Dominic Winter lo res by Jamm Design Ltd

OLD MASTER & MODERN PAINTINGS PRINTS & DRAWINGS THURSDAY 21 JULY 2011

DOMINIC WINTER BOOK AUCTIONS

Lot 85 • Front cover: Lot 52

DOMINIC WINTER BOOK AUCTIONS 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 17.5% of the hammer price is payable by the buyers of all lots, except those lots asterisked, in which case the buyer’s premium is 21% Lots marked with a cross (+) are subject to VAT on the hammer price as well as the premium Please note: some lots by living artists are subject to Artists’ Resale Rights, and will incur an additional charge of 3%

OLD MASTER & MODERN PAINTINGS PRINTS & DRAWINGS SPORTING, WILDLIFE & MARINE ART Thursday 21 July 2011 Lots 1-484 commencing at 11am

On view in the Upstairs Gallery Viewing Tuesday & Wednesday 19/20 July 9am-7pm and morning of sale from 9am

Payment may be made while the sale is in progress: please see the cashier in the auction office. Customers are asked to pay cash or establish a credit reference with the Auctioneers prior to the sale.

Please ensure that all commission bids reach us by 10am on the morning of sale. Telephone bids only accepted for lots with estimated value greater than £300 & to reach us by 9am on morning of sale Results will be posted onto 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

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

National Rail Enquiries:

08457 484950

Telephone advance train ticket booking:

08457 000125 (First Great Western) 08709 002320 (Wessex Trains)

Online train timetables and online ticket bookings:

www.traintracker.co.uk

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

01285 655299 / 07980 579947 01285 650850 01285 642767

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

01793 701701

Catalogue Produced by Jamm Design â&#x20AC;&#x201C; 020 8901 7522 info@jammdesign.co.uk

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

CONTENTS British & Continental Watercolours Sporting & Wildlife Art Marine Paintings & Watercolours

1-79 80-122 123-138

Old Master & 19th Century Paintings 139-204 18th & 19th Century Drawings

205-214

Old Master & 19th Century Prints

215-230

Oriental & Persian Art

231-246

British & Continental Etchings

247-291

20th Century Prints

292-343

20th Century Watercolours

344-402

Lucy Kemp-Welch (1869-1958)

403-412

Frederic Remington (1861-1909) Modern & Contemporary Paintings

4 13 414-484

DOMINIC WINTER BOOK AUCTIONS SPECIALIST AUCTIONEERS AND VALUERS

John Speed. The Theatre of the Empire of Great-Britain... A Prospect of the Most Famous Parts of the World... with Many Additions never Before Extant, pub. Thomas Bassett and Richard Chiswell, 1676, fine contemporary hand colouring ÂŁ70,000-100,000

FORTHCOMING SALES IN 2011 Wednesday 20 July

Printed Books, Maps & Prints, Autographs & Ephemera

Wednesday 21 September (date to be confirmed)

Printed Books, Maps & Prints, Autographs & Ephemera to include Travel, Topography, Theology

Wednesday and Thursday 5th-6th October

Printed Books, Maps & Prints, Autographs & Ephemera to include Vintage Photography & Photobooks Sports, Natural History, Science & Geology Literary & Historical Artefacts & Association Items

Wednesday and Thursday 9th-10th November

Printed Books, Maps & Prints, Autographs & Ephemera to include Early Printed Books & Theology

Wednesday and Thursday 16th-17th November

Collectors Sale: Aviation, Military, Transport

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

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

Fax: 01285 862461 info@dominicwinter.co.uk

BRITISH & CONTINENTAL WATERCOLOURS To commence at 11am

Lot 1 1 Album. An album containing a collection of approximately 350 early 19th century drawings watercolours and sketches, including pen & ink, watercolour and pencil nautical & landscape scenes, figurative sketches etc., some with annotations, the majority laid down onto album leaves, various sizes and condition, some soiling and tears etc., 19th c. half sheep, with printed label of George Anderson, stationer & bookseller, 7 Ball Alley, Lombard Street, London to front pastedown, upper board detached, worn, 4to (30.5 x 24cm) (1)

£300-400

2* Alken (Henry, 1785-1851). Wanted an Housekeeper to a Single Gentleman, Going Post, a Water Party - very dry, a Land Party - a very wet & a Fowl Conspiracy, together two pencil and pale watercolour drawings on paper, signed and titled to reverse, 18.5 x 24cm (7.25 x 9.5ins) and similar, both framed and glazed Published in T. Maclean’s Repository of Wit and Humour in 1824. (2) £400-600

Lot 2

Lot 3 3* Barclay (Ada, early 20th c.). Mountain Pass in the Himalayas, large-scale gouache and watercolour on canvas, signed lower centre, 90 x 138cm (35.5 x 54.5ins), framed and glazed with Rowley Gallery label to verso

5* Bradbury (Arthur Royce, 1892-1977). A Cart in a landscape; Landscape with trees and the sun setting over the sea, together two watercolours, signed lower left and lower right respectively, both 24 x 34cm (9.5 x 13.5ins), both mounted, framed and glazed

(1)

Arthur Royce Bradbury specialised in portraits, landscapes and marine paintings in oil, watercolour and pastel, and was he also an accomplished etcher. He studied at the St. John’s Wood School of Art before being accepted at the Royal Academy Schools. He exhibited at the Royal Academy, and became an Associate of the Royal West of England Academy. Examples of his work may be seen at the Liverpool and Brighton Public Art Galleries. (2) £150-200

£300-500

4* Barker (William Dean, ?-1889). Welsh landscape with figure by a cottage, 1873, watercolour, signed and dated lower right, 17.5 x 26cm (7 x 10.25ins), period gilt frame, glazed (1)

£100-150

Lot 4

Lot 5 6

6* Branwhite (Charles Brooke, 1851-1929). Moorland landscape in Devon, with figures near ancient cairns, watercolour, heightened with bodycolour, signed lower left, 50.5 x 76cm (20 x 30ins) (1)

£200-400

7* Branwhite (Charles Brooke, 1851-1929). Landscape with girl beside a rocky stream, watercolour, mounted, approx. 16.5 x 21.5cm (6.5 x 8.5in), framed and glazed (1)

£100-150

8* Cochard (Claude 1886 - 1973). Three watercolours of interiors, watercolour on paper, each approx. 280 x 380mm, mounted Cochard worked in Paris for the renowned decorator Jansen - a firm still in existence at 9 Rue Royale. He also worked in the Jansen store in New York but returned to Paris in 1917. In later life he worked with his father who was an upholsterer of some eminence. After his father’s death he worked for various clients both in France and the United states. (3) £120-180

9* Cochard (Claude 1886 - 1973). Four watercolour drawings of Interiors, watercolour on paper, various sizes varying from 270 x 210mm to 425 x 810mm, mounted (4)

£200-300

10* Cochard (Claude 1886 - 1973). A maquette of a library, c.1905, watercolour on card and laid on wood panels, hand painted glass ‘windows’, painted wood floor with slight worming, fitted with electrical lightbulb socket, the whole model wrapped in red silk, 270 x 380 x 430mm (1)

£120-180

11* Continental School. Portraits of a lady and a gentleman, 1770s/80s, two oval watercolour paintings, half-length, 20 x 18cm (8 x 7ins), mounted, matching gilt moulded frames, glazed (2)

£200-300

Lot 11

12* Cook (Ebenezer Wake, 1843-1926). Gate of the Logetta, Venice, 1893, watercolour, signed lower left, 47.5 x 35.5cm (18.75 x 14ins), gilt frame, glazed The landscape watercolour painter Ebenezer Cook studied under Nicholas Chevalier and worked in London. He exhibited at the Royal Academy 1875-1901, titles including 'Mussel Sorters, Conway', 1875, 'The Thames near Great Marlow', 1876, 'Sunset on the Lake of Geneva', 1892, 'The Loggia dei Lanzi, Florence', 1900, and 'The Earthly Paradise', 1902. (1) ÂŁ800-1200

14* D’Esposito (Vincenzo, 1886-1946). View of Valletta Harbour, Malta, with warship, steamliner, and other craft, gouache on paper, signed D’Esposito to lower right, 115 x 230mm (4.5 x 9ins) (1)

£200-300

15* D’Esposito (Vincenzo, 1886-1946). View of Valletta Harbour, Malta, with boating and fortifications, gouache on paper, signed D’Esposito to lower left, 116 x 233mm (4.5 x 9ins) (1)

£200-300

16* Danby (Francis, A.R.A., 1793-1861). Harlech Castle late afternoon, watercolour, signed lower right, some minor marks and light surface abrasion, 43.5 x 65.5cm (17 x 25.75ins), attractive period gilt-moulded frame, glazed (1)

£500-800

13* Cox (David, 1783-1859, manner of). Tree-lined canal towpath with mountainous background, watercolour on paper, 10 x 17cm (4 x 6.75ins), framed and glazed (1)

£150-200

Lot 14

Lot 15

Lot 16 9

17* Dickinson (John Reed, 1844-1903). Azaleas, The Brook at Hinchinbrooke, & The Rose Garden, Hinchinbrooke, a pair of watercolours, both signed, lower right and lower left respectively, 23.5 x 34cm (9.25 x 13.25ins), matching period oak frames, glazed, the first with original label for The Sketch Society to verso John Reed Dickinson was born in London, but settled in San Francisco in 1879, when he was 35 years old, after studying in London, Paris and Munich. He exhibited at the National Academy of Design in New York in 1878. Many of his works are understood to have been lost in the San Francisco earthquake of 1906. (2) £200-300

18* Dixon (Percy, 1862-1924). Scottish moorland landscape, watercolour on paper, signed and dated 1901, 34 x 53cm (13.25 x 21ins), framed and glazed (1)

20* English School. Saint Maurice with putti, early 19th c., watercolour, showing Saint Maurice holding a sword aloft in one hand and a palm frond in the other, with a putto on either side, one holding a shield lettered ‘Liberta’ and an olive branch, the other holding a helmet, framed by a backdrop of classical architecture comprising a shell-headed niche with Corinthian pilasters on either side, 34 x 28cm (13.25 x 11ins), framed and glazed

£200-300

(1)

£100-150

19* Donne (Benjamin John Morefield, exh. 1889-1901, attrib.). Autumn Landscape, watercolour, signed ‘BJD’ and dated October 1882, 43 x 59cm (17 x 23.25ins), framed and glazed (1)

£200-300

21* English school. Lake district scene, early 19th c. watercolour, 37 x 53cm (14.5 x 21ins) (1)

£150-200

25* Filliard (Ernest, 1868-1933). Roses Rouges, oval watercolour, signed in lower left corner, 40 x 31cms (16 x 12 inches), framed and glazed in ornate gilt painted frame with contemp. manuscript gallery description on verso

22* English School. View of Ludlow Castle and Dinham Bridge from the River Teme, early 19th c. watercolour, 24.5 x 37cm (9.5 x 14.5ins), mounted, together with Nicholls (Bertram, 1883-1974), View of a continental castle and city from a river, pencil drawing on paper, signed lower right, 23.5 x 31cm (9.25 x 12.25ins), mounted, plus Buller (J., 20th c.), The road under Cader-Idris, pencil drawing on paper, mount backing signed in pencil, 21 x 32cm (8.25 x 12.5ins), mounted (3)

(1)

26* Fox (Henry Charles, 1880-1929). View on the River Thames, with cattle on the towpath, 1908, watercolour, heightened with bodycolour, signed and dated lower left, with R.W.S. Pure Paper blindstamp, 38 x 56cm (15 x 22ins), gilt frame, glazed

£150-200

23* English School. Side aisle of an English cathedral, with figures, early 19th c. watercolour on paper, laid on backing board, 51 x 39.5cm (20 x 15.5ins) Possibly a view of Salisbury Cathedral. (1)

£300-500

(1)

£150-200

£100-150

24* English school. Windsor Castle, c.1860, charcoal heightened with watercolour and body colour, signed with the initials ‘RW’, slight spotting, 35 x 52cms (13.75 x 20.5 inches), mounted, framed and glazed (1)

£150-200

27* Goodman (Maude, c.1860-1938). A young girl seated with a basket of roses, watercolour, of a young girl resting on a stone step in a sunlit cobbled alleyway with cottages, signed lower right, 23 x 16cm (9 x 6.25ins), mounted, framed and glazed (1)

Lot 25

£400-600

Lot 28

28* Haanen (Remigius Adrianus Van, 1812-1894). Dutch river landscape with windmill, 1892, watercolour, monogrammed “Rv.H.” and dated ‘92 lower left, 22 x 35cm (8.75 x 13.75ins) Remigius Adrianus Van Haanen (1812-1894) was a landscape and portrait painter born in Oosterhout in the Netherlands. He was a pupil of his father, Casparis Van Haanen, and travelled widely around Europe, finally settling in Vienna in 1892. Haanen was a member of the Academies of Amsterdam, Milan and Venice. The watercolour bears a small library stamp to verso of the Adam Politzer Collection. Politzer (1835-1920) was a noted Hungarian/Austrian physician and one of the pioneers of otology who amassed an enviable art collection. (1) £300-500

29* Hadenfeldt (Gertrude, late 19th/early 20th c.). The Kashmiri Girl’s Head, watercolour, signed lower right, 27.5 x 17cm (10.75 x 6.75ins), framed and glazed (1)

Lot 29

£100-150

Lot 30

30* Harding (James Duffield, 1797-1863). Tal y Llyn, North Wales, pastel on paper, 25.5 x 35.5cm (10 x 14ins), period frame, glazed, inscribed twice to reverse, with artist’s name and title in pencil, in an early hand, and with printed label of Foord & Dickinson, Carvers & Gilders, 90 Wardour Street Tal y Llyn and its lake is situated near Llanrwst, at the foot of Cader Idris. Harding is known to have sketched in the area in September 1855. (1) £300-500

31* Hardwick (William Noble, 1805-1865). Benglog, North Wales, 1846, watercolour on paper, showing two figures walking over a low stone bridge, captioned, signed & dated lower middle, 35.5 x 50.5cm (14 x 19.75ins), mounted, gilt frame, glazed (1)

£200-400

Lot 31

34* Hilson (Jessie M., fl. 1890-1900). Rocky coastline, possibly Jersey, watercolour on paper, signed, 35 x 54cm (13.75 x 21.25ins), framed and glazed

32* Henry (James Levin, 1855-1929). Dover, watercolour, signed and dated 1895, 24.5 x 34cm (9.75 x 13.5ins), framed and glazed (1)

(1)

£200-300

35* Holman (Agnes Gladys, b.1885). A pair of miniature portraits of children, c.1913, together two oval miniature portraits, watercolour on ivory, one showing the head and shoulders of a young girl with bobbed fair hair held back by a slide, 6.5 x 5cm (2.5 x 2ins), framed and glazed with convex glass, the other showing a full-length portrait of the artist Briton Riviere as a child, holding a sledge, signed and dated 1913 lower left, 7.5 x 6.5cm (3 x 2.5ins), framed and glazed with convex glass, with ms. label on reverse inscribed with the artist’s name and address and the words ‘“Briton Riviere Esq., R.A.” Entirely from memory, one impression only.’

33* Hiles (Bartram, 1872-1927). Rural landscape with haycart, watercolour, signed, 24 x 35cm (9.5 x 13.75ins), framed and glazed (1)

£200-300

(2)

£150-200

36* Hunt (William Henry, 1790-1864). Still-life of a nest with plums and apples, watercolour, depicting a mossy nest containing three speckled eggs, next to a branch of plums and two apples, signed lower left, 21.5 x 27.5cm (8.5 x 10.75ins), mounted, framed, and glazed, gilt frame with loss, gallery label of Richard Haworth, Blackburn, on verso William Henry Hunt, the son of a manufacturer, was born with deformed legs, a circumstance which led to encouragement by his parents to pursue a career in art. To this end he was placed with John Varley in 1804, and whilst still a pupil of Varley, he began to exhibit at the Royal Academy in 1807. Hunt’s earliest important private patrons were the Duke of Devonshire and the Earl of Sussex, who respectively commissioned drawings of the staterooms at Chatsworth and Cassiobury. By 1815, Hunt had established himself as an independent architectural and landscape painter, later turning to genre scenes and still-life compositions, which he depicted with a new-found meticulousness. In 1830 he exhibited his first still-life, containing details of nature against a mossy bank, and became so well-known for the type that he was soon dubbed ‘Bird’s Nest Hunt’. His approach to picturemaking proved very popular, and between 1854 and 1861 he gave lessons to John Ruskin. William Rossetti wrote of Hunt: ‘It is stated that one of his finished still-life studies would occupy him, on an average, from a fortnight to eighteen days. He was an indefatigable worker; a man of quaint and lovable naivete of character, corresponding to his queer knock-kneed yet vivid and acute exterior, half-way towards dwarfishness.’ (The Fine Arts Quarterly Review, 1864). (1) £1500-2000

37* Hunt (William Henry, 1790-1864). Still-life of fruit, watercolour, depicting white and black grapes and an apple, with holly and ivy, signed lower left, 24 x 19cm (9.25 x 7.5ins), mounted, framed, and glazed, gilt frame with sl. loss, gallery label of Richard Haworth, Blackburn, on verso (1)

ÂŁ1000-1500

38* Italian School. Three putti dancing around a bee hive, 18th century watercolour, 32 x 44cm (12.5 x 17.25ins), framed and glazed (1)

£150-200

39* Italian School. Venetian scene with elegant lady and children, and servant in attendance, late 18th/early 19th c. watercolour heightened with bodycolour, lined to verso with 18th c. letterpress printed leaf, 20 x 23.5cm (8 x 9.25ins), mounted (1)

£400-600

40* Italian School. The Entombment, early 18th c., miniature oval watercolour on vellum, cockled, 8.4 x 7cm (3.5 x 2.75ins), framed (1)

£200-400

Lot 38

Lot 39

Lot 40

Lot 41

41* Lynas-Gray (John Abernethy, 1869-1940). The Pont-Y-Garth bridge, near Capel Curig, Snowdonia, 1897, watercolour on paper, signed and dated, 65 x 92cm (25.5 x 36ins), framed and glazed (1)

£400-600

42* Maggs (L.A., early 20th c.). Three drawings of lady’s fashions, 1914, together three pen & ink drawings, two with grisaille watercolour, each depicting a lady in modelling pose, dusty and some foxing, two with horizontal crease, some edge-chipping, two signed in pencil, one of which is dated Nov. 1914, each 29 x 23cm (11.5 x 9ins) (3)

£100-150

Lot 42

43* McNicol (Ian, active c.1928-1951). Sound of Sleat, Skye, watercolour, signed and dated [19]32, 26.5 x 37cm (10.5 x 14.5ins), framed and glazed (1)

£150-200

44* Meo (Innes, 19th/20th-c.). Downland Farm on a Hill, July 1928, watercolour with pencil, signed and dated lower right, 33 x 53cm (13 x 21ins), framed and glazed (1)

£150-200

45* Miniature. Continental or Flemish School head & shoulders portrait of a bearded gentleman, fine 18th c. oval watercolour on card, 4.8 x 3.6cm (2 x 1.5ins), framed & glazed (1)

£150-200

Lot 43

46* Muller (Edmund Gustavus, 1816-1888). St. Anne’s Wood, Bristol, watercolour on paper, signed, 13 x 21cm (5 x 8.25ins), framed (1)

£100-200

Lot 44

47* Neapolitan School. Three watercolour drawings showing Neapolitan figures, c.1845, together three watercolour drawings on thick paper, depicting: a group of three sailors, one smoking a pipe; four boys dancing and playing musical instruments in the street; and three figures in a gig, latter inscribed ‘Napoli 45’, some dust-soiling and marks, all 19.5 x 24.5cm (7.5 x 9.5ins) (3)

Lot 45

£100-150

50 Parry (Thomas Gambier, 1816-1888). Italian lake scene, 1846, watercolour, showing fishermen working on nets and a boat by the shore, with villas, campanile, and mountains in the background, signed and dated lower right, 19 x 29.5cm (7.5 x 11.5ins), framed and glazed

48* Page (William, 1794-1872). Two figures by the Temple of Minerva at Sunium, watercolour, 19 x 27.5cm (7.5 x 10.75ins), mounted, framed and glazed, old framing label on reverse (1)

£200-300

Thomas Gambier Parry was an English artist and collector, best remembered for his development of the Gambier Parry process of fresco painting. After studying the technique of the Italian fresco painters, Parry developed his own fresco method and executed grand-scale mural projects at Ely Cathedral, Gloucester Cathedral and the parish church at Highnam, Gloucestershire, where he lived. He was a notable collector of medieval and renaissance art, and his collection was bequeathed to the Courtauld Institute (1) £150-200

49* Parker (Henry H., 1858-1930). Watering cattle near Culham, on the Thames, watercolour, signed, 35.5 x 51.5cm (14 x 20.25ins), framed and glazed (1)

£200-300

51 Perrott (Mary, fl.1920s). Landscape with trees, watercolour, signed lower right, 23 x 30cm (9 x 12ins), framed and glazed Mary Perrott studied at Brighton Art School, Camden Art School, and at the Regent Street Polytechnic School of Art. She exhibited at the Royal Academy, the Royal Institute of Painters in Watercolours and the Paris Salon. (1) £150-200

Lot 52

52* Pompeii. Venus at her toilet, attended by two winged putti, fine late-18th c. watercolour and gouache on laid paper, 29 x 55cm (11.5 x 21.75ins), inscribed in pencil to verso with initials R.L. and dated 1760, and early 19th c. signature of David Constable, early-mid 19th century gilt frame with foliate decoration, glazed, with early 19th c. framer’s label to verso of H. Paton, Edinburgh to verso

53* Porcelain designs. A collection of twelve watercolour designs for Desvres porcelain, c.1905, watercolours on paper, heightened with gold, one image with two Desvres ink stamps, five plts. with images on recto and verso, five images approx. 300 x 160mm each, seven images 290 x 460mm each, mounted, including five with double mounts to show image on verso

David Constable, an Edinburgh advocate, was the son of Archibald Constable (1774-1827), the publisher and founder of the Edinburgh Review. David Constable’s extensive library was sold over twenty-two consecutive days in 1828, and his collection of paintings were sold at auction by D. Speare, 80 Prince’s Street, Edinburgh on January 24th 1829. Lot 47, entitled ‘Venus Attiring, attended by Cupids, in a Gilt Frame’, was sold for £3 4s. (1) £700-1000

The name of Desvres is synonymous with faience and with the Fourmaintraux family who set up business in Desvres in 1804. The Chinese and Japanese influence on these designs is self-evident and it was this highly ornamental porcelain which so excited the connoisseurs and collectors and led to the Desvres name becoming internationally important. (12) £500-800

54* Porcelain designs. Six designs for Desvres vases, c.1905, six pochoir prints finished with watercolour, three approx. 470 x 310mm and three approx. 300 x 160mm, mounted, together with,Design for porcelain plate, c.1905,circular watercolour on paper, ornate heraldic crest with decortive borders, diameter 365mm, mounted (7)

£300-500

Lot 56

55* Portrait Miniature. Head and shoulders portrait of Maria Georgina Grey (nee Shireff), early 19th c., circular gouache painting on ivory (backed with paper), showing the sitter cradling a white dove, sl. edge-chipped and one short break at top edge (not quite affecting image), diameter 7cm (2.5ins), circular frame with convex glass Maria Georgina Grey (1816-1906), more usually known as Mrs. William Grey, was a suffragette, educationist and writer who worked tirelessly to promote women’s education, and was one of the founders of the organisation that became Girls’ Day School Trust. Her treatise on women’s education, ‘Thoughts on Self-Culture Addressed to Women’, was written with her sister, Emily, and published in 1850, funded by Maria’s husband. In it the sisters voiced their disapproval of the frivolous attitude to marriage and the established view that women should be educated only enough to attract a husband. They also laid out a basis for education for girls which included subjects such as arithmetic, geometry, history, science and politics, usually neglected in customary female education of the time. They also argued that female education should continue into later life. Maria and Emily were also suffragettes and in 1870 Maria published a booklet entitled ‘Is the Exercise of the Suffrage Unfeminine?’. She argued that if girls received a proper education this would prepare them for their increased civil responsibilities. In 1878 Maria helped found a teacher training college with The Teachers’ Training and Registration Society. In 1885 the college was renamed The Maria Grey Training College for Women (now part of Brunel University). (1) £200-300

Lot 57

56* Prout (Samuel, 1783-1852, Circle of). Five small continental views, early 19th c., fine miniature watercolours on paper, each showing buildings, figures and lakes or rivers, probably in Switzerland or Italy, three oval-shaped, 7 x 10cm (3 x 4ins) and two sl. larger landscape format, each pasted on to separate album leaves or paper mounts (5)

£200-300

57* Prout (Samuel, 1783-1852). Coastal scene with small boats and castle beyond, pen, ink & wash, signed, 16 x 25cm (6.25 x 9.75ins), framed and glazed (1)

£200-300

Lot 58

58* Prout (Samuel, 1783-1852). “Near Romford”, pen, ink & wash, signed, 18.5 x 26cm (7.25 x 10.25ins), framed and glazed (1)

£200-300

61* Rensburg (Eugene, 1872-1956). Monte Carlo, watercolour and pencil, heightened with bodycolour, signed and titled, 37.5 x 57cm (14.75 x 22.5ins), gilt frame (some damage), glazed (1)

62* Riviere (Briton, Mrs., 1840-1920). “Heather”, watercolour study of ling heather, hare bells and bracken, 13.7 x 13.5cm (5.5 x 5.5ins), mounted with orig. manuscript label to verso, together with other watercolours & drawings etc., including a still life watercolour by Mrs Denis Dighton and a watercolour view of a Street Scene in Oxford by Sophia D’Ouseley Meredith

59* Ramberg (Johann Heinrich, 1763-1840, attrib.). Three Nymphs making love in a landscape [and] Bacchanale with Nymph and two Swains in a Landscape, pair of erotic watercolours with painted mount, each 28 x 22cms (11 x 8.75 inches), framed and glazed Maclean Gallery exhibition labels to verso. (2)

£100-150

(a folder)

£200-300

£300-500

60* Reid (Stephen, 1873-1948). Shakespeare at his writing desk, watercolour, signed with monogram lower left, 25.5 x 16cm (10 x 6.25ins), framed and glazed (1)

£100-150

63* Robertson (Henry, 1848-1930). Red Sails in the Solent, watercolour, signed with monogram lower right, 10.7 x 17.6cm (4.25 x 7ins), framed and glazed (1)

Lot 61

£150-200

64* Rowbotham (Thomas Leeson, 1783-1853). Ruins at Caerphilly Castle, sepia watercolour, paper mount signed & captioned to lower right, 28 x 24.5cm (11 x 9.5ins), mounted, together with another similar sepia watercolour view trimmed with loss of image (2)

£200-300

65* Schipperus (Pieter Adrianus, 1840-1929). Working in the Woods, a pair of watercolours with gouache, each signed lower right/lower left, the latter indistinctly titled lower right, and dated ‘93, 23 x 33cm (9 x 13ins), matching gilt frames (with some damage), glazed, with old framer’s label of Littaur & Co., Fenchurch Street, London, to verso of each (2)

Lot 64

Lot 65 24

£200-300

Lot 66

66* Severn (Walter). Boulders and Trap dykes, Arran, 1877, watercolour, heightened with bodycolour, titled, signed and dated lower left, some surface marks and pale discolouration, 61 x 96cm (24 x 37.75ins), contemp. gilt frame, glazed (1)

£300-500

67 Singleton (Henry, 1766-1839). An album of drawings of Shakespearean characters, six sheets of pen & ink and pencil sketches, with several figure studies to each sheet, stain to lower left corner, each approx. 17 x 10.5cm (6.75 x 4.25ins), mounted in a later album, boards soiled, 4to A typed note indicates that the volume was purchased in 1947 at Sotheby’s. London-born artist Henry Singleton was brought up by his uncle, the miniature painter William Singleton. Henry attended the Royal Academy Schools from 1783 and started working as a professional portraitist at the age of sixteen. He exhibited some 285 works at the Royal Academy from 1784 until his death. During his early career Singleton painted a number of remarkable history and genre paintings, many of which were widely distributed as engravings in mezzotint. Despite their success it was portraiture that earned him a living, with sitters including Lord Nelson, Lord Howe and James Boswell. In 1807 Singleton married his cousin William’s daughter who was a miniature painter known only as Mrs. Singleton. (1) £300-400

Lot 67

68* St. John (S., 19th c.,). Scottish lake scene, watercolour, showing a lake with various craft afloat, and figures on a path by the shore, with mountains in the distance, signed lower right, 21 x 45cm (8.25 x 17.75ins), mounted, framed and glazed, with pencil inscription on reverse ‘Aunt Lilla’s Watercolour of Scotland (Lady Bernard Hunter) (Died 1929)’ (1)

£100-150

69* Syer (John, 1815-1885). Harlech Castle, watercolour, signed and dated [18]78, 29 x 48cm (11.5 x 19ins), framed and glazed (1)

£200-300

Lot 68 70* Tomlinson (Herbert, fl.1905-1935). Pair of landscape views, gouache, signed by artist, each approx. 33 x 25cms (13 x 10 inches), mounted, framed and glazed (2)

£200-300

71* Uren (John Clarkson Isaac, 1845-1932). Coastal sunset scene with cliffs, watercolour, signed lower left, 25 x 51cm (9.75 x 20ins), mounted, framed and glazed

Lot 69

Born in Penzance, Uren primarily produced seascapes and coastal studies of Devon and Cornwall. He also worked at Lamorna before the colony of painters was established there. He lived at Penzance in the 1890s, but moved to Plymouth just before the end of the century, continuing to paint in Cornwall. (1) £100-150

72* Vogel (Ernest, 1909-1993). From the Patch, Mt. Danderry, Victoria (so inscribed in pencil on verso), orig. watercolour, signed in pencil, 33 x 40cm, framed and glazed Lot 70

(1)

£80-120

Lot 73

73* Waite (Robert Thorne, 1842-1935). The Sussex Downs, watercolour on paper, signed, 35 x 53cm (13 3/4 x 21ins), framed and glazed (1)

£300-400

74* Webb (Sir Aston, 1849-1930). Perspective view of the interior of St. Paul’s Cathedral with figures, pen, ink, and watercolour wash, 36.5 x 45.5cm (14.25 x 18ins), mounted, framed and glazed Provenance: Edward Playne, DSC, FRIBA, of 19 Queen Anne’s Gate, with his typed label on the verso of the frame, and his handwritten inscription, which reads, “Original Drawing by Aston Webb included in a collection found in the store in 19 Queen Anne’s Gate and mounted and framed by me EP 1955”. English architect Aston Webb was the son of watercolour painter Edward Webb. Aston Webb received his initial architectural training articled in the firm of Banks and Barry from 1866 to 1871. He set up his own practice in 1874, and in 1883 joined the Royal Institute of British Architects and began working in partnership with Ingress Bell. Their first major commission was a winning design for the Victoria Law Courts in Birmingham in 1886, the first of numerous public buildings the pair designed over the next 23 years. He served as RIBA President and, having been elected as a full member of the Royal Academy in 1903, served as acting president from 1919 to 1924. He was knighted in 1904, received the Royal Gold Medal for Architecture in 1905, and was the first recipient of the American Institute of Architects Gold Medal in 1907. (1) £300-500

Lot 74

Lot 75

75* Williams (Pownall Toker, exh. 1872-1897). Coastal scene in Greece, watercolour, heightened with bodycolour, signed with intials P.W. lower left, 36 x 54cm (14.25 x 21.25ins), contemp. gilt frame, glazed London based landscape painter known for Italian views. Exhibited frequently at MacLean’s gallery in the 1880s. (1) £300-500

76* Williams (Pownall Toker, exh. 1872-1897). Viaduct on the Amalfi Coast, watercolour, heightened with bodycolour, signed with initials P.W. lower right, 67 x 46cm (26.25 x 18ins), contemp. gilt frame, glazed (1)

£300-500

Lot 76 28

SPORTING & WILDLIFE ART

77* Willis (Henry Brittan, 1810-1884). Dray horse at rest, pencil and watercolour, signed, 17 x 23cm (6 3/4 x 9ins), framed and glazed (1)

£150-200

80* Alken (Henry, 1785-1851, attrib.). Pair of Fox-Hunting scenes, two pencil and watercolour drawings, each approx. 12.5 x 19.5cms (5 x 7.75 inches), mounted, framed and glazed (2)

£400-600

78* Willis (Henry Brittan, 1810-1884). Cob horse in profile, pencil and watercolour, signed, 17.5 x 21cm (7 x 8.25ins), framed and glazed (1)

£150-200

79* Wood (Lewis Pinhorn, 1870-1913). Landscape with cows grazing, watercolour, signed lower left, 29 x 42cm (11.5 x 16.5ins), framed and glazed, with Littaur & Co. framer’s label to verso, together with Kennedy (Cedric J., 1898-1968), View across the River Severn, 1928, watercolour with pencil, signed and dated lower left, 33.5 x 51cm (13.25 x 20ins), framed and glazed Lewis Pinhorn Wood lived at Pevensey, Sussex, exhibiting regularly at The Royal Institute, the Dudley Gallery, the Royal Academy, and elsewhere. His son, Lawson Wood, was a well known artist and illustrator. (2) £150-200

81* Allis (Peter 1944-). A Whisp of Snipe, watercolour, signed by artist in lower right corner, 52 x 72.5cms (20.5 x 28.5 inches), framed and glazed (1)

£200-300

Lot 82

Lot 83

82* Armstrong (Robin, 1947 -). Resting Woodcock, watercolour, signed by artist in lower right corner, 26 x 38.5cms (10.25 x 15 inches), mounted, framed and glazed (1)

84* Bradley (Cuthbert, 1861-1943). Three scenes of horse racing and associated games, together three watercolours heightened with bodycolour, each signed and dated June 2, 1886 in pencil, and numbered II, III & V of a series, laid onto card, 21 x 35cm (8.25 x 13.75ins), framed and glazed

£70-100

83* Birds. A collection of paintings of African and Indian birds by Santagnello, early 19th c., together seventeen finely executed drawings in watercolour and gouache, some heightened with gold, on Whatman paper (some sheets watermarked 1820s), six signed, some light dust-soiling and marks, 24 x 18cm (9.5 x 7ins) and smaller

The images are captioned in pencil: No. II The Kelsall Challenge Cup. Mr G.M. Rutherford’s ‘Phyliss’ makes the pace and wins from Mr. D. Cunliffe Smith’s ‘Pearl’; No. III Ball Race 400 Yards. Mr. G.M. Rutherford wins easily on Florence...; No. V Tamden Race. Mr. G.M. Rutherford wins with ‘Jimmy’ and shows that there is no difficulty driving tandem. (3) £400-600

Most titled in pencil, e.g.: Golden Pheasant of the Malabar Coast; Crested Parroquett; West Indian Humming Bird; Golden Pheasant of Arabia; Burmese Golden Pheasant; Burmese Parrot; Yellow Breasted Parroquet; Mule Canary. (17) £300-400

Lot 84 30

Lot 85

85* Caforio (Fabrizio, 20th/21st century). Hunter’s Gaze, 2004, acrylic on canvas, signed and dated lower right, with handwritten certificate by the artist to verso, 35 x 75cm (13.75 x 29.5ins) framed (1)

£1000-1500

86* Coleman (Ian, 1959-). Shire Horse & Barnevelder Cockerell, oil on board, signed lower right, 24 x 35cm (9.5 x 13.75ins), framed Ian Coleman has worked as a professional artist for over twenty years, in the fields of animation, illustration and design. He has an international reputation as one of Britain’s leading wildlife artists, and has won many awards for his portrayals of animals, fish and birds. (1) £200-300

Lot 86

Lot 87

87* Collyer (Margaret, 1872-1945). Portrait of a greyhound in a landscape, oil on canvas, signed and dated 1911, 72 x 92cm (28.5 x 36ins), framed Margaret Collyer attended the Pelham Street Schhol of Art and the Royal Acadamy schools, exhibiting at the RA thereafter. She published her autobiography An Artist’s Life in 1935. (1) £1000-1500

88* Cotton (D.H., 20th c.,). Buzzard, 1974, pencil drawing, signed and dated lower left, 29 x 20cm (11.5 x 8ins), mounted, framed and glazed, with Reading Fine Art Gallery label on verso of frame, together with “Woodcock”, 1974, pencil drawing, signed and dated lower right, 18 x 25.5cm (7 x 10ins), mounted, framed and glazed, with gallery label as above on verso, plus “Long Tailed Tit”, 1974, pencil drawing, signed and dated lower right, 26 x 18.5cm (10.25 x 7.25ins), mounted, framed and glazed, with art gallery label as above on verso, plus two watercolour paintings of Canada geese in flight by Mortimer, and an etching of two snowy owls by T.J. Greenwood, 27/150 copies, all mounted, framed and glazed (6)

£100-150

Lot 88

89* Curling (Peter, 1955-). “She’d pull yer arms out!”, 1976, pen and watercolour of a racehorse exercising, signed and dated in ink, 44 x 55cm (17 1/4 x 21 1/2ins), framed and glazed Peter Curling was born in Waterford and had his first exhibition in Lambourn at the age of fourteen. He later studied under Signorina Sima and with the sculptor John Skeaping RA and has regularly exhibited in London and Dublin. (1) £1000-1500

Lot 90

Lot 91 34

90* Digby (R. David, 1936-). Golden eagle on rocky outcrop, oil on board, signed by artist in lower left corner, 60 x 70cms (23.5 x 27.5 inches), framed

93* Digby (R. David, 1936-). Cock Pheasant in the snow, 1990, watercolour and gouache, 28 x 36.5cms (11 x 15 inches), mounted, framed and glazed

(1)

£500-800

£150-200

91* Digby (R. David, 1936-). Peregrine falcon and Redshank, gouache, signed by artist in lower left corner, mounted, framed and glazed (1)

£400-600

94* Digby (R. David, 1936-). Harris’s hawk, pencil drawing, titled and signed below image, 30 x 23.5cms (11.75 x 9.25 inches), mounted, framed and glazed, together with,’Sparrowhawk flying a Blackbird’, 17th. July 2005,pencil drawing, titled, signed and dated by artist below image 16.5 x 21cms (6.5 x 8.25 inches), mounted, framed and glazed (2)

£100-200

92* Digby (R. David, 1936-). Hobby falcon on a branch, watercolour and gouache, signed in lower left corner, 28 x 21.5cms (11 x 8.5 inches), mounted, framed and glazed (1)

£120-180

95* Ennion (Eric Arnold Roberts, 1900-1981). Two Great Crested Grebes preening and pulling at weed, with four Mallards, pencil and watercolour with bodycolour, signed in pencil lower right, 39 x 54.5cm (15.25 x 21.5ins), mounted, framed and glazed (1)

Lot 93

£200-300

97* Gillmor (Robert, 1936-). A pair of avocets feeding, watercolour, 22 x 40cm (8.75 x 15.75ins), signed lower right, mounted, framed and glazed

96* Ennion (Eric Arnold Roberts, 1900-1981). Two song thrushes amongst creeping jenny foliage and flowers, pencil and watercolour, signed in pencil lower right, 30.5 x 23cm (12 x 9ins), mounted, framed and glazed (1)

(1)

£300-400

£100-150

98* Graeme (Colin, 1858-1910). Wire-haired Terrier, 1882, oil on canvas, signed and dated lower right, 30.5 x 40.5cm (12 x 16ins), period gilt frame Colin Graeme (or Colin Graeme Roe) was a sporting artist who specialised in gun dogs and shooting scenes. He is believed to be the son of Robert Henry Roe (1822-1905), the highland landscape and animal painter. See Wingfield, Dictionary of Sporting Artists, 121. (1) £400-600

99* Higgs (Warwick, 1956-). “Young Owls”, watercolour heightened with bodycolour, of three baby owls sitting on a rope, signed in pencil lower right, 11 x 36.5cm (4.25 x 14.25ins), mounted, framed and glazed (1)

Lot 97

Lot 98

£70-100

Lot 101

100* King (John Gregory, 1929-). Frost in the air, St. Ethelburg’s, watercolour, heightened with bodycolour, signed and dated ‘91, 32.5 x 25.5cm (12.75 x 10ins), framed and glazed, with Malcolm Innes Gallery label to verso (1)

£200-300

101* Lodge (George Edward, 1860-1954). Goshawk mobbed by Crows, oil on board, signed by artist in lower right corner, 29 x 43cms (11.5 x 17 inches), framed (1)

£600-900

Lot 100

Lot 102

Lot 103

Lot 104 102* Lyne (Michael, 1912-1989). Flat horse racing scene, oil on canvas, signed, 41 x 61cm (16 x 24ins), framed (1)

£700-1000

103* Makinson (Alistair, 1961-). Red Deer Hinds, oil on canvas, signed lower left, 91.5 x 122cm (36 x 48ins) A leading painter of sporting and landscape subjects, Alistair Makinson is Lancashire born and bred, and works from his studio on the banks of the River Ribble. His first major exhibition was held at the Tryon Gallery in 1997, and he has exhibited regularly since then at various galleries. His subjects include wildlife and game, farm and river scenes, with particular emphasis on Scottish settings. (1) £700-1000

104* Makinson (Alistair, 1961-) Woodcock over Bracken, oil on canvas, signed lower right, 50 x 69.5cm (19.75 x 27.5ins) (1)

£500-800

105* Makinson (Alistair, 1961-). Oncoming Grouse, oil on canvas board, 45.5 x 61cm (18 x 24ins), framed, with House of Bruar gallery label to verso (1)

£400-600

Lot 105

106* Matania (Franco, 1922-2006). A Close Finish, coloured chalks on paper, signed, 30.5 x 52cm (12 x 20.5ins), framed and glazed (1)

£70-100

107* Milliken (Robert W., 1920-). Teal landing in the rushes, watercolour, signed by artist in lower right corner, 26.5 x 36.5cms (10.5 x 14.5 inches), mounted, framed and glazed (1)

£250-350

108* Newlyn School. Study of three horses, early 20th century oil on canvas, unsigned, 39 x 50cm (15 1/4 x 19 3/4ins), framed Offered with a signed letter of provenance describing how Alfred Munnings painted the scene for an acquaintance of Harold and Laura Knight about 1910. It has apparently remained in the family ever since. Please contact the auction office for further information. (1) £1200-1800

Lot 109 Lot 110

109* Norfolk Terrier. Head study of a Norfolk terrier(?), 1901(?), oil on board, monogrammed “B” upper right, indistinctly dated and initialled ‘AS’? lower left, 29.5 x 23.5cm (11.5 x 9.25ins), framed and glazed (1)

£300-500

110* Proud (Alistair 1954 -). Goshawk on Glove, watercolour, signed by artist in lower right corner, 51 x 38cms (20 x 15 inches), mounted, framed and glazed (1)

£300-500

111* Proud (Alistair 1954 -). Merlin falcon on boulder watercolour, signed in lower right corner, 24.5 x 31.5cms (9.5 x 12.5 inches), mounted, framed and glazed (1)

£100-200

Lot 111

112* Reid-Henry (David, 1919-1977). Peregrine falcon with Rock-dove, oil on board, signed by artist in lower right corner, 51 x 39cms (20 x 15.25 inches), framed (1)

ÂŁ600-800

Lot 113

Lot 114

113* Reid-Henry (David, 1919-1977). Study of a Peregrine Falcon’s head, watercolour, signed in pencil in lower right corner, very slight spotting, 14.5 x 12.5cms (5.75 x 5 inches), mounted, framed and glazed (1)

114* Ross (Hugh, early 20th c.,). Study of a racing pigeon, 1911, oil on canvas, showing a pigeon standing on a wall, inscribed on the wall ‘property of Sam Blount’ and ‘1st Open T. Whitakers, Race Gernsey 1910’, signed and dated lower left, some discreet repairs, 30.5 x 35.5cm (12 x 14ins)

£150-200

(1)

£100-150

115* Simpson (Charles Walter, 1885-1971). “Success and Failure - Beechers Brook”, oil on board, unsigned, 54 x 96cm (21.25 x 37.75ins), framed (1)

£1000-1500

Lot 116

116* Stokes (George Vernon, 1873-1954). The Fairy Ring, pastel on paper, signed lower left, 49.5 x 75cm (19.5 x 29.5ins), framed and glazed (1)

£500-800

117* Swan (Cuthbert Edward, 1870-1931). Leopard with it’s prey, 1910, watercolour, signed and dated, 25 x 35cm (9.75 x 13.75ins), framed and glazed (1)

£300-400

118* Threlfall (John, 1958 - ). Sheep on the Moor, watercolour, signed in lower right of image, 23. 5 x 32cms (9.25 x 12.5 inches), mounted, framed and glazed (1)

Lot 117 44

£100-150

119* Townsend (J.C., 20th century). Mallards startled by a fox in a winter landscape, oil on canvas, signed and indistinctly dated, 56 x 46cm (22 x 18ins), framed (1)

Lot 120

£100-150

120* Whymper (Charles, 1853-1941). Pied Kingfishers, gouache on paper, signed lower right, 32.5 x 16cm (12.75 x 6.25ins), framed and glazed (1)

£200-300

121* Wilkinson (Henry 1921 - 2011). Six etchings of dogs, dry point etchings, coloured by hand, signed and numbered by artist below image, each approx. 18 x 23cms (7 x 9 inches), mounted, framed and glazed The dogs and the limit numbers are :- Flatcoat and springing Mallard 67/150, Springer Spaniel with Mallard 25/250, Gordon Setters 35/150, Border Terrier 59/250, German Pointer 127/250 and Black Labrador 44/250. (6) £150-200

122* Willett (Arthur, 1857-1918). Hunting scene, watercolour on paper, signed, 30 x 36cm (12 x 14ins), framed and glazed (1)

£150-200

Lot 122

MARINE PAINTINGS & WATERCOLOURS 123* Bradshaw (George Fagan, 1887-1960). “Heavy Weather”, 1924, tempera on board, showing a square rigger listing in a rough sea, signed lower left, 34 x 51.5cm (13.5 x 20.25ins), framed and glazed, titled and signed in pencil in the artist’s hand on reverse Born in Belfast, George Bradshaw was educated at HMS Britannia, Dartmouth and followed a career in the Navy. As a Lieutenant Commander, he served on submarines and was awarded a Distinguished Service Order during the First World War. George Bradshaw later lived and worked as an artist in St. Ives and was known for his seascapes, paintings of marine vessels and views of St. Ives. He was a founder member of the Royal Society of Marine Artists, exhibited with the Royal Academy and the Royal Scottish Academy, and also helped to establish the St. Ives Society of Artists in 1927. (1) £200-300

124* De Simone (Antonio, 1851-1907). S.S. Helmstedt, West Hartlepool, gouache on paper, laid on near contemp. board, titled in bodycolour below image, some water staining largely confined to margins, slight abrasion to image, 44.5 x 70cms (17.5 x 27.5 inches) The S.S.Helmstedt was a tramp steamer built by Edward Withy & Co. of West Hartlepool, Sunderland and launched in 1877. She was owned by Sir R.Roper & Co. (Pool Shipping).On the 23rd March 1880 she was on route from Livorno to Nicolaieff when she ran aground and sank six miles south east of the Mandali islands in the Doro Channel. (1) £300-500

Lot 123

Lot 124

125* English School. Thames sailing barge and ships on the Thames estuary, late 19th c. watercolour on paper, indistinct monogram & date ‘94’ to lower right, 17 x 26cm (16.75 x 26.25ins), mounted, framed & glazed (1)

£100-150

126* Faulkner (John, 1835-1894). Near Cape Clear, oil on canvas, signed and titled to verso, 51 x 76cm (20 x 30ins), gilt frame (1)

£1000-1500

Lot 125

Lot 126

Lot 127 127* Hardy (Thomas Bush, 1842-1897). French fishing boats off the Scottish coast, 1891, watercolour, heightened with bodycolour, signed and dated lower left, 35.5 x 53cm (14 x 21ins), framed and glazed (1)

£300-500

129* Hunt (Edward Aubrey, 1855-1922). Thames barges with paddle tug, watercolour, signed, 35 x 42cm (13.75 x 16.5ins), framed and glazed

128* Hereford (Edward W., late 19th/early 20th c.). Italian coastal view with boats beached on the shore, watercolour, with pen & ink, 32 x 49cm (12.5 x 19.25ins), gilt frame, glazed

(1)

Captain Edward N. Hereford R.N. is known for his carefully detailed watercolours of naval frigates, prison hulks, and harbour scenes. His letter books and logs are held at the National Maritime Museum, Caird Library. (1) £200-300

£200-300

Lot 130

130* Markes (Albert Ernest, 1865-1901). Shipping in a rough sea, watercolour, signed, 45 x 70cm (17.75 x 27.5ins), framed and glazed (1)

ÂŁ500-700

131* Maxwell (Donald, 1877-1936). Cruisers line astern, 1909, pen, ink and grey wash on paper, showing British ironclad warships in convoy, heightened with white bodycolour, mounted on card, signed and dated lower right, 25.5 x 25.5cm (10 x 10ins) (1)

ÂŁ150-200

Lot 131

132 Maxwell (James Scott, 1845-1922). An album of watercolours 1892 - 93, thirty-eight pen watercolour and bodycolour paintings of merchant ships and warships of the British, French, Dutch, German and Danish navies, all signed with initials and dated, bright and clean throughout, each 180 x 255mm, artist’s ownership signature and dates to front pastedown, original cloth bound boards with manuscript number 8 and the dates on upper board, oblong 8vo Maxwell’s maritime paintings appear only occasionally at auction and his bright colours and naive style have engendered an enthusiastic following. An unusual complete sketch book in fine condition. (1) £2000-3000

Lot 133 133* Naive School. Chasing a smuggler, early 19th century, oil on canvas, 32.5 x 79cms (12. 75 x 31 inches), near contemp. wooden stretcher

134* Pitcher (Neville Sotheby, 1889-1959). “The Windjammer”, watercolour on paper, signed and titled, 48 x 62cm (19 x 24.5ins), framed and glazed

(1)

£100-200

Lot 134

£400-600

135* Robertson (Tom, 1850-1947). Steamer at sea, oil on canvas, signed, 17 x 25cm (6.75 x 9.75ins), framed and glazed (1)

£200-300

136* Seits (Johann, 1887-1967). “Grue Loznica”, 1928, watercolour of a square-rigged merchant ship, signed and dated lower right, 10 x 14cm (4 x 5.5ins), mounted, framed and glazed Johann Seits was a well-known Austrian painter of landscapes and marines. (1) £150-200

Lot 135

137* Stanfield (William Clarkson, 1793-1867). Fishing Boats in a Squall, watercolour with pen & ink and scratching out, signed lower left, some overall toning, 11 x 16.5cm (4.25 x 6.5ins), framed and glazed (1)

£100-150

138* Wyllie (William Lionel, R.A. 1851-1931). Inch Marnoch and Bute from off Sannox, Scotland, watercolour, signed and titled lower left, 25.5 x 44cm (10 x 17.25ins), framed and glazed (1)

Lot 136

Lot 138 52

£300-500

OLD MASTER & 19TH CENTURY PAINTINGS

139* Bassano (Jacopo da Ponte, 1510/18-1592, Follower of). The Lamentation, oil on canvas, relined, 83 x 52cm (32.5 x 20.5ins), framed According to a Sotheby’s valuation, the present work is an early copy with minor differences, after the original painting in Santa Maria in Vanza, Padua. (1) £2000-3000

140* Beechey (William, 1753-1839, attrib.). Portrait of a lady in white, possibly Queen Charlotte (1744-1818), c. 1800, oil on canvas, half length, unsigned, 74 x 62cm (29 x 24ins), gilt frame Sir Henry William Beechey became associate of the Royal Academy in 1793, and in the same year he was made portrait painter to Queen Charlotte. (1) ÂŁ1500-2000

Lot 141 141* Ash (Thomas Morris, fl.1883-1891). Near Betws y Coed, North Wales, a pair of oils on board, both signed lower right, one with manuscript caption to verso, 15 x 30.5cm (6 x 12ins), matching gilt moulded frames, with framers label of A. Charles Savage & Son of Handsworth, Birmingham to verso of each (2)

£400-600

142* Benson (Townley 1848 - 1907). Italian Street scene, 1899, oil on board, signed and dated by artist, 33 x 22.5cms (13 x 9 inches, framed (1)

£200-300

143* Bissill (George William, 1896-1973). A snowy mountain view, oil on board, signed lower right, 9.5 x 13cm (3.5 x 5ins), in mosaic frame (with sl. damage)

Lot 142

(1)

£200-300

144* Boudewijns (Adriaen Frans, 1644-1711, & Bout, Pieter, 1658-1719). Wooded landscape with animals and travellers on a path, oil on canvas, relined, 42 x 56cm (16.5 x 22ins), 19th c. gilt moulded frame Adriaen Frans Boudewijns and Pieter Bout were both Flemish painters, draughtsmen and engravers, based in Brussels. Boudewijns is known to have collaborated frequently with Pieter Bout in landscape scenes, for which the latter would supply the staffage. (1) ÂŁ5000-8000

147* Continental School. Circular china plate painted with a portrait of a young girl, 19th c. oil head & shoulders portrait of a girl in elaborate costume, wearing a gown with a velvet, fur-trimmed neckline and Tudor-style cap sleeves, with a necklace of pendant pearls, and a headdress with roses and a veil, crazed, early printed label on reverse of ‘C.E. Clifford, Picture Restorer, Carver, Gilder, Printseller, & Artists’ Colourman, to the Royal and Imperial Families of England, France, Germany, Austria, Spain and Brazil’, diameter 40.5cm (16ins)

145* Brockman (Charles H. Drake, exh. 1880-1904). Autumnal river landscape, signed and dated 1880, 93 x 76cm (36.5 x 30ins), framed Brockman was known to frequently paint the Thames. (1)

£300-400

(1)

£150-200

146* Continental School. Portrait of a gypsy woman, early/mid 19th c. oil on paper laid on board, showing the head and neck of a gypsy woman wearing large gold hooped earrings, her face lit by firelight, 32.5 x 26.5cm (12.75 x 10.5ins), framed, with old stencilled auction number ‘GW171’ on verso

148* Continental School. Portrait of St. Francis & St. Nicholas, early-mid 18th-c. oil on canvas, relined & repaired, some areas of damage and paint loss, 75 x 62cm (29.5 x 24.5in), framed

(1)

£200-300

Lot 149

Lot 152

149* Continental School. Alpine valley with livestock in foreground, 19th century oil on board, initialled JRP to lower right and dated 1863, 28 x 50cm (11 x 19.75ins), framed and glazed (1)

£150-200

150* Cooper (H., early 20th century). Cottage near Barmouth, North Wales, oil on canvas, signed “H. Cooper” and dated 1919, 51 x 76cm (20 x 30ins), framed (1)

£200-300

151* Du Chattel (Fredericus Jacobus van Rossum, 1856-1917). Dutch canal scene in winter, oil on wood panel, signed lower right, 20.8 x 15.6cm (8.2 x 6ins), gilt frame (1)

£1500-2000

152* Dutch School. River landscape with windmill at dusk, late-19th c. oil on wood panel, unsigned, 24 x 14cm (9.5 x 5.5ins), later 19th century gilt frame, with printed label of H. W. Taylor & Co., picture frame fashioners, 61 Queen’s Road, Bayswater, London (1)

£150-200

Lot 151

Lot 153

153* Dutch School. Landscape with figures fishing, 18th century oil on canvas, relined, 26 x 36.5cm (10.25 x 14.25ins), black moulded frame (1)

ÂŁ600-800

154* Embroidered pictures. A pair of embroidered pictures, c.1800, two oval pictures, embroidery with watercolour on silk, one showing a seated lady in a landscape with sheep, and the other showing a seated lady in a landscape with a lion and a donkey, both 33.5 x 27.5cm (13.25 x 10.75ins), oval framed and glazed, together with two other 19th c. embroidered pictures, one of a floral bouquet finely-worked in satin stitch on silk, comprising tulips, carnations, pansies, roses, etc., toned and some marginal wear, 32 x 26cm (12.5 x 10ins), framed and glazed, the other of a floral bouquet composed of embroidered cut-out felt pieces, comprising a passion flower, a rose, honeysuckle, pansies, etc., 31.5 x 26.5cm (12.5 x 10.25ins), oval framed and glazed (4)

Lot 154

ÂŁ200-300

157* English school. Young girl with puppies, 19th century oil on canvas, 40 x 51cm (15 3/4 x 20ins), framed (1)

£100-150

155* English School. Girl reading in a garden, c.1880, oil on canvas, of a girl in a white dress reading a book, seated in an arbour by an open door showing an interior view, with a large black dog and a white cat beside her, 30.5 x 25.5cm (12 x 10ins), gilt frame (1)

£300-500

158* English school, 19th century. Portrait of an Irish girl, oil on canvas, 77 x 63cm (30.5 x 25ins), framed (1)

159* English School. A pair of portraits of a lady and gentleman, late 18th c., half-length oil on canvas portraits, torn and slight loss (mostly to portrait of gentleman), 43 x 34.5cm (17 x 13.5ins), matching frames

156* English school. Boy playing flute, early 19th century oil on canvas, 57 x 46cm (22.5 x 18ins), framed (1)

£400-600

(2)

£200-300

£100-200

160* English school. Two children with a rabbit, mid 19th c., oil on canvas, of two young boys in a flag-stoned barn, one holding a black and white rabbit, the other holding a bundle of grasses, with a small dog under a rabbit hutch, and various scattered items, e.g. a besom, an axe, a lantern, and baskets, etc., indistinctly signed ‘Nicholls’ lower left, re-lined, 63.5 x 45.5cm (25 x 18ins), framed (1)

£100-150

161* Farrer (Fanny, late 19th/early 20th c.). Still life of violets, oil on canvas, 20 x 35.5cm (8 x 14ins), framed (1)

£200-300

162* Flemish School. Cain and Abel, 19th c. oil on wood panel, showing Abel offering a lamb as sacrifice, with God looking down from above, and Cain with his offering in the background, 38 x 27cm (15 x 10.5ins), gilt moulded frame (1)

Lot 162

£150-200

163* Goodwin (Albert, 18451932). Nightfall in the valley of Simplon, oil on wood panel, signed with monogram lower left, 17.5 x 20cm (7 x 8ins), period gilt frame, glazed, with original handwritten label to verso (probably in the artist’s hand), bearing the number 2, the title, the artist’s name and address ‘Montpelier, Ilfracombe’ (1)

£1000-1500

Lot 163

164* Hamburg School. Still life of grapes, peaches, gooseberries and cherries in a basket on a ledge, with curtain beyond, 18th century oil on copper, 58 x 51cm (22.75 x 20ins), framed A large-scale trompe lâ&#x20AC;&#x2122;oeil still life of the Hamburg School, which was first established in the studios of the artists Georg Hinz (1630-1688) and Cornelis Norbertus Gysbrechts (c. 1630-c. 1683). (1) ÂŁ2000-3000

165* Harper (Edward Steel, 1878-1951). Farmyard scene with geese and pig, 1901, oil on card, signed E. S. Harper Junr. lower right, and dated 1901 lower left, 35.5 x 68.5cm (14 x 27ins), period stamped metal frame (1)

ÂŁ200-400

166* Harrison (J., 19th-c). Leigh Woods, near Bristol, 1865, oil on canvas, signed, titled and dated, lower right, 44.5 x 67.5cm (17.5 x 26.5ins), gilt frame, glazed (1)

ÂŁ300-500

Lot 165

Lot 166

167* Hetherington (Walter F. Scott, fl.1895-1940). “St Ives Bay, Cornwall”, oil on wood panel, of a seascape with coastal steamer, signed lower right, 26 x 36.5cm (10.25 x 14.25ins), framed According to Benezit, Hetherington studied at the Academie Julian under Jean Paul Laurens and Benjamin Constant. (1) £200-300

Lot 169

168* Horlor (Joseph, 1809-1887). View of a Mill by a mountain stream, North Wales, oil on wood panel, signed lower right, 15 x 25.5cm (6 x 10ins), framed (1)

£200-300

169* Italian School. Portrait of a gentleman, 17th c. oil on canvas laid on board, half length portrait of a gentleman holding the pommel of a sword, framed by a stone doorway, darkened, 24 x 20.5cm (9.75 x 8ins), framed (1)

£250-350

170* Italian School. St. Sebastian and the Holy Women, late 18th/early 19th c. oil on canvas, of St. Sebastian being untied and tended to by three women, re-lined, 43 x 35.5cm (17 x 14ins) (1)

£300-500

171* Italian School. Madonna and Child with a bowl of fruit, 18th century oil on copper, 23 x 16.5cm (9 x 6.5ins), ebonised frame, with late 19th century framer’s label for Andrieux & Chabrend, Marseille to verso (1)

£400-600

Lot 170

173* John (Ann Harris S., early 20th century). “Yankee, an American percheron painted(?) after being wounded slightly in the war 1914-18” oil on canvas, titled to verso and dated 1930, 43 x 54cm (17 x 21.25ins), framed A percheron is a type of dray horse bred for heavy work. (1)

172* Joets (Jules Arthur, 1884-1959). Woman at prayer, oil on wood panel, 22.5 x 17cm (9 x 6.5ins), contemp. gilt frame

£150-200

174* Landseer (Edwin Henry, 1802-1873, after). The Favourites, 1857, oil on canvas, titled and signed on verso of canvas, 50.5 x 68cms (20 x 27 inches), on contemp. wooden stretcher

With a handwritten inscription in ink to verso, now transcribed to a typewritten label ‘I purchased this sketch from M. Jules Joets, French soldier & artist in January 1918 at St. Omer. He signed it but the signature has been erased in cleaning. The artist won the Gold Medal at the Paris Salon 1914. J. Hepworth’. (1) £100-150

The artist has written on the verso of the canvas ‘From Landseer’s picture of “The Favouites” the property of H.R.H. Duke of Cambridge by J.A.B.Jay Oct 1857, 30 hours’. (1) £200-300

Lot 174 65

Lot 175

175* Lewis (Charles James, 1830-1892). The Harvesters, 1879, oil on board, signed and inscribed to lower margin ‘Stirling, Blair Hill, Sep 30, 79’, 25 x 35cm (9.75 x 13.75ins), contemp. gilt frame, with handwritten title label to verso (1)

£300-500

176* Mostyn (Thomas Edwin, 1864-1930). A forest stream in sunlight, oil on canvas, signed lower left, 127 x 101cm (50 x 40ins), gilt frame Tom Mostyn was born in Liverpool, and studied at the Manchester Academy of Fine Arts, and under Hubert von Herkomer at the latter’s art school in Bushey. A member of the Royal Institute of Painters in oil-colours, the Royal Cambrian Academy, and the Royal West of England Academy, he exhibited at the Royal Academy from 1891, the Paris Salon, and the Carnegie Institute, Pittsburgh. After the First World War, Mostyn moved to Torquay in Devon, and the present work may depict an Exmoor river scene, such as the River Barle near Tarr Steps. (1) £700-1000

Lot 176 66

Lot 177

177* Muller (William James, 1812-1845). Landscape with trees, building and two figures, oil on board, unsigned, 25 x 49.5cm (9.75 x 19.5ins), gilt-moulded frame with foliate motif and name plaque (1)

£1500-2000

178* Nasmyth (Patrick Peter, 1787-1831, Manner of). Country lane with thatched cottage and windmill, oil on panel (cleaned & revarnished), signed ‘P. Nasmyth’ to lower right corner, stenciled auction number to verso, 21 x 32.4cm (8.25 x 12.75in), gilt moulded frame (repainted) (1)

£100-150

Lot 178

Lot 179 179* Norfolk. The Regatta at Whittlesey Mere, June 1842, oil on canvas, re-lined, 45.5 x 66cm (18 x 26ins), later gilt frame A view, previously attributed to the artist John Barwick, of the Great Southern Lake at Whittlesey in the Fens, five miles south east of Peterborough prior to its draining and reclamation following the Middle Level Act of 1844. An illustration of this picture, and a description of Whittlesey before and after draining can be found in J.M. Heathcote’s Reminiscences of Fen and Mere, published in 1876. (1) £700-1000

180* Oswald (Charles W., early 20th c.). Mountain landscape with river in foreground, oil on canvas, monogram to lower right, 45.5 x 80.5cm (18 x 31.75ins), gilt moulded frame (1)

Lot 180

£200-300

181* School of Nicolas Poussin (1594-1665). Landscape with cavorting putti, late 17th/early 18th c. circular oil on wood panel, showing five putti gambolling and catching butterflies, with a basket of fruit and satyr, in a wooded landscape, diameter 19cm (7.5ins), circular gilt beaded and moulded frame, inscribed N. Poussin in an early hand on verso This work is based on a detail from Poussin’s Bacchanal of Putti of 1626, now held in the collection of the Galleria Nazionale d’Arte Antica in Rome. (1) £2000-2500

182* After Raphael Sanzio (1483-1520). Madonna della Sedia, fine mid-19th century oil on wood panel after Raphael, 73 x 72cm (28.75 x 28.5ins), in gilded hand-carved frame, possibly of the 18th century, some damage and minor loss to each corner, 130 x 130cm (51 x 51ins) Provenance: Formerly in the collection of Charles William Mansel Lewis (1849-1931), the artist, and friend and patron of Hubert von Herkomer. (1) ÂŁ2000-3000

183* Renard (Edward, late 19th-c.). A Venetian, 1890, oil on canvas of a Venetian workman relaxing by a doorway, signed and dated, 86.5 x 72cm (34 x 28.25ins), period beaded gilt frame Edward Renard was a Yorkshire painter and watercolour artist, who produced landscape and figurative subjects. He exhibited periodically at Suffolk Street. (1) ÂŁ1000-1500

184* Richards (William Trost, 1833-1905). Coastal view with Stack, near Newquay, oil on board, signed lower left, 22.5 x 40cm (9 x 15.75ins), gilt frame Provenance: From the estate of the artist. (1)

ÂŁ2000-3000

185* Roze (Emile, early 20th century). Still Life of Red Roses in a Vase, oil on canvas, signed lower right, 24 x 16cm (9.5 x 6.25ins), period gilt frame (1)

£100-150

188* Russian Icon. St. Peter holding a scroll with Latin script, oil on wood panel with back slats, probably 19th c., some paint flaking and loss, 30 x 22.5cm (12 x 9ins) (1)

189* Sadler (R., 19th c.). Monk at devotions in cell, 1852, oil on canvas, signed and dated, inscribed to stretcher ‘Ralph from R. Sadler, 1852’, canvas repaired to verso, 24 x 8.5cm (9.5 x 7.5 inches), moulded gilt frame

186* Russian Icon. The Dormition of the Virgin with the appearance of Christ and apostles and angels, oil on inset wood panel, probably 19th c., some flaking of paint and gilt, back slat grooves, 26.5 x 22.5cm (10.5 x 9ins) (1)

(1)

£100-150

£200-300

187* Russian Icon. Christ with a spear and shield, oil on inset wood panel, probably 19th c., somewhat flaked and partly indistinct, back slat grooves, 31 x 27cm (12 x 10.5ins) (1)

£100-150

190* Selinger (Emily Harris McGary, 1848-1927). A study of large pale pink roses and foliage with rain drops, oil on canvas, one minor piercing to canvas, signed lower left, 51 x 35.5cm (20 x 14ins), framed

£100-150

(1)

£300-400

191 Smith (John Brandon, 1848-1884). Woodland stream, 1881, oil on canvas, signed and dated, 36 x 46cm (14.25 x 18ins), framed (1)

ÂŁ400-600

193* Spanish School. Mother and child reading, 18th century oil on canvas, 78 x 57cm (30.75 x 22.5ins), framed (1)

192* Spanish School. Madonna and Child / St. Joseph and Child, a pair of 18th century oils on canvas, each 90 x 69cm (35.5 x 27ins), unframed (2)

£300-400

194* Spanish School. Winged figure wearing cloak and plumed helmet holding red banner, 18th century oil on canvas, relined with some surface wear, 80 x 61cm (31.5 x 24ins), framed

£700-1000

(1)

£300-400

195* Tarrant (Percy, fl.1879-1930). “She gave a sort of shout and ran towards us”, oil on board, of a girl waving a lacrosse stick at two girls in a phaeton, initialled lower left, 23.5 x 16.5cm (9.25 x 6.5ins), framed (1)

£700-1000

Lot 195

196* Tiles. Twelve blue and white ceramic Dutch tiles, early - mid 19th century, twelve glazed ‘delft’ style ceramic tiles composing a pastoral scene with an ornate strapwork border, each tile 130 x 130mm, presented in a stained wooden frame, overall size 420 x 555mm (12)

£200-300

Lot 196 76

197* Manner of Van de Velde (Jan Jansz. III, c. 1620-1662). Apple, pear and grapes with half-filled roemer on a ledge, oil on wood panel, numbered 147 in white paint to verso, 24.8 x 29.7cm (9.75 x 11.75ins), framed (1)

ÂŁ2000-3000

198* Style of Van Huysum (Jacob, c. 1686-c.1740). Still Life of Roses in front of classical statuary, oil on canvas, relined, 96.5 x 76.5cm (38 x 30ins), gilt frame (1)

ÂŁ500-800

199* Vollerdt (Johann Christian, 1708-1769). Figures by a river, with buildings on fire on far bank, 1756, oil on canvas (relined), with signature and date ‘Vollerdt p1756’ to lower left, stretcher with paper strip to verso with manuscript price of 32 pounds ten shillings (possibly early 19th c.), 33 x 43.5cm (13 x 17ins) Johann Christian Vollerdt (1708-1769) is well known for his animated landscapes and river scenes, especially views on the Rhine and Switzerland. (1) £2000-3000

200* Wallace (H., 19th c.). A pair of still life studies of fruit and flowers, together two oil paintings on board, one with black grapes, white grapes, two peaches, a pear, pink anenomes, and a blue pitcher, the other with white grapes, a peach, some plums, pink and white anenomes, and an urn, both signed, 36 x 64cm (14 x 25ins), matching gilt frames, glazed (2)

£200-300

201* Weekes (Herbert William, fl. 1864-1904). ‘Standing Guard’, oil on canvas, signed lower left, 30.5 x 45.5cm (12 x 18ins), gilt frame William Weekes was born into an artistic family, his father being the sculptor Henry Weekes R.A., and his elder brother the genre painter Henry Weekes Jnr. His favourite subjects were witty portrayals of farm and country animals, which were, and remain very popular and sought after. He exhibited extensively at the Royal Academy, the Walker Art Gallery in Liverpool, the Royal Society of British Artists, the Royal Institute of Oil Painters, and elswhere. (1) £2000-3000

Lot 200

Lot 201

Lot 202 202* Wouwerman (Philips, 1619-1658, follower of). Male and female rider with a horse-drawn wagon, oil on paper, laid down on panel, with wooden lattice support to verso, numbered 276 in white paint, 22 x 31cm (8.7 x 12.5ins), later varnished wood frame According to a valuation by Sotheby’s, this work has also been suggested as attributed to Adriaen Cornelisz. Beeldemaker (1618-1709). (1) £1500-2000

203* [Pugin, Augustus]. A collection of five Pugin-style stained pine carved frames, late 19th c., each containing b & w victorian religious & genre prints, frame dimensions 71 x 91cm to 37 x 47cm (28 x 36 to 14.5 x 18.5ins) (5)

£150-200

204* [Pugin, Augustus]. A matching pair of Pugin-style gilt carved frames, mid 19th c., one containing a botanical watercolour of a geranium pratense captioned & signed “Miss Latham” in ink to lower right, (dated 1838 to verso), 35 x 21cm (14 x 8.25ins), the other containing a botanical watercolour of a cream rose & forgetme-nots, 26 x 20cm (10.25 x 8ins), both mounted, frame dimensions 63 x 50cm (25 x 19.5ins) (2)

£150-200

Lot 204

18TH & 19TH CENTURY DRAWINGS 206* Continental School. Apollo and other deities, 18th c. red chalk drawing, 27 x 39cm (10.5 x 15.25ins), framed and glazed (1)

£200-300

207* Falle (Philip, 1656-1742, Jersey historian and clergyman). Portrait of Philip Falle by an unknown artist, c. 1700, pen and brown ink and wash on paper, three-quarter length, seated, titled ‘The Revd Mr Philippe Falle’ in the artist’s hand at foot, old water stain and resultant browning to upper half of portrait, a few old marks, 31 x 23cm (12 x 9ins), later gilt frame with 19th-c. inscriptions to wooden backing board, ‘The original picture from which the one in the library is taken’, ‘This Picture is to be the property of [?] JWHd. and ‘1871 Since the removal of our [?] JW. This with the Executrice of W. Falle [?]’ In 1681 Falle was presented to Trinity Parish in Jersey by the governor, Sir John Lanier. ‘As a clergyman Falle was a member of the states of Jersey, where he played an active role. A zealous English patriot and francophobe, he was an obvious choice for the delegation sent by the states to beg assistance of William III against French raiders in 1692. He may have drafted the address as well. Falle and Nicholas Durrell, the advocate-general of Jersey, introduced by [Lord] Jermyn, waited on William at Kensington on 6 February 1693 and also called upon government officials to press their case, succeeding in gaining more military supplies for Jersey. Falle was appointed chaplain-in-ordinary to the King in 1694, and in that year he preached a sermon on 20 December on Queen Mary’s death. He eventually settled in England’ (DNB). His most significant published work was ‘An Account of the Isle of Jersey’ which first appeared in 1694 and, greatly expanded, in 1734. Falle never married and died at Shenley in Hertfordshire on 7 May 1742. His music manuscripts and books were bequeathed to the library of the dean and chapter of Durham. His remaining books were presented to the people of Jersey in 1736 together with money to build a library. This was finally built in 1742 and along with other donations has developed into the Jersey library in St. Helier, where another portrait of Falle is held. (1) £1500-2000

205* Boyle (Eleanore Vere, 1825-1916, attrib.). Young milkmaid with dog, pen and ink on paper, 9.5 x 7cm (3.75 x 2.75ins), framed and glazed (1)

£200-300

Lot 206 82

Lot 207 83

208* Gravelot (Hubert Fr. d’Anville, 1699-1773). Landscape with Monkey speaking to a Lion and Wolf, & Female Chariot Racer, together a pair of miniature pen, ink & wash drawings, each signed in ink lower left, 7.5 x 9.5cm (3 x 3.75ins), framed and glazed as one (2)

£200-300

209* Haydon (Benjamin Robert, 1786-1846). Study for the Raising of Lazarus, pen & ink on paper, 21 x 28.5cm (8.25 x 11.25ins), framed and glazed, with label to verso for Fry Gallery, 58 Jermyn Street, London, stating that the drawing is a study for the oil painting now in the Tate Gallery (1)

Lot 208

Lot 209

£800-1200

211* Recupero (Giovanni, early 19th-c.). Standing male nude, c. 1820-30, black charcoal on paper, with some heightening in white, signed lower right, some surface marks and scattered spotting with a back view of the same model to verso, 53 x 40cm (21 x 15.75ins), in old mount, together with two other similar black charcoal studies of a negro male, including one with guitar A pair of oil copies by this artist after Parmigianino, are held by the Kelvingrove Museum in Glasgow, with a suggested date of 1823. (3) £200-300

210* Leitch (William Leighton, 1804-1883, attrib.). Two sketchbooks of humorous drawings and caricatures, one dated 1874, together two volumes, comprising one large sketchbook containing a pencil cartoon of 17 vignettes on 2pp., each captioned below, about a short, bearded character named Blue-black Beard, remainder of album blank, sheet size 26.5 x 37cm (10.5 x 14.5ins), inscribed ‘Leitch. 1874’ on front pastedown, orig. wrappers, dusty and sl. edge-frayed, and one small sketchbook, containing nine leaves of pen & ink caricatures and humorous sketches in the same hand (on rectos), one leaf with small piece excised, remaining leaves blank, entitled in pencil on front free endpaper ‘Comical Illustrations’, orig. half sheep, rubbed and extrems. worn, sheet size 15 x 18.5cm (6 x 7.25ins), together with a single leaf sketch loosely inserted, with the address ‘2 Upper Terrace, Islington’ on verso (2)

212* Richmond (William Blake, 1842-1921). Studies of a male nude, a pair of goldpoint drawings on white chalk-glazed paper, 25 x 18cm (9.75 x 7ins), framed and glazed

£100-150

(2)

£300-500

213* Riley (Harold, b.1934). Lorry of the Manchester Sanitation and Cleaning Department, chalk and watercolour drawing, 27 x 22cms (10.5 x 8.75 inches), mounted, framed and glazed

Lot 211

(1)

£500-800

OLD MASTER & 19TH CENTURY PRINTS 215 Bonheur (Rosa, 1822-99). A Limier Briquet Hound, b&w etching (after the painting by Bonheur of the same subject, now in the Metropolitan Museum of Art, New York), with facsimile signature to lower margin, 24 x 32cm (9.5 x 12.5ins) mount aperture, framed and glazed, together with a 20th century Chinese brush drawing of a plant, with red printed artist’s seal, and date seal, 35 x 25cm (13.75 x 9.75ins) mount aperture, framed and glazed (4)

£70-100

214* Van Bergen (Dirck, 1645-1690). Male Rider on a Donkey with Dog, counterproof red chalk drawing, 28 x 18.3cm (11 x 7.25ins), framed and glazed (1)

£200-300

216* Bonheur (Rosa, 1822-99). Cours d’Etudes d’Animaux, Paris, E. Gambart, 1859, a group of twelve b&w lithographs, some foxing and soiling to margins, sheet size 56 x 40cm (22 x 15.75ins), together with four similar b&w lithographs of domestic fowl by J. Peyrol Bonheur, pub. H. Peyrol, Paris, spotted, sheet size 34.5 x 47.5cm (13.5 x 18.75ins), plus two 19th c. mounted albumen photographs by Fratelli Alinari, consisting of one panoramic view of Florence and another of the Medici Tomb by Michaelangelo, image size 26 x 34.5cm (10.25 x 13.5ins) (18)

£100-150

217* Bosse (Abraham, 1602-1676). Histoire de l’Enfant Prodigue, Plate 2, b&w etching, trimmed to margins, and mounted on card, light dampstain to left hand margin, and vertical backboard stain, 26.2 x 32.7cm (10.25 x 12.75ins), together with Arcimboldo (Giuseppe, 1527-1593), Primavera & Estate, b&w etching on laid paper, published by Remondini in Bassano, c. 1680, some light oval foxing and soiling, sheet size 20.5 x 30.5cm (8 x 12ins), plus Le Blanc (Theodore, 1800-1837), Yousouff-Bey, b&w lithograph, pub. Gihaut freres, [Paris], some overall foxing and soiling, sheet size 31.2 x 22.5cm (12.25 x 8.75ins), mounted, and four others, including three small copper engravings on laid paper of figures and fruit (possibly playing cards), and a later 18th century pen & ink drawing of a large long-tailed rodent (8)

£100-150

220* Dicksee (Herbert, 1862-1942). King Charles Spaniel, uncoloured etching, signed by artist in pencil below image, 245 x 195mm, mounted, framed and glazed with Frost & Reed Gallery label on verso (1)

218* Brangwyn (Frank, 1867-1956 ). On the Staircase, 1927, lithograph with hand colouring, 34 x 43cms (13.5 x 17 inches), mounted, framed and glazed Originally published in ‘The Brangwyn Portfolio’. (1)

£250-350

£100-150

219* Claude (Le Lorrain, 1600-1682). Le Patre et la bergère, 1630, etching on wove paper, image size 15.2 x 11cm (6 x 4.25ins), plate size 17.7 x 13cm (7 x 5.2ins) (1)

£70-100

221* Dicksee (Herbert, 1862-1942). ‘Peril’, pub. Frost & Reed, 1910, uncoloured etching on vellum, signed in pencil below image by artist, 290 x 535mm, mounted, framed and glazed (1)

£100-200

222* Gainsborough (Thomas, 1727-1788). Wooded landscape with two country carts and figures, pub. J. & J. Boydell, August 1, 1797, soft ground etching, printed in pale brown, with publisherâ&#x20AC;&#x2122;s imprint to lower margin, some surface marks and light soiling, image size 33 x 39.5cm (12.75 x 15.5ins), with good margins (except lower margin close-trimmed), framed and glazed Hayes, Gainsborough as Print Maker, 9. (1)

ÂŁ1000-1500

223* Hirst (Norman, 1862-1956). A collection of eight mezzotints, c.1900, eight uncoloured mezzotint female portraits on india laid, proofs before titles and letters, various sizes and condition (8)

£120-180

224* Hirst (Norman, 1862-1956). A collection of six mezzotint s, c.1900, six uncoloured mezzotint female portraits on india laid, proofs before titles and letters, various sizes and condition (6)

£100-150

Lot 223

225* Hirst (Norman, 1862-1956). Sea Nymphs, c.1900, uncoloured mezzotint on india laid, proof before title and letters, trimmed to plate mark on the vertical margins, 685 x 505mm (1)

£70-100

226* After Hoet (Gerard, 1648-1733). Five engravings of religous scenes, early 18th c. uncoloured engravings of Old Testament scenes with titles below images in Hebrew, English, German, Latin, French and Dutch, each approx. 35.5 x 21.5cms (14 x 8.5 inches), mounted, framed and glazed (5)

Lot 224

£100-150

227* Rembrandt (Harmensz van Rijn, 1606-1669). The Pancake Woman, 1635, etching, some toning and thumb marks to surface, trimmed within the plate mark, 102 x 78mm (4 x 3ins), framed and glazed Hollstein 124. (1)

£800-1200

228* Rembrandt (Harmensz van Rijn, 1606-1669). The Pancake Woman, third & final state, 1635, etching, slight toning, tipped onto backing paper to upper corners with slight adhesive showthrough to margins, 102 x 78mm (4 x 3ins), mounted Bartsch, Hollstein 124, Hind 141. (1)

£400-600

229* Ridinger (Johann Elias, 1698-1767). A collection of seventythree copper etched plates of hunting scenes and landscapes, stags, and other wild animals, including dogs, boar, lions, tigers, etc., Augsburg, c. 1740s-60s, seventy-three copper engravings of hunting scenes and wild animals (one by Martin Elias Ridinger), including thirty-two large format (the largest being 34 x 43cm), the remainder medium or small format (the smallest size 19 x 15cm), all mounted in album bound in contemp. half calf, worn with covers det., large folio (55 x 39.5cm, 21.5 x 15.5ins) (1)

£400-600

Lot 227

230* Wagner (Giuseppe, 1706-1786). Rosalbae Carriera, c.1770, engraved portrait, close-trimmed, 31.5 x 21.5cm (12.25 x 8.5ins), together with four other engravings by or after F. Bartolozzi, Zocchi, and Albani etc., plus three later reprints of American caricature, entitled “An Irish Chairman, J. Grist, 1804”, “A Duch Merchant, J. Grist, 1804” and “A Philadelphian Friend, J. Grist, 1804”, each approx. 27 x 17cm (10.5 x 6.75ins) (a folder)

Lot 228

£100-150

232* Coptic textiles. A Coptic fragment, c.5th/6th century, a woven linen fragment, with two human figures in the centre, surrounded by a wide border composed of animal forms, in shades of brown, terracotta, and dark green, threadbare in places, with some old stitched repairs, image size 166 x 160mm (6.5 x 6.25ins), total area 230 x 245mm (9 x 9.75ins), in linen window mount, together with another woven linen Coptic fragment, showing part of a patterned border incorporating animal forms, in brown and yellow, 95 x 80mm (3.75 x 3.25ins), mounted on a linen board

ORIENTAL & PERSIAN ART 231* Chinese School. A group of eleven Chinese brush drawings, probably late 19th century, brush & ink on tissue paper, mostly uncoloured, containing studies and sketches of figures, objects, landscapes, interiors, etc., possibly preliminary sketches or study pieces by students, including one in watercolour, grey and black ink of a Buddhist rock temple, mostly frayed and somewhat torn to edges, 35 x 53cm (13.75 x 21ins), and a little smaller, together with sixteen later 19th century Chinese colour woodblock prints, including copies after Chinese paintings of the 16th and 17th centuries, most with some foxing and marks, all mounted on card, 25 x 32cm (10 x 12.5ins), and similar

The Coptic period of Egypt is well-known for the colourful and imaginative art expressed in the fabric of the day, in which mythical figures and allegorical references to religious icons are beautifully expressed. Coptic textiles were most commonly used for clothing during Egypt’s Christian period, but had many other uses too, including bed sheets and covers, towels, napkins, tablecloths and carrying sacks, while in churches and other public buildings, these decorative fabrics were used for curtains and hangings. The amazing survival of such textiles are partly because of the burial practices of the Copts and partly because of the climate of Egypt. By the fourth century mummification was no longer practiced, and the dead were buried in their clothes, or wrapped in shrouds, probably re-using domestic and religious furnishings, and the dry hot sands of Upper Egypt aided conservation of the textiles. (2) £300-500

Includes a study of a bird on a branch by Wang Fou-Psao (Ming Dynasty) after Tchao Po-Siao (Sung Dynasty), a study of Pyrus after Pien Louan (Tang Dynasty), and one other after Hu Yu Tsung (according to pencil inscriptions). (27) £200-300

233* Eisen (Ikeda, 1790-1848). Carp swimming amongst algae, colour woodblock, 25 x 37cm (9.25 x 14.5ins), tipped onto backing card (1)

Lot 233

£200-300

Lot 237

234* Hiroshige (Ando, 1797-1858). The Pontoon Bridge from Rokujuyoshu meisho zue (Views of Famous Places in the Sixty-Odd Provinces), oban colour woodblock, margins close-trimmed, 33.8 x 22.2cm (13.25 x 8.75ins), framed and glazed (1)

£200-300

235* Kangra School. Krishna arresting a fanatic threatening Sita (?) and her lady attendants, c. 1750, pen, ink & opaque watercolour on paper, some light dust-soiling, 17.5 x 23.5cm (6.75 x 9.25 in), mounted, framed and glazed Provenance: From the collection of Wilfred Blunt (1901-1987), Eton master, artist and scholar. (1) £400-600

236* Kasom (Suzuki, 1861-1919). Sailing Boats at Dusk, colour woodblock print, 20.7 x 26.5cm (8.25 x 10.5ins) With an accompanying typewritten letter relating to this print signed by Basil Gray, keeper in the Department of Oriental Antiquities, British Museum, dated 11th March, 1952. (1) £100-150

237* Kunisada (Utagawa, 1786-1865). Seated woman holding a shell, colour woodblock print, 35.8 x 25.3cm (14 x 10ins) (1)

£150-200

238* Kunisada (Toyokuni III, 1848-1920). Night scene with noblewoman and man in an interior, colour woodblock print, 33 x 23.5cm, framed and glazed (1)

Lot 238

£70-100

239* Mughal School. The Rhino Hunt, 20th century watercolour and gouache on linen, 115 x 85cm (45.25 x 33.5ins), framed and glazed (1)

Lot 242

£100-150

240* Mughal School. A couple with fireworks, late 19th/early 20th c., fine opaque watercolour and gold on card, the couple depicted with sparklers spraying gold, standing beneath a canopy, with other fireworks in the background, within decorative border, 25.5 x 17.5cm (1)

£200-300

241* Mughal School A portrait of a warrior, late 19th/early 20th c., opaque watercolour and gold on card, depicting a finely dressed soldier in jama with sword and double-pointed spear, within decoratve foliate border, 22.5 x 14.5cm (1)

£200-300

242* Persian Miniature. A Scene from the Shahnameh of Ferdowsi, Shiraz, c. 1580, pen, ink and opaque watercolour on paper, heightening in gold, text within boxes at head and foot, some light surface wear, repaired tear at foot, some retouching, 25.5 x 15.5cm (10 x 6.25 in), mounted, framed and glazed Provenance: From the collection of Wilfred Blunt (1901-87). (1)

£800-1200

243* Persian Miniature. Shiraz School, c. 1520, pen, ink and opaque watercolour on paper, heightened in gold, depicting a country scene, possibly from the Shahnameh of Ferdowsi, of two noblemen kneeling in the foreground, one armed with bow and quiver of arrows, with surrounding hunting scene, text at head and foot, some surface wear and small areas retouched, 20 x 11cm (8 x 4.5 in), mounted, framed and glazed Provenance: From the collection of Wilfred Blunt (1901-87). (1)

Lot 243

£1000-1500

244* Persian Miniature. Two figures seated in a landscape, late 18th/early 19th c. pen, ink and opaque watercolour on paper with gold background, text at foot and verso, depicting a country scene, possibly from the Shahnameh of Ferdowsi, with two seated figures beside a stream, various animals and two armed figures standing behind a hill in the background, 23 x 15.5cm (9 x 6.25 in) Provenance: From the collection of Wilfred Blunt (1901-87). (1)

£150-200

245 Tajima (Shiichi). Masterpieces Selected from the Korin School: with Biographical Sketches of the Artists of the School and some Critical Descriptions, vol. 3 only (of 5), Tokyo: Shimbi Shoin, 1905, numerous col. plts. (some printed on silk), a.e.g., orig. dec. cloth, folio, contained in orig. portfolio Limited edition 577/1000. (1)

£150-200

246* Yoshitora (Utagawa (c.1830-c.1880)). Geisha playing a stringed instrument, 1878, colour woodblock, tipped onto backing paper, with label of M. Nakazawa, Tokyo, 34 x 23.2cm (13.4 x 9.2cm), together with Kunichika (Toyohara, 1835-1900), Actor and musicians, 1888, colour woodblock, kabuki scene, tipped onto backing paper with label of M. Nakazawa, Tokyo, 34.5 x 24cm (13.5 x 9.5ins) (2)

£200-300

Lot 246

BRITISH & CONTINENTAL ETCHINGS

247* Blackburn (Clarence E., 1914-1984). The First Ironbridge in the World, at Telford, colour etching, signed and titled to lower margin, plate size 29 x 40cm (11.5 x 15.75ins), framed and glazed (1)

£100-150

Lot 249

248* Bone (Muirhead). The Apse, Leon Cathedral, drypoint etching, signed in pencil, plate size 35.5 x 24.5cm (14 x 9.75ins), framed and glazed, with original T. & R. Annan & Sons, Glasgow label to verso (1)

£150-200

249* Bonnard (Pierre, 1867-1947). Le Parc Monceau, 1937, etching on laid paper, with full margins, plate size 33.5 x 26cm (13.25 x 10.25ins) Bouvet 114. (1)

251 Brangwyn (Frank, 1867-1956, & Walcot, William, 1874-1943). The Pageant of Ludlow, by Frank Brangwyn R.A., and William Walcot R.E., with a foreword by John Drinkwater, privately printed, July 1934, printed title and introduction, and list of subscribers at rear, six etchings (three by Brangwyn and three by Walcot), each signed in pencil, sheet size 37.5 x 38cm (14.75 x 15ins), some light foxing to margins, loosely contained in orig. cloth-backed portfolio, rubbed and soiled, with some wear to edges, square folio

£100-150

250* Borst (Daan, early 20th c.). The Ploughing Team, etching, signed in pencil, plate size 19 x 35.5cm (7.5 x 14ins), framed and glazed, with owners presentation inscription in Dutch to verso, dated 1933, and framer’s printed label of W. J. Petri, Amsterdam (1)

This copy numbered 21 from an unspecified limited edition. The list of subscribers contains only fifty-one entries. (1) £400-600

£50-80

252* Brangwyn (Frank, 1867-1956 ). French Cafe, etching with drypoint, signed in pencil, plate size 20.5 x 25.2cm (8 x 10ins), mounted (1)

256* Fechenbach (Hermann, 1897-1986). Douglas, Isle of Man, 1941, colour linocut, signed and dated in pencil, margins closetrimmed, image size 20 x 14cm (8 x 5.5ins), framed and glazed

£200-300

Hermann Fechenbach fled Nazi Germany for England, but when war broke out, he was interned along with other Germans (including the artists John Heartfield, Martin Bloch and Kurt Schwitters) on the Isle of Man. Fechenbach used lino torn from the camp floor to create images reflecting his state of mind. (1) £70-100

253* Bruning (Max, 1887-1968). The Blast of Wind, drypoint etching, signed in pencil, with margins, plate size 28.5 x 15.2cm (11.3 x 6ins), framed and glazed (1)

£80-120

254* Carter (Frederick, 1883-1967). A group of ten proof wood engravings, c. 1926, all but two signed in pencil with numbered (sl. indistinct) title at foot of each sheet, off-white laid paper sheets, each sheet size approx. 35 x 25cm (14 x 10ins) The illustrations would all appear to be as used in Carter’s book ‘Dragon of the Alchemists’ (1926), the first volume in a trilogy. The book has a total of thirty-eight wood-engraved plates. (10) £200-300

257* Fitton (Hedley, R.E., 1859-1929). Continental street scene with figures and buildings, etching, signed in pencil lower right, 35.5 x 19.5cm (14 x 7.75ins), mounted, framed and glazed, together with Blieck (Maurice Emile, 1876-1922), “Bourges, Pont du Cheval”, etching, of a bridge over a river with dwellings, signed in pencil lower right, 25 x 24.5cm (9.75 x 9.5ins), mounted, framed and glazed, (limited edition 101/300 copies), plus Buckle (Hal, late 19th/early 20th c.), Landscape with trees, signed in pencil lower right, 12.5 x 17cm (5 x 6.75ins), mounted, framed and glazed, plus seven others similar, mostly framed and glazed, incl. one by Frank Short

255* Erni (Hans, 1909-). Three female nudes, colour lithograph, signed and numbered 67/200, together with Three Horses, colour lithograph, signed and numbered 22/200, some marks and soiling to margins, sheet size 55.5 x 75cm (21.75 x 29.5ins) (2)

£150-200

(10)

£100-150

259* Gill (Eric, 1882-1940). Comedy: Man Trying to Fly, 1934, wood engraving, signed and numbered 18/20 in pencil, image size 6.1 x 6.5cm, sheet size 16.2 x 12.2cm (6.4 x 4.75ins) Physick 858. From the collection of Dennis and Petra Tegetmeier. (1) £100-150

260* Gill (Eric, 1882-1940). Design for a carving of St. Christopher, [1922], wood engraving on japan tissue, 115 x 50mm (4.5 x 2ins), matt mounted Physick 198. (1)

258* Garrett (Albert, 1915-1983). Spot Welding, b&w woodcut, signed, titled, and numbered 26/50, with margins, image size 45.5 x 20.3cm (18 x 8ins), framed and glazed The printmaker Albert Garrett is the author of A History of Wood Engraving, a standard reference work first published in 1978. (1) £200-300

£100-150

261* Gray (Joseph, 1890-1962). Old Edinburgh, drypoint etching, an artist’s proof, signed and numbered XXXIV, with margins, plate size 30.5 x 29.5cm (12 x 11.6ins), framed and glazed, with Frost & Reed labels to verso, dated 1929 (1)

£150-200

263* Hermes (Gertrude, 1901-1983). ‘Trees’, 1957, colour woodcut, signed, dated, titled and numbered 26/35, image size 39.5 x 29.2cm (15.5 x 11.5ins), sheet size 53 x 41cm (21 x 16ins), framed and glazed (1)

£200-300

264* Inshaw (David, 1943-). ‘West strip with comet’, original etching (Ap) titled in the plate, signed in pencil by the artist, image 10 x 10cm, framed and glazed (1)

265* Laing (Frank, 1862-1907). Riverside on the Thames, & French Aquaduct, together two etchings, each signed in pencil, plate size 12 x 17.8cm (4.75 x 7ins), and slightly smaller, matching frames, glazed

262* Herkomer (Sir Hubert von, 1849-1914). A collection of ten etched prints, ten etchings printed on vellum, tipped on to near contemp. card, each signed, sheet size 28 x 20cms (11 x 8 inches) (10)

£100-150

Francis James Laing was a friend and follower of Whistler, and studied etching techniques under him. (2) £200-300

£200-300

266* Lap (Engelbert, 1886-1970). Tall Brown Pines (Langen Braunen Kiefern), colour woodcut on japan, signed in pencil, image size 26 x 19cm (10.25 x 7.5ins), framed and glazed (1)

269* Niekerk (Sarah van, 20th-c.). ‘Nant Pasgan Bach’, uncoloured woodcut (A/P), signed and titled by the artist in pencil, image 24 x 16.5cm, together with Paynter (Hilary, 20th-c.), ‘Threshold’, uncoloured woodcut (25/100), signed and titled by the artist in pencil, image 14 x 8.5cm, with two other small woodcuts, including one of a scarecrow by Claire Dalby (19/185) and another of sheep by Roger Harris (79/100), all framed and glazed

£100-150

267* Legrand (Louis, 1863-1951). Metzengerstein, etching, a proof on japan, plate size 25 x 17.2 cm (9.75 x 6.75 ins), together with other etchings by Legrand including 'Prostitution', 'Femmes de Chambre' and 'Les Billes' plus other etchings and prints by various artists, including Baudier, Fraipont and Auguste Lepere, mostly signed in pencil by artists, various sizes and condition, mostly early 20th century

(4)

Victor Arwas, Louis Legrand Catalogue Raisonne, nos. 149, 132, 98 and 91 respectively. (13) £150-200

268* Lord (Elyse Ashe, 1900-1971). Biwa Player, colour etching with drypoint, signed and numbered 34/75 in pencil to lower margin, full sheet, some light creases to upper left, and some pale toning, plate size 34 x 28cm (13.25 x 11ins), mounted (1)

£100-150

270* Osborne (Malcolm, 1880-1963). Maggie, drypoint etching, signed in pencil to lower margin, additionally signed and dated 1905 in the image, plate size 12.5 x 6.5cm (5 x 2.5ins), framed and glazed (1)

£100-150

271* Palmer (Samuel, 1805-1888). The Early Ploughman, 1861, etching on wove paper, state 5/8, signed in pencil lower right, some overall toning, image size 133 x 198mm (5.25 x 7.75ins), plate size 175 x 250mm (6.75 x 9.75ins), framed and glazed Lister E9. (1)

£1000-1500

272* Portway (Douglas Owen, 1922-1993). Bangles & Beads, etching, signed and numbered 7/50, with margins, plate size 17.8 x 14.2cm (7 x 5.5ins), framed and glazed (1)

£70-100

273* Renoir (Pierre-Auguste, 1841-1919). Sur la plage à Berneval, etching with drypoint on vergé ivoire, with margins, plate size 13.5 x 9.5cm (5.25 x 3.75ins), framed and glazed (1)

£100-150

Lot 270

Lot 271

100

274* Richards (Frederick Charles, 1887-1932). The Pantheon, Rome, etching, signed, titled and inscribed ‘To Elsie’, with margins, plate size 15.5 x 12cm (6 x 4.75ins), together with three other etchings by the same artist (On The Zattere - Venice, St. Angelo, Perugia, & Place de l’Hotel de Ville, Vire), each signed, all with margins, various sizes (4)

£80-120

276* Rops (Felicien, 1833-1898). L’Oeuvre Lithographié de F. Rops, c. 1860s-90s, a collection of 138 lithographs by Rops, plus one unsigned etching of The Sphinx (1896), mainly social and political caricature subjects from Galerie d’Uylenspiegel and similar, mostly with printed text to verso, one or two with some minor marginal damage, occ. spotting and minor soiling, all tipped-in to album leaves, t.e.g., each leaf with stamped number to upper outer corner up to 167 (but with 31 of these numbered illustrations not present), contemp. black half morocco, with gilt dec. spine, a little rubbed and scuffed to joints and extrems., large folio (42 x 32.5cm) 275* Robertson (Robert Cecil, 1890-1942). Auld Reekie showing the Royal Mile, etching of Edinburgh, 19 x 29cm (7.5 x 11.5ins), framed and glazed (1)

Lithographs include: Les Faillides de Cupidon, Galerie d’Uylenspiegel, Faubourg de Cologne, Paques Les Vieilles Monnaies/La Nouvelle Monnaie, Les Framboises Menus Propos, Au Jardin Zoologique, Deballages, Coloristes, Ostende, Actualites, Crinolines, Poesie, Crinolinographies, En Ardenne, Les Vieilles Lunes, Etudes Maritimes Portraits, La Politique pour Rire (Voix dans l’Intérieur - Il y a quelqu’un!), Etude Bruxelloises (Un Marchand de sable), etc. (1) £400-600

£70-100

101

279* Soper (Eileen Alice, 1905-1990). November 5th (Bonfire Night), etching, signed in pencil, plate size 15 x 20cm (6 x 8ins), framed and glazed

277* Rushbury (Sir Henry George, 1889-1968 ). Chateau Gaillard, 1921, drypoint etching, published in an edition of 50, with margins, plate size 20.5 x 27.5cm (8 x 10.75ins), mounted, plus seven other etchings by various artists, including Robert Henry Smith, Walter W. Burgess, Hans Frank, and others

Wootton, Catalogue Raisonne of the Etchings of George & Eileen Soper (1995) 121. (1) £200-300

Wright 37, state 3 (of three). This etching was exhibited at the Royal Academy in 1921. (7) £80-120

280 No lot

278* Soper (Eileen Alice, 1905-1990). Piano practice, drypoint etching, signed, plate size 9 x 17cm (3.5 x 6.75ins), framed and glazed (1)

£150-200

281* Tanner (Robin, 1904-1988). Wren and Primroses, etching, as issued in Kenneth Guichard, British Etchers 1850-1940, published in 1977, signed in pencil, 9.5 x 11.2cm (3.75 x 4.5ins), framed and glazed (1)

102

£150-200

283* Thorpe (Hall, 1874-1947 ). Pinks; Snowdrops and Crocuses; Pansies; Polyanthus and Forget-Me-Nots, together four colour woodblocks, each signed in pencil lower right, each image approx. 16.5 x 15cm (6.5 x 6ins), mounted, framed and glazed (4)

£150-250

284* Tidemand-Johannessen (Frithjof, 1916-1958). Fiske nflote med Lofstveggen, colour woodcut, signed and titled, image size 22.4 x 28.3cm (8.75 x 11.1ins), framed and glazed (1)

£70-100

282 Tanner (Robin, 1904-1988). British Etchers 1850-1940, by Kenneth M. Guichard, 1st ed., pub. Robin Garton, 1977, etching to title, and two full-page etchings, each signed by Robin Tanner, b&w illusts., t.e.g., orig. qtr. blue morocco gilt, sl. rubbed and a few minor marks to covers, 4to (1)

£350-550

285* Tunnicliffe (Charles Frederick, 1901-1979). Barn Owl perched on a branch, wood engraving on japon, signed and numbered in pencil by artist in lower right, laid on later card, slight mount staining and toning, 380 x 230mm Limited edition 24/50. (1)

Lot 283

103

£200-300

289* Webb (Clifford Cyril, 1895-1972). Eardisland, woodcut, signed and titled in pencil, limited edition 1/50, 25 x 20cm (9.75 x 8ins), framed and glazed, plus four other woodcuts including two by Una Talbot

286* Tupke (Heinrich, 1876-1951). Trees in summer sunlight, colour woodcut, signed, image size 23 x 30.5cm (9 x 12ins), framed and glazed (1)

£50-80

(5)

£100-150

290* Woollard (Dorothy E.C., 1886-1986). Pigs in a clearing, 1915, etching, of pigs rooting for food, beside two massive oak trees, signed in pencil to lower margin below image, plate size 25 x 23cm (10 x 9ins), mounted, framed and glazed (1)

£100-150

291* Wyllie (William Lionel, R.A. 1851-1931). London Bridge seen from the Northern Arch of Old London Bridge, 1922, drypoint etching, signed in pencil, with margins, plate size 15.5 x 21cm (6 x 8.25ins), framed and glazed (1)

287* Vlaminck (Maurice de, 1876-1958). Rue de la Glaciere, etching, printed on MBM Ingres d’Arches laid paper, with full margins, plate size 33 x 25.5cm (13 x 10ins) Walterskirchen 146. (1)

£100-150

288* Vuillard (Edouard, 1868-1940). Petites Etudes dans le Square, 1937, etching on MBM Ingres d’Arches laid paper, with margins, some light toning, plate size 14.5 x 10cm (5.75 x 4ins), mounted, together with Signac (Paul, 1863-1935), Pont des Arts avec remorqueurs, c. 1927, etching with aquatint, with margins, some light toning, plate size 12.5 x 19cm (5 x 7.5ins), mounted Kornfeld-Wick 24 for the second work. (2)

£150-200

104

£200-300

20TH CENTURY PRINTS

294* Ackroyd (Norman, 1938- ). American Sky, 1969, colour aquatint, signed, dated, titled and numbered 3/50, with margins, plate size 55 x 50cm (21.75 x 19.75ins), framed and glazed

292* Ackroyd (Norman, 1938- ). Bridge and Rainbow, 1972, colour aquatint, signed, dated, titled and numbered 2/50, with margins, plate size 50 x 45cm (19.75 x 17.75ins), framed and glazed (1)

(1)

£150-200

295 Ackroyd (Norman, 1938- ). Landscapes & Figures, eight etchings by Norman Ackroyd, eight poems by William McIlvanney, pub. Circle Press, 1973, eight b&w etchings, each signed, dated, and colophon numbered 15/125, signed by both author and artist, contents loosely contained in publisher’s black cloth portfolio, with matching slipcase, large 4to

293* Ackroyd (Norman, 1938- ). Perimeter Rainbow, 1970, colour aquatint, signed, dated, titled and marked A/P, with margins, plate size 45 x 45cm (17.75 x 17.75ins), framed and glazed (1)

£150-200

(1)

105

£200-300

297* Austen (David, 1960-). Jean Cocteau, Tempest Stars, Selected Poems, translated by Jeremy Reed, with drawings by David Austen, pub. Enitharmon Press, 1992, offset colour lithos. by David Austen, text, and illusts. loosely contained in pubs. purple cloth solander box, folio Limited de luxe edition of eighty-five copies, this being edition B, numbered 7/15, signed by the translator and artist, with additional signed etching by David Austen. (1) £100-150

298* Barbier (Georges, 1882-1932). Six erotic prints, six colour printed pochoir prints, each approx. 22 x 17cms (8.75 x 6.75 inches), mounted, framed and glazed Originally published in ‘Les Liaisons Dangereuses’. (6)

296 Alva (1902-). Images, Sérigraphies Originales D'Alva, Introduction de R.V. Gindertael, New York: Serigraph Galleries, 1954, title printed in red & black, twelve full-page colour screen prints, with an additional original acrylic on paper by the artist bound in at front, signed and inscribed 'to Barbara' to lower margin, sheet size 39 x 28cm (15.25 x 11ins), edges untrimmed, orig. cloth in d.j., slightly frayed & torn to edges of d.j., folio, (limited edition 1/160), together with Alva, Recent Paintings and Drawings, Forward by Herbert Read, Introduction by Maurice Collis, pub. Bodley Head, 1951, twenty col. and b & w plts. (some tippedin), front free endpaper signed & inscribed 'to Barbara', orig. qtr. cloth in d.j., spine of d.j. torn with loss & edges frayed, 4to (2)

£100-150

299* Chen (T. F., 1938-). Tokyo (Edo) - New York, 1981, colour screenprint, signed, titled, dated and numbered 36/150, image size 49.5 x 66cm (19.5 x 26ins) with margins, framed and glazed, with printed label to verso

£150-200

(1)

£100-150

300* Clarke (Graham, 1941-). St. Anthony’s, colour lithograph, an artist’s proof, signed and titled, some light browning and a few marks and short closed tears to outer margins, image size 45.5 x 66cm (18 x 26ins), sheet size 56.5 x 79cm (22.5 x 31ins) Lot 297

(1)

106

£100-150

301* Conder (Charles, 1868-1909). Cupid’s Hour, c.1902, lithograph, printed in Sanguine, signed in pencil, and numbered 8 [from an edition of 50?], image size 23 x 30.5cm (9 x 12ins), with margins, framed and glazed (unexamined out of frame) (1)

£200-300

302* Dali (Salvador, 1904-1989). Two-headed hermaphrodite in a landscape, colour etching on japan, printed in pale blue and cream, with hand-stencilling in gold, signed to lower margin, plate size 34.5 x 25cm (13.5 x 9.75ins), framed and glazed

303* Dali (Salvador, 1904-1989). La Secundidad, sterling silver relief plaque, stamped 925 to lower edge, 21.5 x 16.5cm (8.5 x 6.5ins), mounted in double-sided smoked plexiglass, with chrome shadowbox frame, with printed certificate to verso

(1)

£300-500

107

£200-300

Lot 304

304* Davie (Alan, 1920-). Zurich Improvisations XI, 1965, colour lithograph, signed, dated and numbered in pencil 48/75, with pubs. blindstamp for Editions Alecto to lower right, one or two minor surface marks, 63.5 x 91cm (25 x 36ins), framed and glazed (1)

ÂŁ200-300

305* Dufy (Raoul, 1877-1953). Baigneuse aux papillons devant un voilier et un vapeur, colour etching, with full margins, plate size 22 x 31.5cm (8.75 x 12.4ins) (1)

ÂŁ100-150

Lot 305

108

306* Erni (Hans, 1909-). Two Horses, colour lithograph, printed in grey, black, orange, and yellow, depicting two spirited horses, signed and numbered 9/200 to lower margin, sheet size 51.5 x 68.5cm (20.25 x 27ins) (1)

£100-150

307* Frost (Terry, 1915-2003). Black Circle, 2002, colour screenprint, signed and numbered 3/150 in pencil, 37 x 74.5cm (14.5 x 29.25ins), framed and glazed, with Stour Gallery label to verso (1)

£500-800

308* Gentleman (David, 1930-). Views of Covent Garden, a pair of colour lithographs, each signed and numbered 26/70 and 69/70 respectively, one or two minor marks to extreme margins, sheet size 49.5 x 60.5cm (19.5 x 23.75ins) (2)

Lot 306

Lot 307

109

£100-150

309* Hepworth (Barbara, 1903-75). Two Marble Forms (Mykonos), 1969, colour lithograph, signed and numbered 38/60 in pencil, the full sheet, 81.5 x 59cm (32 x 23.25ins), framed and glazed, with Curwen Gallery label to verso (1)

ÂŁ700-1000

110

310* Hockney (David, 1937-). Montcalm Interior at Seven Oâ&#x20AC;&#x2122;clock, 1853 Gallery, Salts Mill, Bradford, 1988, colour reproduction poster, signed, 70 x 83cm (27.5 x 32.75ins), framed and glazed (1)

ÂŁ500-800

111

Lot 311

312* Hockney (David, 1937-). Portrait of the artist, a 10 x 8ins photograph, half length, signed by the artist to lower portion

311* Hockney (David, 1937-). The Rake’s Progress, an Exhibition of Costume Drawings and Set Designs, Ashmolean Museum, Oxford, May 18-June 30 1981, colour-printed poster, signed and inscribed in pencil for Lord Windlesham, 75 x 95cm (29.5 x 37.5ins), framed and glazed, with handwritten label to verso ‘Inscribed by David Hockney to Lord Windlesham, Oxford, 1981’ (1)

(1)

£300-500

112

£100-150

313* Inshaw (David, 1943-). Silbury Hill, 1993, colour etching, signed, dated, and marked ‘proof’, a good strong impression, plate size 30.5 x 35.5cm (12 x 14ins), framed and glazed (1)

£300-500

314* Inshaw (David, 1943-). Bird, 1992, colour etching, signed, dated, and marked ‘proof’, plate size 40 x 48cm (15.75 x 19ins), framed and glazed (1)

£200-300

315* Inshaw (David, 1943-). Moon & Tree, 1992, colour etching, signed, dated, and marked ‘proof’, plate size 40 x 25.7cm (15.75 x 10ins), framed and glazed (1)

£200-300

316* Inshaw (David, 1943-). Face, etching, signed in pencil, and marked artist’s proof, plate size 10.2 x 10.6cm (4 x 4.25ins), framed and glazed With artist’s presentation inscription to verso ‘11th November 1994. Happy Birthday James, with love from David’. (1) £100-150

Lot 313

Lot 314

Lot 315

113

317* Kitaj (Ronald Brooks, 1932-2007). Actress, colour lithograph, signed and numbered 15/50, the full sheet, image size 23.5 x 30.8cm (9.25 x 12.1ins), sheet size 66 x 50cm (26 x 19.75ins), framed and glazed, with Marlborough Fine Art label to verso (1)

£200-300

318* Lowry (Laurence Stephen, 1887-1976). The Beach, 1973, colour reproduction print, published by Venture Prints, in 1973, blindstamp of the Fine Art Trade Guild to lower left, signed in pencil lower right, image size 26.2 x 50.7cm (10.25 x 20ins), framed and glazed, together with a reproduction of the preliminary sketch for this work, issued as a companion piece (2)

£300-500

319* Matisse (Henri, 1869-1954). La Danse, 1938, double-page colour lithograph, 35 x 43cm (13.75 x 17ins), mount aperture, framed and glazed Originally published in Verve IV, Autumn 1938. (1) £100-150

Lot 317

Lot 318

114

322* Mozley (Charles, 1941-1991). Loyal Greetings from Shell and BP, [1953], colour lithograph poster for the 1953 Coronation, signed ‘Mozley’ in the image lower right, fold marks as issued, 71 x 97cm (28 x 38ins), framed and glazed (1)

£100-150

323* Myers (Bernard S., 1925-). Still Life (Fruit and Flowers), colour reproduction poster, signed and dated 1987 in pencil, 61 x 76cm (24 x 30ins), framed and glazed, together with another copy of the same poster, unframed, a print by Tom Merrifield entitled Sally, numbered 42/200, framed and glazed and a colour printed tie by Carel Weight, entitled Mr. Turner goes to heaven, published by the Royal Academy, signed by the artist (2)

£100-150

320* Migneco (Giuseppe, 1908-1997). Salome with the head of St. John the Baptist, b&w lithograph, signed lower left, 71 x 50cm (28 x 19.75ins), framed and glazed (1)

£100-150

321* Miro (Joan, 1893-1983). Composition, colour lithograph, signed in the image, short closed tear repaired towards lower right corner, sheet size 39 x 58cm (15.4 x 22.75ins) (1)

£150-200

324* Nolan (Sidney Robert, 1917-1992). Kelly Head III, 1972, colour screenprint, signed and numbered 1/70, the full sheet, image size 83 x 60.8cm (24.75 x 24ins), sheet size 101.5 x 68.5cm (40 x 27ins), framed and glazed (1)

115

£300-400

Lot 326

Lot 327

325* Oldenburg (Klaus, 1942-). Berlin, 1988, lithograph, signed, titled and dated, from an edition of 100, sheet size 32.5 x 50cm (12.75 x 19.75ins) (1)

327* Picasso (Pablo, 1881-1973). Femme à la mantille, 1955, offset litho reproduction, with stamped signature in green, numbered 130 from an edition of 500, somewhat toned, sheet size 53 x 42.5cm (21 x 16.75ins), laid down on backing card

£150-200

(1)

326* Phillips (Tom, 1937-). From Esme With Love, colour screenprint, signed and titled in pencil, 31.5 x 20.5cm (12.5 x 8ins), mount aperture, together with A TV Dante, colour screenprint, signed, inscribed, and numbered 33/35 in pencil, sheet size 32.5 x 24cm (12.75 x 9.5ins), and Ein Deutsches Requiem - after Brahms, 1972, colour lithograph, pub. Tetrad Press, in an edition of 50, signed and numbered 22/50, 27 x 19cm (10.5 x 7.5ins), plus From A Humument, colour screenprint, signed inpencil, sheet size 41 x 30.5cm (16 x 12ins), and one other, all framed and glazed (5)

£300-500

116

£100-150

Lot 328 328* Piper (John, 1903-1992). Summer Garden, Fawley Bottom, 1982, colour etching and aquatint, on thick wove paper, published by Kelpra Editions, London, with K blindstamp to lower right corner, signed in pencil, numbered 39/85, plate size 39 x 57.5cm (15.25 x 22.5ins), sheet size 51.5 x 69.5cm (20.25 x 27.25ins), minor handling marks to extreme margins, and small droplet stain to lower right corner (generally in very good condition), mounted Levinson 369. (1)

£500-800

329* Portway (Douglas Owen, 1922-1993). Female nude, etching, signed, numbered 28/100, plate size 14.9 x 9.2cm (5.75 x 3.5 in), framed and glazed (1)

£70-100

330* Portway (Douglas Owen, 1922-1993). Nude with black stockings, etching with aquatint, printed in brown, signed and numbered 1/25, with full margins, plate size 14.8 x 5cm (5.75 x 2ins), framed and glazed (1)

£70-100

Lot 329

117

Lot 330

Lot 331

118

331* Poster. Ville de Poitiers. Exposition Generale des Sports du 12 Mai au 14 Juillet 1907, L. Burghgraeve & G. Dervaux, Halluin (Nord), [1907], fine large colour litho. poster in folded condition, giving details of the programme to include ballooning, equestrianism, motoring, cycling, athletics, tennis, shooting, hunting, military events, etc., the poster including vignettes of some of the sporting activities including a balloon, an airship and a motor car, 195 x 132cm (77 x 52ins), linen-backed, very fine Eight pilots from the Aero-Club de France (founded 1898) took part in the ballooning race which was won by le marquis Edgard de Kergariou assisted by Paul Tissandier. (1) £700-1000

332* Roth (David, 1942-). Composition 3, 1979, colour screenprint, signed, dated, and numbered 136/150 in pencil, image size 58 x 58cm (22.8 x 22.8ins), sheet size 74.5 x 72.8cm (29.5 x 28.75ins) (1)

£200-300

333* Scott (William, 1913-1989). Three Pears and Pan, 1955, colour lithograph, with circular blindstamp of the William Scott Estate lower left, 25.5 x 33.5cm (10 x 13.25ins), framed and glazed, with Julian Lax typewritten label to verso Provenance: Purchased by the current owner from an exhibition of works on paper by William Scott held at Julian Lax Gallery in 1999. (1) £1500-2000

Lot 332

Lot 333

119

334* Sintenis (Renee, 1888-1965). Fuchs (The Fox), etching, signed by artist in pencil below image, together with approx. thirty etchings, lithographs and wood cuts by various German artists including, Steigerwald, Hoffman, Wendland, Koch, Giesehe, Eilert, Gorrig and Hoeber, together with a small collection of bookplates, original watercolours, oil paintings, caricatures, maps and mica drawings, various sizes (approx.50)

£150-200

335* Sutherland (Graham, 1903-1980). Flames in a Rock Form I, 1975/76, colour lithograph, printed by Mourlot, signed and numbered 53 from an edition of 75, 65 x 50cm (25.5 x 19.75ins) Tassi 168. (1)

£300-500

336 Tilson (Jake). Rodrigo, Woolley Dale Press, Xmas 1980, tipped in col. illust. at rear, author’s signed presentation inscription to front f.e.p., orig. printed wrappers, minor marks, narrow slim 8vo, together with other Tilson items from the same press, 8 Views of Paris, 1980, col. concertina-style contents, orig. pict. wrappers, signed presentation inscription, slim 8vo, limited edition 4/50, plus Cipher, nos. 1, 3, 4 & 6, 1979-81, tipped in illusts., loose inserts, etc., signed presentation inscription from Jake to nos. 4 & 6, orig. pict. wrappers, slim 8vo, all numbered limited editions, of 100, 300, 400 and 500 respec., plus Art Random, Kyoto, 1989, col. illusts., orig. glazed pict. boards, slim 4to (7)

Lot 334

£100-150

337* Trevelyan (Julian, 1910-1988). The Ram, uncoloured etching with aquatint, signed, titled and numbered 14/50, the full sheet, plate size 35 x 48cm (13.75 x 19ins), framed and glazed (1)

£250-350

338* Trevelyan (Julian, 1910-1988). Ponte Vecchio, colour etching with aquatint, signed, titled and marked ‘Artist’s Proof’, plate size 35.5 x 48cm (14 x 19ins), framed and glazed (1)

Lot 335

120

£300-400

Lot 337

Lot 338

121

340* Warhol (Andy, 1928-1987). A 6 x 4 Pepsi-Cola ‘Close Cover Before Striking’ postcard, designed by Andy Warhol, 1962, boldly signed to lower portion by the artist (1)

£300-400

339 Warhol (Andy, 1928-1987). Campbell’s Soup Tin, c. 1975, marker pen drawing to half-title of The Philosophy of Andy Warhol (from A to B and Back Again), 1st U.K. ed., 1975, signed and inscribed ‘To Tony’, front endpaper excised, orig. cloth in d.j., additionally signed by Warhol to front panel, 8vo (22 x 14cm, 8.75 x 5.5ins) (1)

£300-500

341* Willette (Adolphe, 1857-1926). Exposition des oeuvres de Charlet et de lithographies Modernes, Galeries Durand-Ruel, 1er au 15 Juin 1893, tinted lithograph, mounted, together with a collection of various lithographs by French artists, including some signed, some published by the journal L’Image, c. 1890s, each mounted (32)

122

£200-300

342* World War I Posters. A group of four colour posters, c. 1918, including ‘Share in the Victory’ by Haskell Coffin, ‘Keep ‘em Smiling! Help War Camp Community Service’, by M. Leone Bracker, 1918, and two copies of ‘Sure! We’ll finish the job’ a victory liberty loan poster with artwork by Gerrita Beneker, 1918, all with several marginal closed tears, some corner tears and repairs to verso to second poster and one of the Beneker posters, approx. 106 x 71cm (42 x 28ins) and similar (4)

£150-200

343* Zimmer (Hans Peter, 1936-1992). Eishockey, colour screenprint, signed and numbered 144/150, 58.5 x 41cm (23 x 16ins), together with twenty-nine various modern prints, mostly by contemporary German artists, c. 1960s-1980s, mostly signed and numbered, including Renee Sintenis, Bele Bachem, H. Teuber, Kurt Sceinel, Joan M. Whitworth, etc. (30)

£300-500

Lot 343

123

20TH CENTURY WATERCOLOURS

Lot 344 344* Adamson (Dorothy, 20th-c.). “The Wanderers”, 1919, watercolour, of a countryman carrying a whip and leading a small boy on a horse down a lane, with a pony following, signed and dated lower left, 24 x 35cm (9.5 x 13.75ins), mounted, framed and glazed, with old exhibition label and framing label on reverse of frame Dorothy Adamson was a painter of animal subjects who exhibited extensively during her short career, including at the Royal Academy, Royal Institute of Painters in Oils, Royal Institute of Painters in Watercolours, Society of Women Artists and various galleries in the provinces. (1) £300-500

345* Alexandrovna (Grand Duchess Olga, of Russia, 1882-1960). A pair of watercolours on paper, one of birds in a snow-laden tree, signed ‘Olga’ and dated 1940 lower right, 14 x 11cm (5.5 x 4.25ins), and one of blue and cream anemones, signed lower right, 10.5 x 13.5cm (4 x 5.5ins), both framed and glazed, together with a small quantity of related ephemera, including seven autograph letters signed from Olga to Bessie Sinclair, April 1939 to February 1957, a four-page printed catalogue and invitation card to an exclusive exhibition of Olga’s work at Walker’s Galleries, 118 New Bond Street, London, 19th June-1st July 1939, and a few other items Grand Duchess Olga Alexandrovna was the youngest child of Emperor Alexander III of Russia. Her older brother was Tsar Nicholas II. After the downfall of the Romanovs in the Russian Revolution of 1917, she fled to the Crimea with her mother, husband, and children, where they were placed under house arrest. She escaped from Russia in 1919 and lived in exile in Denmark until 1948 when she moved her family to Ontario, Canada. She painted over 2,000 works of art to provide income for her family and charitable causes. Bessie Sinclair had been a lady in waiting to Queen Alexandra. (-) £300-500

Lot 345

124

Lot 346 346* Ardizzone (Edward, 1900-1979). The Lovers, pen, ink and watercolour, showing two couples in a bar, signed with initials lower right, 15.5 x 28cm (6 x 11ins), mounted (1)

£300-500

347* Ardizzone (Edward, 1900-1979). A collection of thirteen drawings, including twelve pencil sketches and one red crayon drawing, mostly comprising studies of female nude figures (two drawn on lined paper), two leaves with sketches of a group of figures and a centaur in various scenes (13)

£300-500

348* Arnold (Graham, 1932-). Okebourne Chace, silverpoint drawing on prepared white gouache ground, signed lower right, 22.5 x 15cm (9 x 6ins), framed and glazed, with additional signature to verso and titled ‘Okebourne Chace. Round about a Great Estate’. (1)

£300-500

Lot 347

125

Lot 348

349* Arnold (Graham, 1932-). Alison Raven, ‘Study for The Room’, silverpoint drawing on prepared white gouache ground, signed, titled and dated to lower right, additionally inscribed by the artist to verso, and with printed label for the Graham Arnold Retrospective Exhibition at the Tabernacle Cultural Centre, Machynlleth, Powys, 10-30 August 1992, catalogue no. 96, 61 x 30.5cm (24 x 12ins), framed and glazed (1)

126

£1000-1500

350* Austen (David, 1960-). Untitled (8.7.91), a series of three watercolours on Ingres dâ&#x20AC;&#x2122;Arches paper, each signed and dated in pencil to lower edge of sheet, 32.5 x 25cm (12.75 x 9.75ins), framed and glazed, with Anthony Reynolds Gallery label to verso of each (3)

127

ÂŁ800-1200

351* Bairnsfather (Bruce, 1888-1959). To Commander Saxton R.N. All the best from Old Bill, Bruce Bairsfather. ‘Perhaps its’ as well that Old Bill was not in the Navy’, pencil and crayon drawing on brown paper, of Old Bill dressed as a sailor sitting on a mooring bollard, 34 x 25.5cms (13.5 x 9.75 inches)

352* Bairnsfather (Bruce, 1888-1959). Next Case! To Commander Saxton from Bruce Bairnsfather with best wishes, pencil pen and wash caricature of ‘Old Bill’ as a bewigged judge holding a pint tankard and a gavil, laid on near contemp. card, 27.5 x 20cms (10.75 x 8 inches)

Sidney Waring Saxton was an assistant paymaster on board H.M.S. Formidable when she was torpedoed of Portland on 31st December 1915. A huge storm hampered and rescue attempts and Saxton was one of only 200 men to survive from a crew of 747. When he recovered from his ordeal he was given civilian clothes, a train ticket to London and sent on leave. In the train carriage with him were two women, who seeing a man obviously of call-up age, not in unifrom and travelling in civilian clothes, gave him a white feather, which at the time was a sign of cowardice. History does not relate his response but as his nickname was ‘Swearing Saxton’ one can imagine that the two ladies were left in no doubt as to their mistake. Between the wars Saxton served on The Royal Yacht but eventually left the Navy and trained as a barrister and was called to the Bar in 1925. He married and served as a district commissioner in the Gold Coast in West Africa. He returned to the U.K. and settled in Bosham in West Sussex until his death in 1965. Saxton met and became friends with Bairnsfather in Grundisburgh in Essex where they were both regulars in the village pub. A scarce drawing of Bairnsfather’s famous soldier ‘Old Bill’ transformed into a sailor and drawn as a gift for Commander Sydney Waring Saxton. (1) £1000-1500

Provenance: As previous lot. (1)

128

£500-800

354 Beach (Ernest George, 1865-c.1934). Landscape with labourers, watercolour, of woodland beside a lake, with two figures, one carrying a scythe, signed lower left, foxed in places, 24.5 x 35cm (9.5 x 13.75ins), mounted, framed and glazed, together with Shoreline landscape, pastel, of a seashore with a yacht, and an overcast sky, signed lower left, 25 x 35cm (10 x 13.75ins), mounted, framed and glazed Ernest George Beach was a painter in oil, watercolour and pastel, of portraits, genre and landscapes. He studied art in London and Paris, and exhibited at the leading London galleries from 1888, chiefly at the Royal Academy and the Royal Society of British Artists. He lived in Hythe in Kent, but worked extensively in France, Holland and Belgiuim. (2) £100-150

355* Berners (Gerald Hugh, 1883-1950). Pyle Church, coloured pastels and chalks, 37 x 49.5cm (14.5 x 19.5ins), mounted, framed and glazed (1)

353* Bartlett (Charles, 1921-). Beach Ferry Side, watercolour on paper, signed in pencil to lower right, 42.5 x 58cm (16.75 x 22.75ins), mounted, framed & glazed (1)

£200-300

Lot 355

129

£300-500

Lot 357

356* Brady (Iain, 20th-c.). ‘Safekeeping/Mewn Diogelwch’, charcoal on paper, signed by the artist, 45 x 14.5cm, framed and glazed, exhibition label verso, together with Jacobs (Sally, 20th-c.), Love’s Labours Lost - RSC Nathaniel as Alexander - Timothy West, costume design collage, signed, titled and dated by the artist ‘64, 31 x 26.5cm, framed and glazed (2)

£100-150

357* Bristol Savages. “Rhapsody in Blue”, by Ralph Herbert Brentnall (1901-1980), pastel drawing of a theatre scene with two figures and a statue of cupid on a column, signed lower left, 32.5 x 25.5cm (12.75 x 10ins), mounted, together with “Industry” by Guy Donne Gordon Hake (1887-1964), 1937, watercolour and crayon on textured paper, of factory buildings and smoking chimneys, signed lower right, 23.5 x 32cm (9.25 x 12.5ins), mounted

358* Buckle (Claude, 1905-1973). French farmyard with figures, watercolour, signed lower left, 17.5 x 25cm (7 x 10ins), framed and glazed

Provenance: from the estate of stained glass designer Arnold Robinson. The Bristol Savages is a group of artists founded in 1904, which still holds exhibitions and meets at Red Lodge in Bristol. Ralph Brentnall was one of the original students of the West of England School of Architecture, qualifying in 1929. He joined the firm of Oatley and Lawrence, eventually becoming a partner, and, after, serving in World War II, during the post-war period of rapid expansion, he was involved in the designing of many new buildings in Bristol. He joined the Bristol Savages in 1935 and was President in 1948 and again in 1964, and made a Life Member in 1977. He specialised in pastels. Hake was well-known as an architecture artist in watercolour, crayon and pencil. He was educated at Christ`s Hospital and studied at the Ecole des Beaux Arts in Paris and the Architectural Association`s School. He was President of the Savages in 1930, 1938 and 1939. (2) £100-150

(1)

130

£100-150

359* Burma. Lakeside view at Dallah, Myanmar (Burma), 1961, watercolour, signed indistinctly (M. Zinaya?), and dated lower right, 35.5 x 54cm (14 x 21.25ins), framed and glazed, with Rangoon framer’s labels to verso (1)

£100-150

360* Butler (Mildred Anne, 1858-1941). Peacock, watercolour and gouache, initialled lower right, 17 x 22cm (6.75 x 8.75ins), gilt frame, glazed Butler, an Irish artist born in Kilmurry, County Kilkenny, was particularly associated with the Newlyn School in Cornwall. She stayed at Newlyn during the summers of 1894 and 1895, and was influenced by Norman Garstin and Stanhope Forbes. (1) £800-1200

Lot 359

Lot 360

131

361* Byatt (Edwin, 1888-1948). Still life of daffodils and violets, watercolour on paper, signed, 38 x 54cm (15 x 21 1/4ins), framed and glazed (1)

£150-200

364* Cottingham (Grenville, 1943-2007). Italian landscape, possibly Tuscany, watercolour, showing a vista of a village between trees, signed lower right, 33 x 23cm (13 x 9ins), mounted, framed and glazed (1)

£100-150

362* Clausen (Sir George, 1852-1944). Study of a girl, pencil study on paper, 18.5 x 10.8cm (7.25 x 4.25ins), mounted, framed & glazed, with Christopher Wood Gallery receipt dated 1981 and exhibition card attached to verso (1)

£200-300

363* Clements (William C., 1903-1983). “‘High & Dry’ London Docks”, 1944, pen, ink, and watercolour, showing a large merchant shipping vessel with barges alongside, signed and dated lower left, 19.5 x 24cm (7.5 x 9.5ins), mounted, framed and glazed

365* Eadie (Robert, 1877-1954). St. Paul’s and the Thames, pencil & watercolour, signed lower right, 22.5 x 28.5cm (9 x 11.25ins), framed and glazed

(1)

£80-120

132

£150-200

367* Flint (Sir William Russell, 1880-1969). Two albums of pencil sketches and notes relating to the film Storm over the Nile, 1955, together two sketchbooks, containing numerous pencil drawings and annotations on 143pp., with sketches of frogmen and diving (diving dress and equipment, etc.), incl. Davis (submarine) escape equipment, and drawings of natives, soldiers, landscapes, interiors, camels, film cameras, battle scenes, etc., with annotations such as: Mahdi’s Camp on Nile... Tony and Lawrence in coracle; Tarifa, Arab Market; Arrest of Zanak; Mountain location, Tarzut; Hananghai Village; Police Posts N.W. Frontier; Antibes; Mohamid Mahti; After mail coach raid - walking down country road, etc., several pages dated 1955, one album with Flint’s pencilled initials on front pastedown, orig. boards, spines broken and one vol. lacking upper board, 4to (sheet size 22.5 x 17cm/8.75 x 6.5ins) Provenance: acquired by the vendor from the widow of a gentleman who was present at Flint’s home (Peel Cottage, Kensington) during the disposal of personal effects. The 1955 film ‘Storm over the Nile’ was a remake of the classic 1930s movie ‘The Four Feathers’. It was directed by Zoltan Korda and Terence Young, and starred Anthony Steel, Laurence Harvey and James Robertson Justice, with Christopher Lee, Ian Carmichael, Michael Hordern, and others. A number of the cast are mentioned in Flint’s annotations, in reference to costume, scenes, etc. (2) £800-1200

366* Fisher-Prout (Margaret, 1875-1963). Harnessed Pair (early studies), 1890, pencil on paper, 22.5 x 35cm (8.75 x 13.75ins), framed and glazed, with Blond Fine Art label to verso Margaret Fisher-Prout was the daughter of the artist Mark Fisher R.A., and studied under her father and at the Slade School of Art between 1894 and 1897. The present work was exhibited at the Memorial Exhibition of her work held by Blond Fine Art, circa 1966. (1) £200-300

Lot 367

133

Lot 368 368* Fouqueray (Charles Dominique, 1869-1956). A study of French Marines and their dogs under bombardment in the trenches, Nieuport, 1915, watercolour and charcoal, with bodycolour, showing a coastal trench scene, signed and dated lower right, 27 x 39.5cm (10.5 x 15.5ins), mounted, framed and glazed The son of a marine officer, Fouqueray was appointed an official painter to the French Navy in 1914 and accompanied the fusiliers-marins on their missions over a four year period. He was a noted illustrator of several naval and war publications. (1) £400-600

369* Freemantle (Chloe, 1950-). “Vacant House Prayer, No. 27”, gouache, 32.5 x 24cm (12.75 x 9.5ins), together with another (untitled) gouache painting similar, both mounted, framed and glazed, first item with New Academy Gallery label on verso (2)

£80-120

370* Gear (William, 1915-1997 ). Red/Blue/Orange, November 1966, mixed media on paper, signed and dated lower right, 57.5 x 38cm (22.5 x 15ins), framed and glazed (1)

Lot 369

134

£700-1000

Lot 370

135

371* Gouldsmith (Edmund Thomas, 18521932). “Near the Mowski, Cairo”; “Street in Cairo”, 1896, a pair of watercolours, both signed lower left, 36.5 x 26.5cm (14.25 x 10.5ins), mounted, framed and glazed Gouldsmith studied at Bristol Government School of Art and the Royal Academy Schools. He was a member of the Newlyn Art Colony in the 1890s, and he exhibited at the Royal Academy. (2) £300-500

372* Huzé (Guy, 1950-). Fishermen launching a boat on the Gold Coast, gouache on paper, signed and titled lower right, 41 x 53.5cm (16 x 21ins), framed and glazed, together with another similar smaller work by the same artist depicting boats at sea on the Gold Coast, signed, 23 x 30cm (9 x 11.75ins), framed and glazed Guy Huzé, a French artist who studied at the Beaux Arts Academy in Paris, spent several years in Tahiti, and now lives in Australia. He is well-known for his impressionist views of tropical beaches, and coastlines in Tahiti, the West Coast of Africa, and elsewhere. (2) £300-500

Lot 371

Lot 372

136

373* Kilvington (Ann, 1944-). “Forest scene”, watercolour and gouache, showing a forest of tall trees, carpeted with flowers, signed in pencil lower right, 41 x 52.5cm (16 x 20.5ins), mounted, framed and glazed Ann Kilvington studied at York Art College and the Royal Academy Schools, completing a degree in Fine Art, Painting and Printmaking in 1967. She taught printmaking at Putney School of Art and has exhibited widely in London including the RA Summer Shows and the Mall Galleries. (1) £100-150

375 Lifar (Serge, 1905-1986). Dancer, biro & coloured crayons, signed and inscribed ‘a Marie Louise Trilling son ami’ Serge Lifir’, to front endpaper of Lifar’s Au Service de la Danse, A la recherche d’une science: La Chorélogie, Paris, 1958, orig. printed wrappers, rubbed and spine discol. with a few tape repairs, 8vo (25 x 17cm) With additional inscription to half-title to Ossia Trilling, dated 2nd May 1958. (1) £100-150

376* Life drawings. Two studies of a male nude, 1945, together two black charcoal on paper life drawings of a male nude, each dated 1945, 75 x 53.5cm (29.5 x 21ins), matching frames, glazed (2)

374* Langmaid (Rowland, 1897-1956). “Hospital Ship At Sea”, watercolour, initialled lower right, 12 x 16cm (4.75 x 6.25ins), mounted, framed and glazed (1)

£200-300

137

£80-120

Lot 378

377* Lloyd (Elizabeth Jane, 1928-1995). Working in the summer garden, watercolour on paper, signed in pencil to lower right, 56 x 76cm (22 x 30ins), together with Chair with dish of blossom, watercolour study on paper, signed in pencil to lower right, 57 x 50.5cm (22.5 x 20ins), plus Strand on the Green, 1984, watercolour on paper, signed lower right, 56 x 75.5cm (22 x 29.75ins), and six others similar, various sizes Elizabeth Lloyd was born in London and studied painting at the Chelsea School of Art and the Royal College of Art, specialising in mural design. Her first solo exhibition was in the foyer of the Festival Hall, and her paintings were also shown at the Royal Academy Summer Exhibition. She taught in art schools in Britain and America and from her own studio at Strand on the Green, taking painting groups to India. She received public and private commissions for mural and scene painting for films such as The Mirror Crackâ&#x20AC;&#x2122;d, Chariots of Fire, Flash Gordon & Breaking Glass. (9) ÂŁ300-400

Lot 379

138

378* Manaure (Mateo, 1926-). Head of a girl, 1947, black charcoal on paper, signed and dated to card mount, 24 x 17.2cm (9.5 x 6.75ins), framed and glazed The Venezuelan artist Mateo Manaure was a student at the Caracas Art School, and in 1947 won the National Plastic Arts Prize, enabling him to travel to Paris. He is best known for his abstract work, although a similar early charcoal drawing dated 1948 appeared for auction at Odalys in Caracas in July 1998. (1) £150-200

379* Maze (Paul Lucien, 1887-1979). A study of the artist’s wife, Jessie, asleep in an armchair, 1955, oil pastels on paper, signed and dated lower right, 73 x 52cm (28.75 x 20.5ins), mounted, framed and glazed (1)

£500-800

380* Merrifield (Tom, 1932-). Portrait of Quentin Crisp, purple marker pen on thick paper, signed, 25 x 20cm (10 x 8ins), framed and glazed (1)

£100-150

382* Mozley (Charles, 1941-1991). Pic St. Loup, Val de Londres, watercolour and gouache, signed and titled, 28.5 x 42cm (11.25 x 16.5ins), framed and glazed (1)

£100-150

383* Naviasky (Philip, 1894-1983). Santa Maria della Salute, Venice, 1949, watercolour heightened with gouache and coloured crayons, signed and dated, approx. 46 x 64cm (18 x 25.25ins), framed and glazed (1)

381* Morse-Brown (Sam, 1903-2001). Portrait of a young lady in white cardigan and yellow skirt, 1960, colour pastels and body colour, three-quarter length, seated, signed and dated lower right, 74 x 60cm (29 x 23.5ins), framed and glazed (1)

£300-500

139

£200-400

386* Norman (Michael, 20th c.). “Orford Castle and Church”, 1993, pen, ink, and watercolour, signed and dated lower right, 28 x 47cm (11 x 18.5ins), mounted, framed and glazed, with Michael Norman’s studio label on reverse (1)

£100-150

384* Noirot (Emile, 1853-1924). St. Maurice, sur Loire, 1918, pastel on brown wove paper, signed, dated and titled lower right, 23 x 28.5cm (9 x 11.25ins), framed and glazed (1)

£200-300

387* Parker (W. Neave, 1910-1961). Original illustration for ‘Domini, the Golden Plover’, pub. 1940, pen & ink on scraperboard, depicting a fox barking at a ringed plover in flight, signed lower right, 22 x 14cm (8.75 x 5.5ins), mounted, framed and glazed (1)

£100-150

385 Norman (Michael, 20th c.). The River Alde from Iken Cliff, 1987, fine watercolour with pen and ink, signed and dated lower right, 28 x 46cm (11 x 18ins), framed and glazed, with artist’s label to verso, together with another similar watercolour by the same artist, of Holy Trinity Church, Blythburgh, 1987, signed and dated, 28 x 46cm (11 x 18ins), plus two similar smaller watercolours by Michael Norman, of East Bergholt an Essex farm, both signed and dated 1988, 21 x 25cm (8.25 x 9.75ins), and similar, all framed and glazed with artist’s label to verso (4)

£200-300

388* Penny (Frederick J., 1863-1935). “Suez Canal, Dawn, 24.9.1913”, watercolour landscape, with the sun rising over the canal and a tribal encampment with figures in the distance, signed lower right, 13 x 22.5cm (5 x 8.75ins), mounted, framed and glazed (1)

£150-200

389* Rhodes (Jane, 20th c.). Rainy Day in Venice, c.1980, pastel on board, signed in pencil by artist in lower right corner, 48 x 30cms (19 x 12 inches), mounted, framed and glazed (1)

Lot 386

140

£70-100

Lot 390

390* Robinson (Arnold Wathen, 18881955). A collection of cartoons for stained glass windows, together twenty-eight designs for stained glass windows, black and coloured crayon and some watercolour, comprising fourteen designs of heraldic shields relating to Oxford and Cambridge colleges, and eight similar showing designs for Red Lodge, Bristol, dusty, sheet size approx. 32 x 26cm (12.5 x 10ins), together with six other stained glass window designs by Robinson, incl. one of Blondel and Richard I, and a large one of a man operating a printing press, sheet size 56 x 58cm (22 x 22.75ins) Provenance: from the estate of the artist. Arnold Robinson was a stained glass artisan of high standing, designing windows for Bristol University and Bristol Cathedral and many other west country churches, as well as buildings elsewhere. He was trained by Christopher Whall, a leading figure in the Arts and Crafts Movement. In Whall’s studio he met Edward Woore, who subequently undertook commissions for the firm of Joseph Bell and Son after Robinson took it over in 1923. Robinson’s son, Geoffrey, who had learned the craft from J.E. Nuttgens, took over the firm in 1956 until it closed in 1996. He both designed new work and restored old glass. (28) £300-500

Lot 391

391* Rousse (Frank, act. 1894-1917). Harbour scene, possibly Whitby, watercolour, signed, 26 x 43cm (10 1/4 x 17ins), framed and glazed (1)

141

£200-300

392* Rushbury (Sir Henry George, 1889-1968 ). Le Croisic, 1955, watercolour with pencil, signed, dated and titled to lower margin, 27 x 33.5cm (10.5 x 13.25ins), framed and glazed With an accompanying signed typewritten letter from the artist to the original purchaser, dated Royal Academy of Arts, 4th August 1955, referring to the circumstances surrounding the execution of this work. (1) ÂŁ300-500

142

395* Simpson (Charles Walter, R.I., 1855-1971). “Ploughing”, watercolour, signed, 34.5 x 50.5cm (13 1/2 x 20ins), framed and glazed

393* Salter (Walter F. 20th century). Railway viaduct, watercolour, signed by artist in lower left of image, 57 x 72cms (22.5 x 28.5 inches), framed and glazed (1)

(1)

£150-200

£200-300

394* Shephard (Rupert, 1909-1992). Turmoil in the tearoom, pen, ink, and watercolour, showing a waitress slipping and dropping the contents of her tray over a number of alarmed patrons, signed upper right, pin holes at corners, 27.5 x 37.5cm (10.75 x 14.75ins), mounted, framed and glazed Rupert Shephard studied at the Slade School of Art from 1926 until 1929. He subsequently became a schoolmaster, using his evenings to paint, and exhibiting his paintings at various London venues. In 1937, the inaugural year of the Euston Road School of Drawing and Painting, he exhibited with the school’s founder members, William Coldstream, Claude Rogers, and Victor Pasmore, at the Storran Gallery. During the Second World War he worked as an official war artist. He subsequently moved to South Africa with his family to become the director of the Michaelis Art School at the University of Cape Town, returning to England in 1962 and becoming a full-time artist. (1) £150-200

396* Sorrell (Elizabeth 1916 - 1991). Doll on a swing, 1983, pencil and watercolour, signed and dated by artist below image, 73 x 52cms (28.75 x 20.5 inches), mounted, framed and glazed Exhibited at The Royal Academy Summer Exhibition, 1987. Original R.A. label on verso of frame. (1) £200-300

143

397* Stratton (Fred, active 1898-1932). Cows at rest, watercolour, unsigned, 13 x 17.5cm (5.25 x 7ins), framed and glazed (1)

ÂŁ100-150

398* Sutherland (Graham, 1903-1980). Kettle on a Stand, pen, ink & wash on paper, signed and dated lower right, 9 x 9.5cm (3.5 x 3.75ins), framed and glazed (1)

Lot 397

Lot 398

144

ÂŁ500-800

401* Wood (Elsie Anna, 1887-). Portrait of a young woman, 1911, watercolour on paper, head and shoulders in profile, signed ‘Elsie Wood’ in block capitals and dated lower right, 29.5 x 20cm (11.5 x 8ins), framed and glazed (1)

399* Topolski (Feliks, 1907-89). Gentlemen on Saville Row, London, pen, ink and wash on paper, signed with initials lower right, 30 x 24.5cm (11.75 x 9.5ins), framed and glazed (1)

£100-150

402 Woore (Edward, 1880-1960). Original design for a stained glass memorial window at St. Christopher’s Brislington, Bristol, black and coloured crayon and pastel drawing of the crucifixion, showing Christ on the cross, with three Roman soldiers on the left, and Mary and a disciple on the right, incorporating the inscription ‘In Memory of David Gordon Thomas 1875-1945’, toned, blank margins frayed with loss, image size 40.5 x 40.5cm (16 x 16ins)

£200-300

Edward Woore was part of a group of artists trained by Christopher Whall, a leading figure in the Arts and Crafts Movement. Fellow apprentices included Louis Davis and Karl Parsons. Together with Parsons he helped illustrate Whall’s book, ‘Stained Glass Work’, published in 1905. Woore was a close friend and fellow apprentice of Arnold Robinson, who took over the stained glass company of Joseph Bell and Sons in Bristol, for which Woore often undertook commissions. This study comes from the estate of Arnold Robinson. (1) £200-400

400* Wilson (Clive, 1946-). Fishing Boats, Marathi, India, watercolour, signed lower right, 28 x 40cm (11 x 15.75ins), framed and glazed Clive Wilson’s landscapes in pure watercolour, depicting scenes in Venice, India, Sri Lanka and elsewhere capture the fleeting qualities of light and atmosphere. An exhibition of these views was held at the Ebury Galleries in 2007. (1) £100-150

145

LUCY KEMP-WELCH (1869 – 1958)

Lot 403

Lot 404

Lucy Kemp-Welch (1869-1958) was a gifted artist who is best known for her animal subjects. She studied under Sir Hubert Herkomer at his art school in Bushey, Hertfordshire, and in 1895, at the age of 26, she exhibited her first painting, entitled Gypsy Horse Drovers, at the Royal Academy. Two years later her exhibition piece Colt Hunting in the New Forest was purchased for the nation by the Chantrey Bequest. In her search for animal models, Kemp-Welch often took horses and other animals 'on loan' and when this was not possible, she would travel around the country for suitable 'model subjects'. The New Forest became a particular favourite in this respect, but around 1907 she travelled to Exmoor, visiting the Doone Valley and Watersmeet, and took a studio at Simonsbath, where she painted many landscapes and sketched the wild Exmoor ponies. The following lots may have been left in her studio at Simonsbath, or given to locals. All these sketches on offer have been in the possession of a West Country family since the 1950s, during which time they were in storage. Lot 409 is inscribed in her hand with her initials, and dated May 16 1908. These works reflect the artist's lively and vivacious style, and her dexterity in the rapid handling of paint, and offer an unusual opportunity to acquire an original oil sketch by this artist. 403* Kemp-Welch (Lucy, 1869-1958). Study of two girls feeding a pony, unfinished oil on canvas, some marks and surface wear, 111 x 142cm (43.5 x 56ins) (1)

£800-1200

405* Kemp-Welch (Lucy, 1869-1958). Head of a white horse with bridle, oil on canvas, some surface marks, 61 x 51cm (24 x 20ins)

404* Kemp-Welch (Lucy, 1869-1958). Study of a horse at rest, oil on canvas, some surface marks, 24 x 51cm (9.5 x 20ins) (1)

(1)

£300-500

146

£300-500

406* Kemp-Welch (Lucy, 1869-1958). Head of a dark brown horse with bridle, oil on canvas, 51 x 61cm (20 x 24ins) (1)

£300-500

Lot 408

407* Kemp-Welch (Lucy, 1869-1958). Head of a black horse with bridle, oil on canvas, 51 x 61cm (20 x 24ins) (1)

£300-500

408* Kemp-Welch (Lucy, 1869-1958). Head of a donkey, oil on canvas, 61 x 51cm (24 x 20ins) (1)

£300-500

409* Kemp-Welch (Lucy, 1869-1958). Head of a horse with bridle, two oils on canvas, both partly unfinished, the first signed with initials L.K-W, and dated May 16 1908 in pencil to left margin, and another rear view of a horse at rest, both 61 x 51cm (24 x 20ins) (1)

£400-600

Lot 409

147

410* Kemp-Welch (Lucy, 1869-1958). Study of a chestnut mare, oil on canvas, partly unfinished, 61 x 76cm (24 x 30ins), together with another similar oil study, partly unfinished, 51 x 61cm (20 x 24ins) (1)

£300-500

412* Kemp-Welch (Lucy, 1869-1958). Horses head with bridle, together with another similar study of a head of horse, both oils on canvas, partly unfinished, 44.5 x 29 cm (17.5 x 11. ins), and 46 x 20.5 cm (18 x 8 ins), respectively (1)

411* Kemp-Welch (Lucy, 1869-1958). Three studies of cows, together three oils on canvas, including two partly unfinished, each 61 x 51cm (24 x 20ins) (1)

£300-500

148

£200-400

FREDERIC REMINGTON (1861 â&#x20AC;&#x201C; 1909)

413* Style of Remington (Frederic Sackrider, 18611909). Sioux Brave, a three-quarters life-size bronze of an Indian brave, n.d., the figure with rifle and dagger, Frederic Remington 'signature' to base, without foundry mark or number, 178 cm (70 ins) including bronze base Remington bronzes with multiples of each cast and numbered (up to his widow's death in 1918) according to demand. The whereabouts of almost all of these is known. The owner of the present bronze has undertaken much research to try and establish its authenticity since acquiring it in 1989. He has since located three further casts of the same statue, all in private hands. (1) ÂŁ7000-10000

149

MODERN & CONTEMPORARY PAINTINGS

414* Bakonyi (Sandor, 1892-1937). Young woman holding fan, oil on canvas, signed, 62 x 92cm (24 1/2 x 36ins), framed (1)

£200-300

415* Balande (Gaston, 1880-1971). Summer landscape, Veryon, France, oil on canvas, signed and titled lower right, 43 x 61cm (17 x 24ins), framed Gaston Balande was born in Saujon, near Royan in Western France, and began painting in 1898 while working for a picture restorer. He studied under Fernand Cormon, J.P. Laurens and Rupert Bunny. He was appointed professor of landscape painting at the Ecole Americaine des Beaux-Arts at Fontainebleau from 1933 to 1939, and curator at the Museé de Peinture at La Rochelle from 1931 until 1954. He exhibited at the Salon des Artistes Francais, Galerie Dromart, and Galerie Druet, and overseas, including a major exhibition of over 100 works in New York in 1977. (1) £500-800

Lot 414

Lot 415

150

416* Bicat (Andre, 1909-1996). Still life of fruit and flowers, oil on canvas, signed, 39 x 44cm (15 1/4 x 17 1/4ins), framed (1)

ÂŁ200-300

Lot 416

417* Bradbury (Arthur Royce, 1892-1977). Portrait of a lady, 1958, oil on canvas, head and shoulders portrait of a lady in a floral red dress, signed and dated lower left, 61 x 51cm (24 x 20ins), framed Arthur Bradbury was a prolific artist best-known for his portraits, nudes, landscapes and marine scenes. He exhibited at many of the most important venues including the Royal Academy, Royal Institute of Oil Painters, Royal Institute of Painters in Watercolours, Royal Society of British Artists, Royal West of England Academy, Walkers Art Gallery Liverpool, Society of Marine Artists, and Society of Pastel Painters. He lived mainly in the south of England and the Channel Islands, with addresses in Poole and on Sark. (1) ÂŁ300-400

Lot 417

151

Lot 418

152

418 Bratby (John Randall, 1828-1992). Patti in Venice, oil on canvas, signed top right, 122 x 91.5cm (48 x 36ins), framed

419* Brundage (Margaret, 1900-1976). Nude with Veil, acrylic on Favor Ruhl board, signed lower right, 50.5 x 40.5cm (20 x 16ins)

(1)

ÂŁ3000-5000

Lot 419

153

ÂŁ1000-1500

420* Castillo (Jorge, 1933-). Abstract figure with ovoid vase, 1988, oil on canvas, signed and dated ‘Castillo, 88’ lower left, 29 x 22cm (11.5 x 8.75ins), framed (1)

£200-300

421* Childish (Billy, 1959-). 2 girls under the gallows, January 2000, oil on wood (3 panels), with painted frame, titled, signed and dated January 2000 to verso, overall size (including frame) 64.5 x 45.5cm (25.5 x 18ins) (1)

£3000-5000

422* Chisholm (Peter, exh. 1897-1922). A line of trees in early autumn, oil on board, signed, 26 x 36cm (10.25 x 14ins), framed and glazed Peter Chisholm attended Douglas School of Art and regularly painted in his native Isle of Man. (1) £300-400

423* 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 (2)

£200-300

Lot 420

424* Clausen (George, 1852-1944, attrib.). Landscape with country lane, oil on board, 16 x 23cm (6.25 x 9ins), with typewritten label to verso, framed (1)

£300-500

425* Collins (Jessie, 20th c.). Still life of a jug of flowers, oil on canvas, 45.5 x 40.5cm (18 x 15.75ins), framed, together with another 20th c. oil still life, framed

Lot 422

(2)

154

£80-120

Lot 421

155

Lot 426

426* Cooper (Alfred Egerton, 1883-1974). Fishing boats beached at high tide, South Coast of England, oil on board, signed with initials lower right, 40 x 50cm (15.75 x 19.75ins), framed Possibly a view of Lulworth Cove in Dorset. (1)

ÂŁ500-800

427* Court (Emily 1880-1957, attrib.). An Afternoon Walk, oil on canvas, unsigned, 51 x 61cm (20 x 24ins), framed (1)

ÂŁ200-300

Lot 427

156

428* Debourg (Edouard Bourgeois, 1880-1939). Summer landscape with flowers and blossom tree, oil on wood panel, signed lower right, 37.5 x 29cm (15 x 11.5ins), framed (1)

ÂŁ100-150

429* Docharty (Alexander Brownlie, 1862-1940). Summer Clouds, oil on canvas, signed, 41 x 51cm (16 x 20ins), framed (1)

Lot 428

Lot 429

157

ÂŁ200-300

430* Downing (Joseph Dudley, 1925-2007). Abstract Composition, oil on canvas, signed lower right, stretcher stamped Sennelier, Paris, to verso, 72 x 59.5cm (28.25 x 23.5ins), framed The American abstract artist Joe Downing served in the United States Army during World War II, during which time he was stationed in Paris. After study at Western Kentucky University, he lived principally in Paris, and then Menerbes in Provence. His works are held in numerous museums, including the Louvre, Smithsonian Institution, MOMA, Seattle and Cincinnati Art Museums. The Joseph Dudley Downing Museum in Bowling Green, Kentucky, housing around one thousand works, opened in 2008. (1) ÂŁ1000-1500

158

431* Dunlop (Ronald Ossory, 1894-1973 ). Dedham Canal, oil on canvas, signed lower right, 40 x 50cm (15.75 x 19.75ins), framed (1)

ÂŁ300-500

159

432* Edwards (John, 1938-2009). Untitled, acrylic on paper, signed in pencil and dated 04, image size 39 x 38cm (15 1/2 x 15ins), paper size 76 x 55cm (30 x 21 3/4ins), framed and glazed

434* Edwards (John, 1938-2009). Three untitled works, acrylic on paper, each signed and dated 04, image size 39 x 38 (15 1/4 x 15ins), paper size 76 x 56cm (30 x 22ins)

Born in London John Edwards produced his first abstract paintings while teaching at Central St Martin’s in 1964 and was influenced by those around him including Anthony Caro, Philip King, Isaac Witkin and Mike Bolus who all taught in the sculpture department. His work evolved considerably but he derived much of his inspiration from natural forms and basic configurations such as crosses, arcs and T shapes. He exhibited widely including extensive solo exhibitions at the Rowan Gallery. (1) £150-200

(3)

£200-300

435* Edwards (John, 1938-2009). Three untitled works, acrylic on paper, each signed and dated 04, image size 39 x 38 (15 1/4 x 15ins), paper size 76 x 56cm (30 x 22ins) (3)

433* Edwards (John, 1938-2009). Three untitled works, acrylic on paper, each signed and dated 04, image size 39 x 38 (15 1/4 x 15ins), paper size 76 x 56cm (30 x 22ins) (3)

£200-300

160

£200-300

436* English school. Seated nude. c.1920, oil on board, 74 x 60cms (29 x 23. 75 inches), framed (1)

£200-300

437* Fisher-Prout (Margaret, 1875-1963). Mark Fisher at work, oil on board, unsigned, 45 x 34cm (17.75 x 13.5ins), framed (1)

£400-600

Lot 436 438* Floyd (Donald H., 1892-1965). Summer lane with trees, possibly Devon, 1921, oil on board, of a female figure under a large tree in a sunlit lane, signed and dated lower right, 36 x 46cm (14 x 18ins), framed Provenance: obtained by the current owner from the artist’s son, Roger Floyd of Monmouth. Donald Henry Floyd was born in Plymouth, and appears to have been mostly self-taught, developing a style of working outdoors and capturing scenes in oil straight onto canvas. In 1913 he exhibited his first work at the Liverpool Art Gallery. During the Great War he was posted in Palestine, Egypt and India, although he continued to paint while off-duty. After the war he settled in Caldicote near Newport, South Wales, moving eventually to Chepstow and then Tintern. He became a prolific painter of the scenery and culture of the places in which he resided. In 1920 he had his first work exhibited at the Royal Academy, the first of 30 works that would feature in the annual exhibitions over the years. (1) £200-400

Lot 437

161

439* Fraser (Colin, 1956-). The Wood Store. egg tempera on board, signed and dated 1985 lower left, 31 x 27.5cm (12.25 x 10.75ins), framed and glazed, with Montpellier Gallery, Cheltenham label to verso Colin Fraser was born in Glasgow in 1956, and studied fine art in Brighton. He exhibits annually at the Royal Academy Summer Show, the Royal Scottish Academy, and at the Catto Gallery in London, Gallery Odelhorn, Lund, Sweden, the Gatehouse Gallery, Glasgow, and the Mira Godard Gallery, Toronto, Canada. Fraser’s work concentrates on the effects of light and air, producing a quiet, meditative quality recalling the work of Scandinavian painters of the 19th century, such as Hammershoi and Ilsted. A book of the artist’s work, entitled Inner Light, was recently published by the Catto Gallery alongside a solo exhibition entitled Places in Time, 7th-31st May 2009. (1) £200-400

Lot 442

440* Galvin (Jack, 1930-2007). View from The Studio, The Don River, Toronto, Canada, 1985, oil on canvas, signed and dated lower right, additionally inscribed with title to verso, 60 x 95cm (23.5 x 37.5ins), framed Jack Galvin (1930-2007), a contemporary Canadian artist, lived and worked in the valley of the River Don near Toronto. (1) £100-150

441* Gear (William, 1915-1997 ). Broken Structure, June 1965, oil on canvas, signed and dated lower right, 122 x 81.3cm (48 x 32ins), additionally signed, titled and dated to reverse, framed (1)

£4000-6000

442* Glamour. Portrait of Ginger Rogers, c. 1930s, oil on canvas, signed ‘WELLS’ lower centre left, 76 x 47cm (30 x 18.5ins), old gilt and mirrored frame (some damage) With old auction code written in white chalk to verso, dated 16-9-46. (1) £700-1000

443* Goodwin (Robin, 1909-1997). Chelsea Set, 1950, oil on board, signed, 19.5 x 14.5cm (7 3/4 x 5 3/4ins), framed (1)

£200-300

Lot 443

162

Lot 441

163

446* Hampton (David, 20th century). Abstract, oil on board, signed, 21 x 34cm (8.25 x 13.25ins) (1)

£200-300

444* Hagg (Arthur T., b.1895). A summer village scene, oil on canvas, signed lower right, 43 x 53cm (17 x 21ins) Arthur Hagg studied at Norwich School of Art and at Westminster School of Art under Meninsky and Bayes. He exhibited at the Royal Academy, the Royal Institute of Painters in Watercolours, and the Royal Society of British Artists. (1) £150-200

447* Herkelman (Anton, 1910- ). Dutch river scene, oil on board, signed, 39 x 58cm (15.25 x 23ins), framed (1)

448* Humphery (Winifred O., 1895-1975). June Roses, oil on canvas, signed lower left, 35.5 x 40.5cm (14 x 16ins), framed, with handwritten title and address label to verso, and additional label for the Royal Academy Exhibition, 1950

445* Hamilton-George (Jean, 20th century). Tree-lined river, oil on canvas, signed, 92 x 61cm (36 x 24ins), framed (1)

£200-300

Winifred Humphrey (spelt Humphery) studied at the Charles Walter Simpson school of painting, and was a founder member of the St. Ives Society of Artists. She lived in Cheltenham for many years, and exhibited at the Royal Academy, the Walker Gallery, Liverpool and elsewhere. (1) £200-300

£200-300

164

449* Kampf (Arthur, 1864-1950). Manuela, 25.5.37., oil on canvas of a flamenco dancer, captioned & dated upper left and signed & dated lower right, relined, stretcher signed “Arthur Kampf, Berlin”, 75.5 x 61cm (29.75 x 24ins), gilt frame Arthur Kampf began his career in 1879, studying at the Dusseldorf Academy under Peter Jansenn. In 1899 he became Professor of the Berlin Academy of Art, and in 1904, his work was exhibited at the Palace of Fine Arts at the St. Louis World’s Fair. In 1933 he began creating propaganda art for the Nazi regime. (1) £500-800

Lot 449

450* Knight (Ernest, 1915-1995). Bishopstone, Sussex, oil on canvas, signed, 40 x 60cm (15 3/4 x 23 1/2ins), framed (1)

£100-150

451* Kruger (E., 20th c.). Summer trees and flowers by a lake edge, signed lower left ‘E. Kruger’? lower left, 29 x 39cm (11.5 x 15ins), framed (1)

165

£150-200

Lot 452 454* Mann (Brian, 20th c.). The Cathedral at Siena, c.1990, acrylic on board, signed by artist in lower right corner, 41 x 31cms (16 x 12 inches), mounted, framed and glazed

452* Langmaid (Rowland, 1897-1956). T. H. Vessels “Warden” & “Juno” (Light Vessel) off the Normandy Coast, 1944, oil on canvas, signed, titled and dated 1950 lower right, several canvas repairs, relined, 72 x 142cm (28.5 x 56ins), framed (1)

(1)

455* Marshall (Charles W., 20th c.). Landscape near Godshill, Isle of Wight, oil on canvas, signed, 49 x 59cm (19 1/4 x 23 1/4ins), framed

453* Longstaff (William Francis, 1879-1953). Windsor Castle from the Thames, oil on canvas, of Windsor Castle, with a boat on the River Thames, houses, and trees in the foreground, signed lower left, two areas of sl. damage, 63.5 x 76cm (25 x 30ins), framed (1)

£70-100

£500-800

(1)

£200-300

166

£100-150

456* Marshall (W., late 19th/early 20th c.). Summer landscape, oil on canvas (relined), signed and dated lower right, 24.5 x 35xm (9.5 x 13.75ins), framed (1)

459* Masefield (Eric, 20th/21st c.). Sandcastle, oil on canvas board, signed lower right, 29.5 x 39.5cm (11.5 x 15.5ins), framed (1)

£200-300

460* Masefield (Eric, 20th/21st c.). Landfall, oil on canvas board, signed lower right, 34.5 x 44.5cm (13.5 x 17.5ins), framed

457* Masefield (Eric, 20th/21st c.). Shrimping, oil on board, signed lower right, 35 x 45cm (13.75 x 17.5ins), framed (1)

(1)

£200-300

461* Masefield (Eric, 20th/21st c.). A Friendly Game, oil on board, signed lower right, 39.5 x 49.5cm (15.5 x 19.5ins), framed

458* Masefield (Eric, 20th/21st c.). The Beach from the Dunes, oil on canvas board, signed lower left, 29.5 x 39.5cm (11.5 x 15.5ins), framed (1)

£200-300

(1)

£200-300

167

£200-300

Lot 462

Lot 463

168

462* Mendoze (Robert, 1930-). Paysage au Grand Chene, oil on canvas, signed and dated ‘83, 28 x 47cm (11.5 x 18.5ins), framed (1)

464* Moreno (Mariano, 1912-). “Como Lake”, oil on canvas, of boating craft on the lake, and buildings and figures on the quay, signed lower right, 50.5 x 71cm (20 x 28ins), framed

£500-800

(1)

463* Methuen (Paul Ayshford, Lord, 1881-1974). The Mynte Gates, Corsham, oil on canvas, signed, 61 x 92cm (24 x 36ins), framed

£300-500

465* North Africa. Two portraits, early 20th c., one a head and shoulders profile of a bearded man with a turban, the other threequarter length profile of a bearded man with a rifle, both oil on board, signed ‘Morin’(?), both 30 x 14.5cm (12 x 6ins), framed and glazed

Lord Paul Ayshford Methuen RBA RA RWS (1881-1974) was born at Corsham Court in Wiltshire and studied art under Sir Charles Holmes and Walter Sickert. His first solo exhibition was held at the Warren Gallery, London, in 1928. Corsham Court remains in private ownership and is currently the residence of James Methuen-Campbell. (1) £300-400

(2)

Lot 464

169

£100-150

Lot 466

466* Olander (David, 20th c.). Summer Morning, 1985, oil on canvas, signed and dated, 51 x 61cm (20 x 24ins), framed (1)

467* Oldham (Frank, 20th c.). Girl in window seat, c. 1930, oil on board, signed ‘Oldham’ in block capitals lower right, 74 x 57cm (29 x 22.5ins), framed, with old typed label and insurance details to verso

£500-800

Like the well-known sisters Doris and Anna Zinkeisen, Frank Oldham worked for the Wills’ Tobacco Company, through Marden Son & Hall, Bristol, producing paintings that would be used for advertising cigarettes, show cards, etc. (1) £1000-1500

170

Lot 467

171

468* Ollivary (Annette, 1926-). “La Sieste”, oil on canvas, signed lower right, captioned to canvas verso, 24 x 32.5cm (9.5 x 12.75ins), printed paper exhibition label of Arthur Tooth & Sons Ltd. to verso, framed Annette Ollivary was born in Marseille. Her family owned a small farm on the Cote d’Or in Burgundy, where she spent her vacations as a child. She studied at the Academie Julian in Paris. (1) £200-300

469* Park (Stuart, 1862-1933). White and Red Roses, oil on canvas, signed lower right, 51 x 40.5cm (20 x 16ins), framed (1)

£700-1000

Lot 468

470* Phillips (Gerald, 20th c.). Gwithian Sands, Cornwall, 1986 and Carnyorth, Nr. St. Just, Cornwall, 1986, a pair, oil on canvas, signed lower left & lower right respectively, captioned & dated to each stretcher, 50.5 x 61cm (20 x 24ins), matching gilt frames (2)

£150-200

471* Pitchforth (Rowland Vivian, 1895-1982). Estuary with cormorants resting by the water, 1931, oil on canvas, (relined), signed & dated lower left, with James Bourlet & Sons of 17/18 Nassau Street, Mortimer Street, W London label to verso, 60 x 73.5cm (23.75 x 29ins), gilt frame Roland Pitchforth studied at Wakefield and Leeds Schools of Art and post WWI at the Royal College of Art. His first solo show was held in 1928 at the London Artists Association. Works by him are held in the Tate Gallery, Victoria & Albert Museum, and elsewhere. (1) £500-800

Lot 469

172

Lot 471

173

474* Steer (Philip Wilson, 1860-1942, attrib.). Study of a sleeping baby, oil on canvas, laid down on wood panel, 15 x 19.5cm (6 x 7.75ins), framed Provenance: From a private collection, Bath. (1)

£300-500

475* Steer (Philip Wilson, 1860-1942, attrib.). View of Greenwich, oil on wood panel, signed lower right, 13 x 23cm (5 x 9ins), framed Provenance: From a private collection, Bath. (1)

476* Steer (Philip Wilson, 1860-1942, attrib.). Nocturne by a river, oil on panel, unsigned, 18.5 x 25.5cm (7.25 x 10ins), framed

472* Shannon (Charles Haslewood, 1863-1937). Portrait of a young woman, oil on canvas, signed with initials, 33 x 22cm (13 x 8 3/4ins), framed and glazed (1)

Similar to known works by Steer, executed around 1894. (1)

£1000-1500

£300-400

477* Taylor (Roy Cecil, 1919-2000). Didma Valley, Drakensberg, oil on canvas, signed ‘Roy Taylor’ lower right, 22 x 30cm (8.5 x 12ins), framed, identified to verso

473* Skelton (Joseph Ratcliffe, fl. 1888-1927). Summer landscape with farmhouse seen through trees, oil on canvas, signed lower left, small portion of canvas missing to lower right corner, 50.5 x 61cm (20 x 24ins) (1)

£300-500

(1)

£100-150

174

£200-300

Lot 475

Lot 476

175

478* Titanic. White Star R.M.S. Titanic crossing the Atlantic at full steam, [April, 1912], near-contemporary oil on canvas, unsigned and undated, 75 x 62cm ( 29.5 x 24ins), framed A very evocative and skilful picture depicting the ill-fated liner heading out of a brilliant sunrise into the unknown across deep, dark waters. (1) ÂŁ4000-6000

176

Lot 479

Lot 480 480* Walker (Arthur George, 1861-1939). Autumn landscape, oil on board, signed, 58 x 48cm (23 x 19ins), framed

479* Van Biesbroeck (Jules Pierre, 1873-1965). Italian landscape with sunlit church and buildings, oil on board, signed, 32 x 22cm, framed, with early 20th century printed label for the Exposition Van Biesbroeck, Artiste Peintre Belge à Bordighera (Italie) to verso (1)

(1)

£300-400

£700-1000

481* Weintraub (Herbert, 20th c). New York tenements, acrylic on baord, signed, 25 x 35cm (9.75 x 13.75ins), framed and glazed Born and raised in the Bronx NYC, Weintraub studied at the School of Visual Arts in new York and has exhibited widely throughout the United States. (1) £1000-1500

Lot 481

177

Lot 483 482* White (Ethelbert, 1891-1972). Shipping on the River Thames, with Battersea Power Station, oil on canvas, 63 x 53cm (25 x 21ins), framed Ethelbert White studied at St. John’s Wood Art School under Leonard Walker, and exhibited with the London Group and at the New English Arts Club from 1916. His first solo exhibition was at the Paterson and Carfax Gallery in 1921. A friend of both Mark Gertler and C.R.W. Nevinson, he exhibited regularly at the Royal Academy and Royal Watercolour Society, and a Memorial Exhibition of his work was held at the Fine Art Society in 1979. Provenance: From a private collection, Bath. (1) £500-800

483* White (Ethelbert, 1891-1972). Walled harbour with boats and figures, oil on board, 58 x 70cm (23 x 27.5ins), framed Provenance: From a private collection, Bath. (1)

£500-800

484* Wolmark (Alfred Aaron, 1877-1961). Trees in sunlight, oil on canvas, signed lower left, inscribed to verso (presumably in the artist’s hand) ‘1st painted 1910. Finished re-painting 1939’, 51 x 41cm (20 x 16ins), framed Alfred Wolmark is recognised as one of the leading British post-impressionist painters of the first half of the twentieth century, and is known as one of the ‘Whitechapel Boys’, an influential group of modernist Jewish artists, which included Bernard Meninsky, Mark Gertler, Jacob Kramer and William Roberts. He is best known for his vibrant landscapes and still lifes. A major retrospective of his work was held at the Ben Uri Gallery in the Autumn of 2004, entitled Redisovering Wolmark: A Pioneer of British Modernism. (1) £1500-200

Lot 482

178

Lot 484

179

SELECTION HIGHLIGHTS TO BE OFFERED IN THE AUTUMN

Karsh (Yousuf, 1908-2002). 'The Roaring Lion', 1941, vintage silver print portrait of Sir Winston Churchill, double-signed on the mount by photographer and sitter, 22 x 17 cm, framed and glazed ÂŁ5,000-7,000

Further entries invited in all categories Please contact our specialist valuers for further advice

Einstein (Albert, 1879-1955). Head and shoulders portrait by F. Rizzi, Oxford, 1933, coloured chalks, signed and dated by the artist lower right and signed by Einstein in pencil lower left, 31.5 x 27.5 cm (12 x 11 ins) £500-800

Clarke (John, Missionary). Sentences in the Fernandian Tongue, pub. Jubilee Station, Bimbia, Western Africa, 1846, 116pp, small 8vo. The first English publication in the Cameroons, only one other copy recorded. £700-1,000

Aston Villa Football Club. Printed tour itinerary card for Aston Villa's first overseas tour, 21st May to 9th June 1926 £3,000-5,000

National Antarctic Expedition 1904. Printed Farewell Dinner Menu to the Captains and Officers of the 'Discovery' and 'Morning', Coker's Hotel, Christchurch, New Zealand, 3 June 1904, signed in pencil by 35 expedition members including Shackleton £2,000-3,000

Stereoscopic daguerreotype of a plaster medallion, c. 1850s £500-800

Boswell (James, 1740-1795). An Account of Corsica, the Journal of a Tour, 1st ed., Glasgow, 1768. One of several items of Johnsoniana from the Auchinleck Library £3,000-5,000

Stereoscopic ambrotype of a young woman, c. 1850s £500-800

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

7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded.

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

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

3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 17.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 20% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 17.5% 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 for which insurance the Auctioneer will charge a premium of £1.50 per £100. 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.

182

DOMINIC WINTER BOOK AUCTIONS 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 21st July 2011 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. 183

Notes ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________

Lot 175 • Back cover: Lot 478