, on four fluted tapering supports, 90cm h x 79cm w x 43cm d Lot 929

(1)

307

£200-300

GARDEN FURNITURE & STATUARY All lots in this section are being sold as seen, not subject to return.

938* A similar smaller Coalbrookdale cast iron fern and blackberry pattern garden seat, frame stamped R F B25 & R F B26, 41 ins (104cm) wide (1)

£100-150

932* A Coalbrookdale cast iron fern and blackberry pattern garden seat, late 19th c., with the rare metal seat frame into which the wooden slats are fitted, 55.5 ins (141cm) wide (1)

£300-500

939 A large composite stone Italian-style three-tier fountain, mid 20th c., stamped Italgarden, good weathered patina, 56 ins (142cm) diameter (1)

£300-500

933* A Coalbrookdale cast iron fern and blackberry pattern garden seat, late 19th c., 55.5 ins (141cm) wide (1)

£200-300

934* Another (1)

£200-300

935* Another (1)

£200-300

936* Another (1)

£200-300

937* A pair of later period Coalbrookdale cast iron fern and blackberry pattern garden seats, frame stamped R F B25 & R F B26, 55.5 ins (141cm) wide (2)

940* A pair of composite stone Italian-style rearing horse garden ornaments, 30 ins (76cm) tall

£200-300

(2)

308

£70-100

941* A pair of composite stone Italian-style garden pedestals, in the form of a column supported by three cherubs, 30 ins (76cm) tall (2)

944* A pair of composite stone upright seated lion garden ornaments, 28.5 ins (72cm) tall, together with a similar lion ornament with shield (face damaged)

£30-50

(2)

£50-80

942* A pair of composite stone garden urns, of bulbous fluted form on integral socle, 18.5 ins (47cm) diam., 21 ins (52cm) tall (2)

£50-80

945* A pair of composite stone ball finials, on square bases, 21.5 ins (54cm) tall (2)

946* A set of three composite stone Italian-style garden urns, with ornate side handles and moulded decoration, on separate socles, 22 ins (56cm) tall

943* A pair of composite stone garden urns, on square pedestals, 19.5 ins (49cm) diam., 35 ins (89cm) tall (2)

£30-50

£70-100

(3)

309

£60-80

952* A composite stone garden table, on moulded griffon supports with metal stretcher, the top approx. 49 x 22 ins (124 x 56cm)

947* A pair of composite stone garden urns of bulbous fluted form with integral bases, 16.5 ins (42cm) tall (2)

(1)

£70-100

£30-50

953* A pair of white alabaster three-piece grave-side pillars, 26 ins (66cm) tall, together with a pair of similar small urns on circular bases and a small alabaster bust (11)

£50-80

948* A composite stone garden statue in the form of a classical maiden carrying an urn and a basket of fruit, 55 ins (140cm) tall (1)

£70-100

949* A large cast iron fireback bearing the crest of Charles I, 31 x 39 ins (79 x 99cm) (1)

£30-50

950* Another (1)

£30-50

951* Three smaller cast iron firebacks bearing the crest of Charles I and the date 1635, 20 x 24 ins (51 x 61cm)

954* A composite stone garden urn moulded with mask heads and swags of fruit, on separate moulded stand and square base, 36 ins (92cm) tall

(3)

(1)

£70-100

310

£70-100

957* A pair of composite stone garden statues, hunter and huntress, some damage, 55 ins (140cm) tall (2)

£100-150

955* A pair of composite stone one-piece “flower and fruit” finials after the antique, 32 ins (81cm) tall, with a similar smaller finial (3)

£100-150

958* A pair of composite stone Pugin-esque garden urns, 20 ins (51cm) tall (2)

£50-80

956* A composite stone garden statue, in the form of a classical maiden with water jar, 50 ins (127cm) tall

959* A pair of composite stone recumbent lion garden ornaments, 20 ins (51cm) tall, 29 ins (74cm) long

(1)

(2)

£70-100

311

£100-150

960* A similar pair (2)

£100-150

961* A similar slightly smaller pair (2)

£80-120

964* A near-matching pair of composite stone garden urns after the antique, the sides decorated with classical figures, 31 ins (79cm) tall (2)

£100-150

962* A pair of composite stone Gothic-style pedestals, 30.5 ins (77cm) tall (2)

£70-100

965* A set of three composite stone garden urns, with twin side handles and moulded decoration, 18 ins (46cm) diam., 13.5 ins (34cm) tall (3)

£70-100

963* A composite stone garden urn of large proportions, decorated with Italianate shields, cherubs and garlands of flowers, 21.5 ins (55cm) diam., 24.5 ins (62cm) tall

966* A set of four composite stone garden urns with moulded decoration, 17 ins (43cm) diam., 14 ins (36cm) tall

(1)

(4)

£70-100

312

£80-120

969* A pair of composite stone birdbaths, of circular foliate design with acanthus leaf decoration, on moulded hexagonal-shaped pedestals, overall height 37.5 ins (95cm), together with a composite stone pedestal with moulded ivy leaf and berries decoration, on square base, 26 ins (66cm) tall 967* Two matching composite stone garden statues, female figure with long hair and flowing robes, carrying a basket of flowers, on circular bases, 52 ins (132cm) tall (2)

(3)

£70-100

£100-150

970* A pair of composite stone garden urns on separate socle and square plinth, 34 ins (86cm) tall (2)

968* A composite stone water fountain in the form of a scallop shell, surmounted by cherub and dolphin figure, on short circular stand, overall height 43 ins (109cm) (1)

£50-80

971* A composite stone eagle finial by Italgarden, 30 ins (76cm) tall (1)

£70-100

313

£30-50

Lot 974

972* A composite stone square-shaped garden urn with lion head mask decoration, on square plinth, overall height 30 ins (76cm), together with five other various composite stone garden urns (7)

Lot 987

974* A composite stone garden statue, Roman centurion, on square base with incised lettering ‘Lucas’, overall height 56 ins (142cm)

£80-120

(1)

£70-100

975* Two pairs of composite stone square-shaped garden plinths, the side panels decorated with a moulded figure set within an alcove, 20 ins (51cm) tall (4)

£50-100

976* A composite stone garden urn of large proportions, having mask head and acanthus leaf moulded decoration, on short reeded column, 22 ins (56cm) diam., overall height 38 ins (97cm), together with two other composite stone garden urns on separate socles (3)

£70-100

977* A composite stone garden urn on integral stand and base and a separate stepped plinth, diameter 21 ins (53cm), overall height 34 ins (56cm), with four other various garden urns (5)

£100-150

978* A composite stone garden statue, young boy carrying basket of fruit, on square base, two graduated composite stone square pedestals and stepped plinth, overall height 69 ins (175cm)

973* A pair of composite stone garden ornaments in the form of a winged and bare-breasted harpy, on rectangular base, height 32 ins (81cm), base 34 x 15 ins (86 x 38cm)

(4)

In Greek mythology a harpy was one of several loathsome, voracious monsters with the head and trunk of a woman and the tail, wings, and talons of a bird. (2) £100-150

314

£70-100

981* Two composite stone panels with moulded decoration in relief depicting a Roman chariot carrying a naked lady, each 32 x 32 ins (81 x 81cm) (2)

£50-80

982* A pair of composite stone quarter-circle plant troughs, with moulded frieze of putti gathering grapes, etc., width 29 ins (74cm) (2)

£30-50

979* A composite stone garden statue, Two Lovers, on circular base, height 30 ins (76cm), together with another garden statue composed of two cherubs with water jar and shell, on naturalistic stone base, height 31.5 ins (80cm) (2)

£40-70

983 A cast bronze sundial mounted on composite stone column, 28 ins (71cm) tall, together with a composite stone circular top garden table on classical-style circular reeded pillar, overall height 31.5 ins (80cm), and a composite stone square pillar, 22.5 ins (57cm) tall (3)

980* A composite stone garden statue of Venus, standing in a halfshell, 46 ins (117cm) tall, with six various composite stone garden statues, all female figures, tallest 32 ins (81cm) (7)

£80-120

984* Eight pairs of wrought iron garden seat supports (16)

£40-70

315

£70-100

985* A composite stone garden bench on twin squirrel supports, width 45 ins (114cm)

990* A set of four composite stone garden urns, with moulded and incised decoration, 12 ins (30.5cm) tall

(3)

(4)

£30-50

£40-70

986* A composite stone garden bench, the seat slightly curved, on twin shaped pillar supports, width 50 ins (127cm) (3)

£30-50

987* A composite stone garden trough, with all-round moulded decoration of lion mask heads and foliage, 57 ins (145cm) long, together with a smaller composite stone garden trough of plain design, 27 ins (89cm) long (2)

£30-50

988* A pair of composite stone garden troughs, with all-round moulded decoration of putti picking grapes etc., 39.5 ins (100cm) wide (2)

991* A composite stone garden urn of large proportions, decorated with mask heads and swags of fruit, on separate socle and square plinth, overall height 45 ins (114cm)

£50-80

(1)

£70-100

989* A composite stone garden urn, on cherub and dolphin column and circular base, 39.5 ins (100cm) tall

992* A group of seven composite stone garden statues, all figures of small boys, including three musicians, mostly 27 ins (69cm) tall

(1)

(7)

£50-80

316

£40-70

993* A pair of composite stone garden troughs, with all-round moulded decoration of cherubs picking grapes, etc., width 39.5 ins (100cm)

996* A late 19th-c. heavy wrought iron S-curve garden seat with metal slats and scroll arms, bearing the label “Hill & Smith, Shirley Hill, Staffs.’ 72 ins (183cm) wide

(2)

(1)

£50-80

994* Five pairs of 19th-c. cast iron garden seat supports, various designs, some damaged, together with other miscellaneous metalwork (a lot)

997* A similar smaller garden seat, 60 ins (152cm) wide (1)

£100-200

995* A Victorian garden seat with cast iron rustic supports, 67 ins (170cm) long (1)

£200-300

£70-100

317

£150-20

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.

318

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 17 & 18 July 2013 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. 319

Conditions of Sale and Business 7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded.

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

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

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

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

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

11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage. 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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Lot 715 • Back Cover: Lot 802