Dominic Winter by Jamm Design Ltd

Fine Art & Antiques 5/6 FEBRUARY 2014

Dominic Winter SPECIALIST AUCTIONEERS & VALUERS

Lot 358 â&#x20AC;˘ Front Cover: Lot 137

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

BRITISH & CONTINENTAL PAINTINGS & WATERCOLOURS OLD MASTER & MODERN PRINTS Wednesday 5th February 2014 Lots 1-406 commencing at 11am Followed by

ANTIQUE FURNITURE & EFFECTS CHINESE JADE, SILVER, & CERAMICS Thursday 6th February 2014 Lots 407-725 commencing at 11am Viewing: Tuesday 4th February, 9am-7pm and morning of sales from 9am

Payments: For full details please refer to the information at the back of the catalogue. Please ensure that all commission bids reach us by 10am on the morning of sale. Telephone bids only accepted for lots with estimated value greater than £300 and should reach us by 9am on morning of sale Results will be posted on our website immediately after the sale.

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

Fax: 01285 862461 info@dominicwinter.co.uk

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

Daniel Giraud Elliot. Euplocomus Swinhoei [1870-1872]. Hand-coloured lithograph, one of a selection of fine bird prints by John Gould and other artists to be included in our Natural History & Sporting sale on Thursday 6th March

FORTHCOMING SALES IN 2014 Wednesday 5 March

Printed Books & Maps, Historical Documents

Thursday 6 March

Natural History Books, Sporting & Wildlife Art, Fossils & Minerals

Friday 7 March

The Country House Sale: Important Decorative Antiques & Fine Art

Wednesday 9 April

Printed Books & Maps, Vintage Photography

Thursday 10 April

Fine Illustrated Travel & Military History

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

CONTENTS DAY ONE Watercolours Sporting & Wildlife Art Old Master Drawings Old Master Prints Miniatures & Silhouettes Paintings The Hague School Oriental Art Etchings, Lithographs & Woodcuts Illustrations, Cartoons & Designs Modern Prints Sculpture Modern Watercolours & Drawings Modern Paintings

1-49 50-56 57-67 68-92 93-103 104-172 173-193 194-220 221-269 270-278 279-302 303-326 327-361 362-406

DAY TWO Ceramics & Glass Private Collection of Gaudy Welsh Pottery Collectables Oriental Works of Art, including Jade Silver & Gold Coins Furniture & Clocks

407-436 437-475 476-511 512-614 615-639 640-669 670-725

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

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

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

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

BRITISH & CONTINENTAL WATERCOLOURS To commence at 11am

Lot 2

1* Album. An album containing a collection of watercolours, pen & ink sketches, pencil drawings, and miscellaneous prints, mostly of British and continental views etc., early 19th century, comprising nine watercolours, five pen & ink views and seventeen pencil sketches (2 in crayon), including a watercolour view and four pencil sketches of Petworth Park, Sussex (including the pleasure grounds and shrubbery), two watercolours of Richmond, Yorkshire, watercolour of the Isle of Wight dated 1834, watercolour of Kelso Abbey with initials E.A.S. pencil profile of a donkey’s head signed Elizabeth Anne Scott, 1815, pencil sketch of Milan dated Oct 13, 1829, pencil sketch of Knole House, Kent by Lade Francis Fletcher, crayon study of a girl and boy walking along a country path, signed Lady Egremont, together with approximately seventy early 19th century engraved and etched British & continental views, including 9 uncoloured aquatints, 19 lithographs (6 of Torquay by George Rowe), 37 engravings & 5 etchings, all mounted on album leaves, image dimensions approximately 22 x 17cm (8.75 x 6.5ins) and smaller, disbound 4to (1)

£200-400

2* Aldridge (Frederick James, 1850-1933). Fishing Boat in choppy seas, watercolour, heightened with bodycolour, signed and indistinctly dated ‘21 lower right, 17.5 x 25cm (6.9 x 9.8ins), framed and glazed (1)

3* Allason (Thomas, early 19th century). Porta Aurea, Pola, Istria, 1852, pencil and watercolour on wove paper, titled and dated 31 July 1852 to lower right corner, mounted

£100-150

(1)

£200-300

5* Bowen (Owen, 1873-1967). Landscape with bridge, watercolour, showing a large stone bridge, with a cottage, trees and figures, signed lower left, 37 x 26.5cm (10.5 x 14.5ins), mounted, framed and glazed Owen Bowen was born in Leeds and studied at Leeds School of Art. He painted mostly in oils, typically landscapes with sheep and cattle, often set in Yorkshire. (1) £100-150

4* Barbizon School. Autumn landscape with thatched farmhouse, pastel on paper, some pale discolouration to edges, 120 x 172mm (4.75 x 7ins), mounted (1)

£70-100

6* Bushe (C.T.A., late 19th/early 20th century). Mediterranean marine landscape, watercolour, showing a harbour scene with children playing, lobster pots, figures, and lateen sails, with a town spread out on a hill behind, signed in red lower left, 19 x 35.5cm (7.5 x 14ins), mounted, framed and glazed (1)

£100-150

7* Cattermole (Charles, 1832-1900). “Storming the Castle”, watercolour, showing soldiers on foot and on horseback attacking a large stone fortress, signed lower left, 18 x 24cm (7 x 9.5ins), titled on gilt mount, moulded gilt frame, glazed, with old framer’s label ‘Thos. Agnew & Sons’ on verso (1)

£200-300

8* Clayton (Joseph Hughes, exh. 1890-1929). When the tide is out, Cemaes, Isle of Anglesey, watercolour, heightened with gouache, signed lower right, 29 x 49cm (11.5 x 19.25ins), mounted

Lot 5

(1)

£150-200

Lot 8 9* Cook (Samuel, 1806-1859). Harbour scene with shipping, and rustic building on a rocky outcrop to foreground, oval watercolour on paper, heightened with bodycolour, signed lower right, 440 x 315mm (17.25 x 12.4ins), period gilt frame, glazed (1)

£300-400

10* After Thomas Sidney Cooper (1803-1902). Horses and Fowl, watercolour, showing a bay horse and a dun pony in a farmyard with chickens and a wooden wheelbarrow, inscribed lower right ‘Thos. Sidney Cooper, From Nature, 185(?)’, 27.5 x 43cm (10.75 x 17ins), mounted, framed and glazed Apparently copied from a lithograph by Cooper, published as Plate 22 of Ackermann’s folio ‘Groups of Cattle, Drawn from Nature’ in 1839. (1) £200-300

Lot 9

Lot 11

Lot 12 11* Dudley (Arthur, “Giovanni Barbaro”, active c.1890-1907). Still life with oranges, watermelon, cherries, ceramic jug and foliage, watercolour on wove, signed lower right, 46 x 72cm (18 x 28.25ins), framed & glazed

12* Dudley (Arthur, “Giovanni Barbaro”, active c.1890-1907). Two still lifes of melons, peaches, grapes, jar and plate, watercolours on paper, signed lower right, 34 x 79cm (13.5 x 31ins) and 30.5 x 75cm (12 x 29.5ins), framed

(1)

(2)

£200-300

£150-200

14* Earp (Edwin, 1851-1945). Lakeland landscape with boats and fishermen, 1876, watercolour, signed and dated lower right, 23.5 x 58.5 (9.25 x 23ins), framed and glazed (1)

£100-150

15* English School. Indian landscape at dusk, with cattle and figures, c.1830s, watercolour, heightened with bodycolour, 19.2 x 24cm (7.5 x 9.5ins), contemp. gilt frame, glazed With handwritten inscription to verso: 'Believed to be painted by Mr. Edward Lear on his trip to India, c. 1870's given to me by my mother Mrs Mary Bailey, June 1948'. (1) £200-300

13* After Cornelis Dusart (1660-1704). The Cottagers, a 19th century watercolour copy after the famous painting by Dusart (or possibly the engraved version by William Woollett (published in 1765), heavily toned, some marginal marks and a few closed hairline tears, 44 x 36.5cm (17.25 x 13.5ins), black and gilt frame, glazed (1)

£150-200

Lot 14

18* English School. Three Continental views, early 19th century, together three watercolours, two depicting gothic architectural ruins, the third showing a mountainous landscape with river and castle, unsigned, but all in the same hand, 24.5 x 17cm (9.5 x 6.75ins), similarly framed, in gilt mounts and moulded gilt frames (3)

£100-150

16* English school. French beach scene with tower, c.1840, watercolour, heightened with bodycolour, showing peasants on a beach with sailing boats, an early fortified tower, and houses, monogrammed ‘CVB’ lower right, 34 x 44.5cm (13.5 x 17.5ins), framed and glazed (1)

£150-200

19* Fane (General Walter, 1828-1885). Amir Dost Mohammed Khan, 1857, watercolour on grey-green wove paper, signed and dated lower right, and titled to lower edge in brown ink, sheet size 293 x 222mm (11.5 x 8.75ins) Amir Dost Mohammed Khan (1793-1863) was ruler of Afghanistan from 1826 to 1839 and 1845 to 1863. The founder of the Barakzay dynasty, he maintained Afghan independence during the period of political struggles in the region between Great Britain and Russia. (1) £400-600

17* English school. Ladies gossiping over tea, late 19th century, watercolour on thick paper laid on board, showing a young lady listening to two older women talking, all seated in high-backed chairs at a round table and taking tea, with a folding screen behind and a framed landscape on the wall above a circular mirror, 34 x 26.5cm (13.5 x 10.5ins), mounted, framed and glazed (1)

20* Faulkner (Richard, 1917-). Coastal Landscapes in Northern Ireland, three watercolours on paper, each signed lower left, 18 x 26cm (7 x 10.5 ins), matching frames, glazed

£100-150

Richard Faulkner was a member of the Royal Ulster Academy. (3)

£150-200

21* Fielding (Anthony Vandyke Copley, 1787-1855). Italianate landscape, watercolour, showing a river plain with ruined castle on a promontory, with figures and a donkey in front and mountains behind, signed lower left, 9 x 13cm (3.5 x 5.25ins), mounted, framed and glazed (1)

£200-300

22* After Myles Birket Foster (1825-1899). Maiden Voyage, watercolour, showing four children gathered round a pond by a tree, launching toy sailing boats, with cottages and figures in the background, monogrammed ‘FB’ lower left, 23 x 36cm (9 x 14ins), gilt mount and gilt moulded period frame, glazed (1)

£150-200

23* Glennie (Arthur, R.W.S., 1803-1890). An album containing twelve continental landscapes and scenes, watercolour on wove, each mounted on card, some signed and few dated, many captioned in pencil including views of Moselle, Menton, Sebenico, Pisa, near Piolene, Fiume port, Sorrento and Paestum, 13 x 20.5cm (5 x 8ins) and smaller, together with a miscellaneous collection of approx. twenty-five 18th/19th century etched and engraved views and scenes, many continental, contained in contemporary morocco portfolio (a portfolio)

£700-1000

Lot 23

Lot 24

24* Goff (Colonel Robert Charles, 1837-1922). The Thames, watercolour, showing a busy scene of cargo ships unloading into lighters, with other river vessels, winches, and figures, initialled lower left, 36.5 x 55.5cm (14.5 x 22ins), mounted, framed and glazed Robert Charles Goff was a printmaker and painter who specialised in topographical scenes and was strongly influenced by the work of James McNeill Whistler. Born in Ireland, he became a soldier at the age of eighteen. Having achieved the rank of colonel, he retired from the Coldstream Guards in 1878 to concentrate on painting. He exhibited widely, at the Royal Academy and other major instutions, and he was elected Fellow of the Royal Society of Painter-Etchers and Engravers in 1887. Goff had homes in London and Brighton, and a large collection of his work is held at Brighton and Hove Museum and Art Gallery. (1) ÂŁ300-400

25* Harrison (D., 19th century). Still life with birds nest and posy of flowers against a mossy bank, 1886, watercolour on laid, heightened with bodycolour, signed and dated lower left, gilt moulded frame, glazed ()

ÂŁ80-120

Lot 25

27* Italy. View of the Bay of Naples, with Vesuvius beyond, early 19th century, watercolour, heightened with bodycolour, some toning and fading to upper portion, 228 x 315mm (9 x 12.2ins), framed and glazed (1)

£150-200

28* King (H.B., fl.1874-1875). “Evening Study at Coltishall, Norfolk”, 1874, watercolour, landscape with river, row of buildings, a boat, figure, and cattle, titled, signed, and dated lower right, mounted, framed and glazed, back board with early ms. label giving title, price, artist, and address, and old framer’s label Little is known about the artist except that he lived in Horstead, Coltishall, Norwich, and that he exhibited a watercolour of the Mosque of Kait Bey, Cairo, at the Society of British Artists, Suffolk Street, 1874-75. (1) £200-300

26* Italy. An early 19th century album of sixty original watercolours and drawings of Italian costume, c. 1830, containing forty-four watercolours and sixteen pencil drawings, depicting Italian regional costume, rustic and picturesque groups and subjects, etc., mostly on wove paper, many initialled J.E.H. (one signed H.M. Harvey and dated 1833), many captioned in pencil (Costume di Sonnino, Vescovo di Saragosa Costume delle vicinanze di Roma, Costumi di Tivoli, Brigante della vicinanze di Napoli, Scopatore Segreto), some vignette studies of heads, one or two watercolour landscapes, etc., various sizes (from whole sheet to small vignettes), mainly 22 x 17cm (8.75 x 6.75ins), or similar, mostly corner-mounted with some loose, all contained in original gilt decorated vellum album, oblong 4to (22.5 x 30cm, 8.8 x 11.75ins) (1)

£200-300

29* Lewis (A., 19th century). Interior scene depicting the various arts, with upright piano, violin, artist palette & brushes, classical bust, pictures & portraits, 1909, watercolour on laid paper, signed and dated 22.4.1909, short closed tear to right hand edge, 55 x 38.5cm (21.5 x 15.25ins), gilt moulded and pierced frame, glazed (1)

£100-150

Lot 30

30* Lloyd (Walter Stuart, 1845-1959). River landscape with the Bridge Inn, c. 1900-10, watercolour, heightened with bodycolour, signed lower left, 48.5 x 74cm (19 x 29ins), modern gilt frame, glazed (1)

£150-200

31* Marine School. Armed merchantman at sea with an island on the horizon, early/mid 19th century, watercolour on paper, mounted on card, showing a three-masted single deck frigate flying a red ensign, 21 x 41.5cm (8.25 x 16.5ins), framed and glazed (1)

£150-200

32* Marks (Henry Stacy, 1829-1898). Female figure with a basket, 1887, pencil and watercolour, showing a robe-clad woman with bare feet carrying a basket under one arm, signed and dated lower right, 8 x 8cm (3.25 x 3.25ins), mounted, framed and glazed, together with an autograph letter signed from the artist to William Stephen Coleman, written on 2pp. of a folded sheet of headed notepaper, dated February 2nd 1871, saying ‘I send you the design I have made which I think would come out pretty well’, asking for any suggestions, and adding ‘Background gold - and all the colours light and delicate is my scheme’, two short closed tears Artist William Stephen Coleman (1829-1904) was Art Director at Minton’s Art Pottery Studio from 1869 to 1873, and Henry Stacy Marks supplied him with many ceramic designs. Among Minton’s other famous freelance designers were Christopher Dresser and John Moyr Smith. (2) £100-150

Lot 32

33* Maxence (Edgard, 1871-1954). Reflection, watercolour and gouache on silk, showing a young lady in orders, wearing a white cap and black and red robes, holding a prayerbook, 37 x 19cm (14.5 x 7.5ins), arched gilt frame, glazed, with old dealer’s label on verso ‘A. Bigot, Bourges’ (1)

£2000-4000

35* Neoclassical School. Female figures and children within a neoclassical tableau scene, early 19th century, watercolour on wove, heightened with bodycolour, 26 x 35cm (10.25 x 13.75ins), gilt moulded frame, glazed (1)

£200-300

36* Oeder (Georg, 1846-1931). French mountain church, 1861, watercolour, showing a church with a tower and the Cross of Lorraine, signed and dated lower right, 19 x 27cm (7.5 x 10.5ins), mounted, framed and glazed Georg Oeder was born in Alsace-Lorraine and died in Germany; this is evidently one of his early French works. Much of his work held in German museums was apparently destroyed by bombing during the Second World War. (1) £150-200

34* Attributed to John Everett Millais (1829-1896). “A Haven of Rest”, pen ink and wash on laid paper, depicting a mother cradling her infant child, unsigned, 12.2 x 10cm (4.75 x 4ins), framed & glazed (1)

£200-300

Lot 35

Lot 37 38* Payne (William, 1755/60-c.1830). “Marine Hospital, Plymouth”, watercolour, showing figures and a covered waggon in a rocky landscape with buildings in the distance, signed lower left, some blemishes and foxing, attributed and titled in early ms. below image, 16.5 x 22.5cm (6.5 x 8.75ins), mounted, framed and glazed

37* Payne (William, 1755/60-c.1830). The Ferry to Caernarvon Castle on the River Seiont, fine large-scale watercolour on laid paper, 46 x 69cm (18 x 27.25ins) mount aperture, gilt frame, glazed, with old auction stencil to verso 614XB, also marked in chalk ‘89 2-3-76’ (1)

£1800-2200

(1)

£200-300

39* Manner of Nicholas Pocock (1740-1821), Coastal Scene with fishermen and sailors at the base of a cliff, pen & ink with grey and blue wash on paper watermarked Whatman 1818, some damp marking to upper edge, laid on card, 30.5 x 46 cms (12 x 18 inches)

Lot 38

(1)

£150-200

40* Pomardi (Simone, 1760-1830). Veduta dellâ&#x20AC;&#x2122;Arco di Settimio Severo, e del Tempio della Concordia, 1816, fine watercolour over an aquatint base, with black and white ruled border and grey wash outer border, mounted on laid paper, some marks and a little creasing to extrems., four small mounting holes to extreme corners, image size 315 x 435mm (12.5 x 17.1ins), sheet size 385 x 507mm (15.2 x 20ins) (1)

ÂŁ1500-2000

42* After Sanzio Raphael (1482-1520). Madonna and Child, mid 19th century, watercolour, showing head and shoulders portrait of the Madonna and Child, after Raphael’s Sistine Madonna, 45.5 x 35cm (18 x 13.75ins), framed and glazed, ms. inscription on verso ‘painted by Lady Needham, Gt. Grandmother to D.J.E. Odell’ Provenance: according to information supplied by the current owner, this work was formerly in the collection of the Earl of Kilmorey. (1) £150-200

41* Powell (J. & Sons). Design for a stained glass window for the Church of St. James, Cranham, Gloucestershire, c.1900, pen, in, and watercolour on thick paper, of the Annunciation, together with Design for a stained glass window for the Church of St. John the Baptist, Findon, Near Worthing, c.1903, pen, ink, and watercolour, on thick paper, depicting St. John the Baptist, size of design 15 x 3.5cm (6 x 1.25ins), sheet size 25.5 x 15.5cm (10 x 6ins), gilt mount (2)

£200-300

43* Richardson (Thomas Miles, 1813-1890). Loch Morloch, Aberdeenshire, 1884, fine pen ink and monochrome wash on paper, signed with monogram lower left, and dated lower right, 123 x 168mm (4.8 x 6.6ins), period frame, glazed (1)

£150-200

46* Trotman (Egbert W., late 19th century). Seascape with jetty, sailing boats and figures, 1893, watercolour, signed and dated lower right, 14.5 x 34.5cm (5.75 x 13.5ins), mounted, framed and glazed (1)

£80-120

44* Rowe (George James, d.1893). Figues below castle ramparts on the banks of a river, black & white chalk on blue wove paper, monogram lower right, 26.5 x 21.5cm (10.5 x 8.5ins), framed & glazed (1)

£150-200

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

45* Scott (William Bell, 1811-1890). Loch Ard, West Highlands, watercolour over pencil, titled and initialled to verso, 19.5 x 31cm (7.75 x 12.25ins), framed and glazed (1)

£200-300

£70-100

48* Watson (John Dawson, 1832-1892). Cottage scene with young peasant woman, gouache, showing a seated young woman peeling turnips and carrots, with a pitcher on a low stool beside her, signed lower right, 32.5 x 23cm (12.75 x 9ins), mounted, framed and glazed John Dawson Watson showed early artistic promise, and at the age of fifteen he became a student at the Manchester School of Art, subsequently studying at the Royal Academy.In 1856 he came to the notice of Ford Madox Brown, who invited him to exhibit at his house in London. Watson was elected an associate of the Society of Painters in Watercolours in 1864, and a member in 1869. He won several medals for his work, designed theatre costumes, illustrated a number of books, and designed the furniture and decorations for the house of his brother-in-law, Birket Foster. Between 1859 and 1892 he contributed 372 works to London exhibitions. (1) ÂŁ500-800

49* Woodlock (David, 1842-1929). Cottage scene with figures, watercolour, showing a young man with two lurchers courting a young girl at the window of a timbered thatched cottage with a profusion of flowers outside, signed lower left, 49 x 34cm (19.25 x 13.35ins), mounted, framed and glazed David Woodlock was born in Ireland, but is better known as a Liverpool artist. He studied at the Liverpool School of Art and exhibited many works at the Walker Gallery. He was a member of the Liverpool Academy of Arts and a founder member of the Liverpool Sketching Club. Woodlock exhibited widely, including seventeen works at the Royal Academy. He specialised in country cottage and garden scenes, using a distinctive technique of applying the paints onto wet paper, giving a softened outline to the image. A particularly fine example of this artistâ&#x20AC;&#x2122;s work. (1) ÂŁ800-1200

SPORTING & WILDLIFE ART 50* Cooper (Thomas George, 1836-1901). Lion in the grass, watercolour, signed lower right, 41 x 27.5cm (16 x 10.75ins), mounted, framed and glazed (1)

£500-800

51* English school. Study of Brown Trout, c.1860, oil on canvas, indistincly signed to lower left, C.Westhall?, 37 x 55cms (14.5 x 21.5 inches), near contemp. gilt gesso frame (1)

£300-500

52* Attributed to Arthur Jackson (active 1885-1910). A pair of paintings of poultry, oil on wooden board, each depicting chickens and a cockerel in a barn, 17 x 22cm (7 x 8.75ins), framed, with wooden plaque on frames lettered ‘A. Jackson’

Lot 50

(2)

Lot 51

£200-300

53* Kirmse (Persis, 1884-1955). Portrait of a Scottish Terrier and a West Highland Terrier, oil on canvas, showing the two dogs in a landscape, signed lower right, relined, 23 x 18cm (9 x 7.25ins), framed Persis Kirmse was a British painter and etcher noted particularly for her images of dogs and cats. She worked mainly in oils and pastels, and was commissioned by European aristocracy to paint portraits of their pets. Her artwork was often used for calendars and postcards, and she wrote several books for children using her own illustrations, as well as illustrating works by other authors. Her sister, Marguerite Kirmse (1885-1954), was also an artist, and she became acclaimed for her etchings of dogs. (1) ÂŁ150-200

54* Mearns (A., fl.1855-1864). Spaniels in a landscape, oil on canvas, showing two spaniels flushing ducks from a rocky river, indistinctly signed lower left, 31.5 x 52cm (12.5 x 20.5ins), framed and glazed Particularly known for his paintings of dogs, Mearns came from Kent and exhibited four paintings at the British Institution between 1855 and 1864. (1) ÂŁ1000-1500

Lot 53

Lot 54

OLD MASTER DRAWINGS

55* Miller (G.W., 19th century). Portrait of a springer spaniel, 1844, oil on canvas, head and shoulders portrait of a liver and white springer spaniel, signed and dated lower right, relined, 33 x 38cm (13 x 15ins), framed (1)

57* Buffagnoti (Carlo Antonio, c.1660-c.1720 ). Capriccio landscape with ruins, pen and brown ink on laid paper, with old ownership inscription to verso ‘21:13:4’, signed to lower edge, 183 x 242mm (7.3 x 9.5ins), mounted on card, with gold border and manuscript name plaque

£200-300

(1)

56* Naive School. Horse and dog in a landscape, late 19th century, oil on canvas, signed lower left ‘Tax’, 51 x 61cm (20 x 24ins), framed Possibly by the Danish artist P.T. Tax. (1)

£200-400

58* Continental School. Tavern scene, early 18th century, pen and brown ink drawing on paper, with brown wash, some marks and surface wear, 16 x 22cm (6.25 x 8.75ins), framed and glazed

£100-150

(1)

£150-200

59* Cruikshank (George, 1792-1878). “The Man of Fashion out Snipe Shooting amongst the Wilds of Conamara”, pencil with watercolour on paper, showing two gentlemen with guns and a dog, and two small defiant birds, titled in pencil to upper margin, signed in ink lower right, some light soiling and three folds, 11 x 18cm (4.25 x 7ins), mounted, framed and glazed (1)

£150-200

Lot 61

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

£200-300

61* English school. Mother, children and cat, early 19th c., pen, ink and sepia wash on wove paper, 40.5 x 32.5cm (16 x 12.75ins), framed and glazed (1)

62* After William Holman Hunt (1827-1910). The Finding of the Saviour in the Temple, pen & ink, showing a Middle Eastern interior with an assembly of religious teachers and Mary embracing the child Christ, with Joseph looking on, 28 x 47cm (11 x 18.5ins), mounted, framed and glazed

£150-200

A competent drawing after Holman Hunt’s major figure subject begun on his first visit to Jerusalem in 1854. He completed the work in 1860 and it is now held at Birmingham Museum and Art Gallery. The painting was a great success, with two engravings produced in 1867 and 1893. A smaller version of the same subject is in the collection of the National Museums of Liverpool. (1) £150-200

63* Italian School. Seated female figure, probably 16th c., pen and brown ink on laid paper, upper right blank corner replaced, some discreet archival restoration to margins, small pin hole to left shoulder of figure, sheet size 192 x 152mm (7.5 x 6ins), tipped on to backing card (1)

ÂŁ700-1000

64* Italian School. Madonna and Child, pen, brown ink and brown wash on laid paper, sheet size 205 x 147mm (8 x 5.8ins), framed and glazed (1)

£150-200

65* Paterson (Caroline & Helen, 19th century). A scrap album of twenty-two drawings, compiled by Emily Paterson, c. 1870s, including an accomplished pencil drawing of two young boys and a small girl, signed 'C[aroline] Paterson', 13.5 x 9.5 cm (5.25 x 3.75 ins), another of a full-length seated woman in profile signed 'H[elen] P[aterson Allingham], 17 x 11 cm (6.75 x 4.25 ins), most other illustrations pen and ink or watercolour and small format, of figures, natural history, views, etc., two signed Alfred Paterson (1875/1876), Marion Paterson (verse with decorative border, 1875), a small silhouette group initialled monogram L.P., most others unidentified, plus one page of 'Stanzas to Helen [Paterson?]', signed Helen Drew Braysher at foot, several leaves det. and some excised and now absent, contemp. embossed morocco gilt, covers det and backstrip deficient, 4to

Lot 65

The illustrator and watercolour artist Helen Mary Elizabeth Allingham, nee Paterson (1848-1926) was the eldest of seven children. Her younger sister, Caroline Paterson, also became a noted artist. In 1874 Helen married the Irish poet and editor William Allingham. (1) £500-800

66* Attributed to Jan Van den Burgh (1587/88-c.1650). Male seated nude with staff, red chalk on laid paper, with watermark of a circle of three balls surmounted by a crown, inscribed in an old hand to verso G. Del Burgo, sheet size 343 x 263mm (13.5 x 10.6ins), some light soiling, corner mounted with tabs to top margin (1)

Lot 67

£300-500

67* Watson (John Dawson, 1832-1892). The Scullery Maid at Work, charcoal on paper, signed in initials lower left, 31.5 x 44cm (12.25 x 17.25ins), framed and glazed (1)

£70-100

Lot 66

OLD MASTER PRINTS

68* Artists. A collection of twenty-one engravings, originally published in ‘Het Gulden Cabinet....’, pub. Antwerp, [1662], uncoloured engraved portraits of artists including examples by De Jode, Waumans, Hollar and Pontius, some damp staining and slight worming to margins, each approx. 18.5 x 13.5cms (7.25 x 5.25) inches (21)

Lot 69

£100-150

69* After William Blake (1757 -1827). Christ or Michael trampling upon Satan, c. 1806-08, copper engraving by Thomas Butts on laid paper, after the original drawing by William Blake (National Museum of Wales, Cardiff), 20th century printing (from the original plate), plate size 24 x 13.5cm (9.5 x 5.25ins), framed and glazed (1)

£70-100

70* Boissieu (Jean-Jacques de, 1736-1810). The Temple of Vesta, 1774, etching on laid paper, 28 x 38cm (11 x 15ins) mount aperture, with title indistinctly inscribed in an early hand in ink to lower margin, framed and glazed (1)

£100-150

Lot 70

Lot 71

71* Bristol. South East View of Redcliffe Church, Bristol, early 19th century colour printed view in oil on canvas, manufactured by John Hare and Co. of Bristol, 55.5 x 73.5cm (22 x 29ins), framed An unusual example of printing in oil on canvas, by the Bristol floor cloth and colour manufacturers John Hare and Co., based near Temple Meads. This work is illustrated in James Ayles, Domestic Interiors: The British Tradition 1500-1850, 2nd ed., 2003, page 98. (1) £150-200

72* Callot (Jacques, 1592-1635). Entrée des Sieurs de Vroncourt, Tyllom et Marimont, c.1627, uncoloured etching showing two floats in the shape of monstrous dolphins, on the smaller dolphin sits a man playing a lute and three men in classical armour stand on the back of the larger, 15 x 22.5cms (6 x 9 inches), published in Humbert’s ‘Le Combat à la Barrière’, together with two small etched plates from a manual of Sword fighting techniques, two small portraits, two etchings of the crucifixion, five etchings of lanscapes from a drawing book and two genre scenes, various sizes and condition (13)

Lot 72

£150-200

Lot 74

73* Claude (Le Lorrain, 1600-1682). L'Enlèvament d'Europe (The Rape of Europa), [1634 or later], uncoloured etching on laid, tipped on to later paper and mounted on an album page, 19.5 x 26 cms (7.5 x 10.25 inches), with anther approx. fifteen etchings by Claude Lorrain, with other works by Van Gent, Wyck, Hollar, Rysdale, Van de Velde, Barriere, Durer, Van Leyden, Ramondi, and Rembrandt van Rijn, together with others similar, contained in two large albums, partially excised, 19th century gilt morocco, worn at extrems.,folioThe first described item. Mannocci. The Etchings of Claude Lorrain, no.14 (p.105). (2)

£400-600

74* Danby (Francis). Opening of the Sixth Seal [and] Passage through the Red Sea, pub. M.Colnaghi, 1830, together two mezzotints by G.H.Phillips after Francis Danby,both proof before titles, some surface marks and water staining, one in a worn contemporary gilt gesso frame, one partially laid on later card, plate size approx. 60 x 76 cm (23.5 x 30 inches) (2)

Lot 73

£200-400

Lot 75

75* Debucourt (Philibert-Louis, 1755-1832). Minet aux aguets, colour-printed mixed method engraving on thick wove paper, with engraved title below image, some marks and soiling to margins, with a little damage, sheet size 39 x 43cm (15.5 x 17ins), framed and glazed (1)

ÂŁ150-200

76* Potter (Paulus, 1625-1654). Les Vaches, 1643 [or later], uncoloured etching, tipped on to later card, 18 x 26.5cms (7 x 10.25 ins), together with others similar including examples by Visscher, Bella, Berghem, Potter, GuĂŠlard, and Van Keffel, mostly 17th and 18th century, various sizes and condition (approx.30)

ÂŁ200-300

Lot 76

Lot 77

79* Galle (Philip, 1537-1612). Samson smiting the Philistines with the jawbone of an ass, c. 1560s, circular copper engraving on laid paper by Philip Galle after Maarten van Heemskerck, published by Theodore Galle, trimmed to margins, 267mm (10.5ins) diameter, mounted

77* Durer (Albrecht). La Passione di N. S. Giesu Christo d’Alberto Durero di Norimberga, Sposta in ottava rima dal R. P. D. Mauritio Moro, Venice, Appresso Daniel Bissuccio, 1612, woodcut headpieces, initials, etc., thirty-seven single-page woodcuts, with printed text to verso, together with eighteen various old master engravings, all laid down on blank leaves at rear of vol., including an early copy after Lucas van Leyden, The Musicians, 1524 (in reverse), a woodcut by Altdorfer showing Joshua and Caleb carrying fruit of the Promised Land, an unidentified engraving of the Virgin & Child in a niche, an engraving of St. Francis after B. Spranger, an engraved copy after Durer’s St. Christopher, an unidentified engraved Holy Family, an engraving of the Virgin and Child after Guido Reni, an engraved Virgin and Child after Annibale Carracci, an engraved copy after Durer of a Virgin and Child, 1520, several miniature engravings, including Phillippe Cordier, Philippe Daubigny, etc., bound in contemporary vellum, rubbed and some soiling and discolouration, small 4to (20 x 14cm) (1)

(1)

£100-150

80* Goltzius (Hendrik, 1558-1617). The Wives of the Patriarchs, c.1597, uncoloured engraving attributed to Jacob Matham, of Sara wife of Abraham, two lines of verse by C.Schonaeus below image, 22 x 16cms (8.5 x 6.25 inches), mounted, together with, Van Ostade (Adrian, 1610 - 1685), Men reading by Candlelight, uncoloured etching, 240 x 190mm, mounted, with Muller (Herman Jansz), Birth of Pharez & Zarah, c.1566, uncoloured engraving after Maerten Van Heemskerck, some marginal closed tears not affecting image, 210 x 255, plus Sadeler (Jan 1550 - 1600), Pigs in front of the Walls of the City, uncoloured engraving after Petrus Stephani, trimmed to image, 22 x 26.5cms (8.75 x 10.75 inches), mounted, together with another fifteen old master engravings and etchings including examples by Giovanni Battista Franco, Johan Sadler, Marco Sadeler and F.E.Weirotter, various sizes and condition

£4000-6000

78* No lot

(18)

£400-600

81* Goudt (Hendrick, 1582/88-1630/48). Tobias and the Angel (after Adam Elsheimer), 1608, copper engraving on laid paper, with short margins, some marks and marginal soiling, one or two minor repaired marginal tears, corners restrengthened to left hand margin to versos, plate size 134 x 191mm (5.25 x 7.5ins), sheet size 140 x 195mm (5.5 x 7.7ins) (1)

Lot 80

£200-300

Lot 82 36

Lot 83 82 Goya (Francisco de, 1746-1828). Los Desastres de la Guerra. Coleccion de ochenta laminas inventadas y grabadas al agua-fuerte, Publicala la Real Academia de Bellas Artes de San Fernando, Madrid, 1903, printed titlepage and eighty etchings with burnished aquatint, drypoint and engraving, one detached, each with caption below, some light marginal toning, plate size generally 160 x 250mm (6.25 x 9.9ins), sheet size 238 x 325mm (9.4 x 12.75ins), front endpaper excised, contemporary plain cloth-backed boards, rubbed and some edgewear, oblong folio Harris 121-200. Provenance: Lisa & Leonard Baskin, 1970 (manuscript owner inscription to rear pastedown). The third edition of 100 copies (the first edition itself published posthumously in 1863) of Goya’s graphic depictions of war, largely based on his visual experiences during the Peninsular War of 1808-14 and the famine in Madrid of 1811-12. The original copperplates were completed around 1820, but never issued by Goya himself, possibly because of the fear of commercial failure as well as political repression. The original plates were sold to the Academia de San Fernando, following the death of Goya’s son Javier in 1854. (1) £4000-6000

83* Hollar (Wenceslaus, 1607-1677). View of Coburg, c. 1657, etching on laid paper, first state (of 2), with the two figures to left foreground, image size 155 x 495mm (6 x 19.5ins), plate size 163 x 505mm (6.4 x 19.9ins), with margins, some mount staining and minor marks

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

Pennington 821 (Views of Ansbach and Coburg). The two parts of this print are sometimes found separately, as here. The Coburg view appears thus in Jansson’s Orbium totius Germaniae Super ... tabulae, published in Amsterdam, 1657. Provenance: Possibly from the collection of A. E. Popham, with his name and first line of address, 3 Caroline Place, in pencil to upper blank margin, together with instructions in pencil for framing. (1) £200-300

£200-300

86* Marlow (William, 1740-1813). Views in Italy, 1795, a set of six etchings by William Marlow, published February 10, 1795 by J. Curtis, Twickenham, Middlesex, six various views, including four different scenes, entitled A View near Naples, the remaining two entitled A View of Florence, and The Port of Civita Vecchia, some minor marginal marks and corner stains, plate 125 x 187mm (5 x 7.3ins), sheet size 158 x 225mm (6.25 x 9ins) The landscape painter William Marlow undertook a grand tour of France and Italy between 1765 and 1766, at which time he is likely to have come under the influence of Sir William Hamilton, the celebrated antiquary and ambassador to Naples, and author of the famous Campi Phlegraei (1776). See M.J.H. Liversidge, Six Etchings by William Marlow, Burlington Magazine, cxxii (1980), pp. 549-53. (6) £400-600

85* Lory (Gabriel the younger, 1784-1846). Swiss costumes, c.1823, a pair of aquatints with bright contemporary gouache colouring, each approx. 22 x 16cms (8.5 x 6.25 inches), mounted, together with another five engraved and litho. costume plates, various sizes and condition

87* Merian (Matthaus, 1593-1650). The Four Seasons, 1622, a set of four etchings on laid paper, with indistinct watermark, some minor marks and old restrengthening to versos, one or two short closed marginal tears, plate size 143 x 183mm (5.7 x 7.3ins), sheet size 178 x 240mm (7 x 9.5ins)

The two Swiss costume portraits show a girl in summer and winter dress. (8) £150-200

(4)

£200-300

88* Pasqualini (Giovanni Battista, 1585-c.1635). The Virgin feeding the Child, 1621, copper engraving on laid paper after Guercino, lower margin with eng. dedication to Zaccaria Pasquanalini by the engraver “Io Bapta Centen DD. F Centens Inv. Romae Superior licena, 1621”, close-trimmed to border, 290 x 217mm, tipped onto later sheet at edges with pen & ink ruled border, framed & glazed (1)

£70-100

89* Rubens (Peter Paul, 1577-1640). A collection of twelve engravings by Jean Marc Nattier and others, c.1740, eleven large uncoloured engravings of classical scenes from the ‘Marie de Medici Cycle’, each approx. 49.5 x 33.5cms (19.5 x 13 ins, mounted, with Bolswert (Schelte à), Bucolic Flemish Landscape, [1640 or later], uncoloured etching after Peter Raul Rubens, slight spotting, 32 x 45.5cms (12.5 x 18 ins) (12)

£150-200

Lot 86 90* Tempesta (Antonio, 1555-1630). Aetas Aenea (The Golden Age), etching on laid paper, with indistinct watermark, thread margins restrengthened, sheet size 228 x 335mm (9 x 13.2ins) (1)

£150-200

Lot 91

Lot 89

Lot 90

92* Worlidge (Thomas, 1700-1766). The Select Works of Thos. Worlidge, Containing Fifty Etchings of Portraits, Fancy Heads and Miscellaneous Subjects, pub. C.G.Dyer, 1823, calligraphic title, etched portrait frontis. and fifty (complete) uncoloured etched plts., contemp. half sheep with publishers printed label to upper board, rubbed and worn, 4to, together with approx. 110 further etched portraits by Worlidge, some duplicates, various sizes and condition

91* Waltner (Charles-Albert, 1846-1925). Harmony, after Frank Dicksee, 1880, etching on wove paper printed by A. Salmon & Ardall, Paris, published by Thomas Agnew & Sons, February 20 1880, plate size 42 x 23.5cm (16.5 x 9.25ins), with wide margins, some light scattered spotting, mostly to wide blank margins, period oak and gilt frame, glazed (1)

ÂŁ70-100

(approx.110)

ÂŁ100-150

MINIATURES & SILHOUETTES

Lot 95

93* English School. Head and shoulders portrait of a church man, late 17th century pastel portrait on laid paper, 285 x 235mm (11.25 x 9.25ins), mounted, together with another 17th century pastel male portrait on paper, some surface soiling and light fading, upper right corner replaced, relined, 250 x 177mm (9.8 x 7ins), tipped onto backing paper (2)

£200-300

94* Miniature. Regency portrait miniature of a young lady, English, early 19th c., watercolour on thin ivory mounted on card, half length portrait of a young lady with curled fringe wearing a white gown and pearl necklace, and holding an open book, two vertical hairline cracks, 8.5 x 7cm (3.25 x 2.75ins), framed and glazed (1)

£100-150

95* Miniature. Portrait miniature of a young male scholar, by Jeremiah Freeman, early 19th c., watercolour on card, half length profile portrait of a young man wearing a mortarboard, image size 11 x 6.5cm (4.5 x 2.5ins), sheet size 19 x 17cm (7.5 x 6.5ins), framed and glazed, with engraved advertisement mounted on backboard ‘Freeman, Carver, Gilder & Looking Glass, Manufacturer... London & Swan Lane, Norwich’ (1)

£100-150

96* Miniatures. A mid nineteenth century portrait miniature of Napoleon, half-length oval portrait miniature hand-painted on ivory, signed ‘Bach’ lower right, 6 x 5cm (2.25 x 2ins), in recessed ivory frame with ebony border, glazed, together with a head and shoulders portrait miniature of Napoleon hand-painted on porcelain, after ‘The Emperor Napoleon in His Study at the Tuileries’ by David (1812), 8.5 x 6cm (3.25 x 2.5ins), set into a verre eglomise mount, overall size 15 x 15cm (6 x 6ins), framed (2)

Lot 96

£150-200

97* Miniatures. Death of Napoleon commemorative medal, by F. Depaulis, 1840, silver gilt medallion, recto showing the laureate head of the deceased Napoleon resting on a cushion, inscribed above ‘Sainte Helene V Mai MDCCCXXI’, and below ‘Je desire que mes cendres reposent sur les bords de la Seine, au milieu de ce peuple francais que j’ai tant aime’, verso with a side-wheel steam ship carrying a coffin passing underneath a triumphal archway, inscribed above ‘S.A.R. le Prince de Joinville commandment de l’exposition’ and below ‘Passage a Rouen des restes mortels de l’Empereur Napoleon le X Decembre MDCCCXL’, diameter 63mm (2.5ins), mounted on velvet in a period ebonsied frame, glazed, together with a 19th century oval miniature bronze relief portrait of Napoleon, a reduced copy after the head and shoulders bronze profile by J.-F. Antoine Bovy (1795-1877), without his signature, but with the name ‘David’ engraved to right-hand margin, 60 x 50mm (2.25 x 2ins), mounted on velvet, gilt frame, glazed (2)

99* Miniature. A portrait miniature of a lady, by John Dixon (d.1721), half-length oval portrait miniature hand-painted on ivory, of a lady in a white muslin dress and bonnet, and a yellow shawl, 8.5 x 6.5cm (3.25 x 2.5ins), glazed ebonised frame, with portion of engraved advertisement inserted in verso for miniature painter John Dixon, Cheltenham, inscribed in contemp. ms. on verso ‘Miss Blake [on Sunday Morning?]’ (1)

£150-200

100* Miniature. A wax relief portrait miniature of Edmund Burke (1729-1797), by Thomas R. Poole (fl.1791-1821), pink wax, signature of artist etched into wax, 11 x 9.5cm (4.25 x 3.75ins), oval wooden frame, glazed, with engraved advertisement label on verso ‘Modelled from Life By T.R. Poole, Portrait Modeller, to his Royal Highness the Prince of Wales’, together with A wax relief portrait of a gentleman, by Alfred Joseph Stothard (1793-1864), hand-coloured wax, 10 x 8.5cm (4 x 3.25ins), glazed ebonised frame, with part of Stothard’s engraved label visible on verso, plus two other portrait miniatures of gentlemen, one etched, and the other a reverse painting on glass with a cream wax background, by Hinton Gibbs (late 18th/early 19th century), each in a glazed ebonised frame

98* Miniatures. A pair of early nineteenth century portrait miniatures, by Daniel Macintosh, two half-length oval portrait miniatures hand-painted on ivory, one of a young man in a white cravat and black coat, and the other of young girl in a white muslin dress, each 6.5 x 5.5cm (2.5 c 2ins), matching mounts and ebonised frames (one with sl. loss), glazed, each with engraved label of Daniel Macintosh, Edinburgh, on verso, advertising his ‘New Carving & Gilding Wareroom’, one incorporating engraved vignette, and both with label inscribed in ms. ‘For Marion P.U. Tanner’ (2)

£100-150

£150-200

(4)

£200-300

102* Silhouettes. An oval silhouette portrait of a lady, by Isabella Beetham (1739-1825), painted black silhouette, background toned, 8.5 x 6.5cm (3.25 x 2.5ins), oval wooden frame, glazed, verso with sitter identified in indistinct contemp. ms. (Mrs. Wakefield?), and with eng. advertising label ‘Profiles in Miniature by Mrs. Beetham, No.27, Fleet Street’, together with An oval silhouette portrait of a young girl, by I. Thomason, (fl.1790-1792), painted black silhouette, heightened with grey, 8.5 x 6.5cm (3.25 x 2.5ins), oval gilt frame, glazed, verso with indistinct early ms. and with engraved advertising label ‘Perfect Likenesses in Miniature Profile taken by I. Thomason... Dublin... No.33 Caple Street’, plus An oval silhouette portrait of a young gentleman, by James Heath Millington (1799-1872), painted black silhouette heightened with grey, 7.5 x 5.5cm (3 x 2.25ins), oval wooden frame, glazed, with printed advertising label on verso ‘Profiles, Price only One Shilling, taken with the greatest accuracy, In One Minute, by the Patent Delineator... by J.H. Millington, No.201, High Holborn...’, plus An oval silhouette portrait of a young boy, by Henry Hervé, painted black silhouette, 8.5 x 6.5cm (3.25 x 2.5ins), oval wooden frame, glazed, verso with printed advertising label for Henry Hervé, Miniature and Profile Painter, 12 Cheapside...’, and with contemp. ms. inscription ‘L. Engstrom Esq as a little boy’

101* Silhouettes. A silhouette portrait of a girl, by William James Hubard (1807-1862), black paper silhouette heightened with gold, image size 5 x 3cm (2 x 1.25ins), sheet size 10 x 6.5cm (4 x 2.5cm), framed and glazed, with darkened and chipped printed advertising label on verso ‘A striking and correct Likeness, with a Frame and Glass , for One Shilling, can infallibly be relied on at the Hubard Gallery...’ together with An oval silhouette portrait of William Croome (1782-1855), by J. Trewinnard, painted black silhouette, heightened with grey, and with traces of pencil, showing a gentleman, 8.5 x 7cm (3.25 x 2.75ins), glazed ebonised frame, verso with sitter identified in early ms. and with printed label advertising ‘Profiles of Every Description, Taken in the most correct Manner, on Ivory, Glass, Composition, or Card, and cut out, by J. Trewinnard, No.40, Strand...’, plus An oval silhouette portrait of a young gentleman, by Mr. Hallam, c.1821, black paper silhouette, 8.5 x 7cm (3.25 x 2.75ins), glazed ebonised frame, with printed advertising label dated December 26, 1821, on verso: ‘Mr. Hallam, respectfully informs the Inhabitants of Bridgnorth and its Vicinity, that he executes Striking and Animated Likenesses in Two Minutes’ Sitting...’, plus A full-length silhouette portrait of a gentleman, by John Gapp (active in Brighton 1823-1839), black paper silhouette mounted on card, with oval embossed stamp to lower right corner, 27 x 14cm (10.75 x 5.5ins), with Mr. Gapp’s printed advertising label on verso, framed and glazed both sides

The V&A holds examples of similar portraits by famous silhouette artist Mrs. Beetham, who was the first woman to make a living from the art. She was from a wealthy family, but eloped with an actor, and found herself in need of earning a living so began cutting paper profiles. After practicing this form of portraiture for a while, she began studying with John Smart, a successful miniature portrait artist in London. As a result she began painting, rather than cutting, silhouettes, and she became renowned for the meticulous detail in her works. (4) £150-200

William James Hubard was born in Shropshire but moved to the United States in 1824, where he was greatly acclaimed for his silhouette and painted portraits. He was killed in an accidental explosion while making munitions in Richmond for the Confederate States of America during the American Civil War. Works by Hubard reside in the Smithsonian, amongst other institutions. (3) £100-150

103* Silhouettes. A full-length silhouette portrait of the Earl of Guilford, 1793, by Charles Rosenberg of Bath (1745-1844), reverse painting in black on glass, showing an elderly gentleman with a sword and a cane, image size 11 x 4cm (4.25 x 1.5ins), sheet size 15 x 11.5cm (6 x 4.5ins), framed, verso with engraved advertising label of ‘Mr. Rosenberg of Bath, Profile Painter to their Majesties & Royal Family...’, inscribed at foot in contemp. ms. ‘Earl of Guilford, patron of this living 1793’, together with An oval silhouette portrait of Mr. Isaac Roberdo, by J. Ames, late 18th century, reverse painting in black on glass, 9.5 x 7.5cm (3.75 x 2.75ins), oval gilt frame, verso with engraved advertising label ‘J. Ames, Clare Street Bristol. Takes the most perfect Likenesss [sic] in Miniature Profile...’, inscribed to upper margin in contemp. ms. ‘Mr. Isaac Roberdo, Adjutant in the Army of Genl. Washington’, plus An oval silhouette portrait of a lady, by T. Johnson, late 18th century, reverse painting in black on glass, showing a lady in an elaborate hat, 8.5 x 7cm (3.5 x 2.75ins), oval gilt frame, verso with printed advertisement label of ‘T. Johnson Harrogate’, plus two other oval silhouettes of young gentlemen, both reverse painted in black on glass, in oval wooden frames, both with engraved labels on verso, one by Farthing of Cheapside, London, and the other by W. Rought, Corn Market, Oxford

Lot 102

(5)

£150-200

PAINTINGS

104* Abbott (Lemuel Francis, 1760-1803). Portrait of Captain George Burdett, R.N., (d.1832), oil on canvas, half-length seated portrait of Captain Burdett in naval dress, some cleaning and restoration to paint surface, 76.5 x 63cm (30 x 24.75ins), gilt moulded frame, with old Christie’s stencil ‘26DH’ on verso (1)

£1000-1500

105* Alexander (T., 20th century). Dutch Old Master style still life with grapes, peaches, plums and ears of wheat, oil on canvas, signed lower right, 50 x 40cm (19.75 x 16ins), relined, modern gilt frame (1)

ÂŁ200-300

106* Boddington (Edwin Henry, c.1836-1905). River landscape with cattle, oil on canvas, signed lower right, vertical closed tear to right margin, old repair to canvas verso, 30 x 56 (12 x 22ins), framed (1)

Lot 105

Lot 106

ÂŁ200-300

107* Bonnemaison (Ferreol de, 1766-1826). Portrait of Robert Slade of Doctors Commons, and of his wife Eliza Foxcroft, 1793, a pair of oval oils on canvas, both half length, the gentleman wearing a black coat and a white lace stock, the lady wearing a white dress with a blue sash, with landscape beyond, one signed lower right, F. Bonnemaison Fecit 1793, both 73 x 61.5cm (28.75 x 24.25ins), matching period moulded gilt frames Provenance: Private collection, Bath, by descent since 1793. The French painter Fereol Bonnemaison (1766-1826) fled to England following the French Revolution where he produced a number of portraits of the English Aristocracy of the day. Bonnemaison returned to France later in the 1790s, and exhibited at the Paris Salon. He maintained however, his contacts with England, acting as Agent for the Duke of Wellington at auctions in Paris in 1817 and 1818, when he purchased several important genre paintings. Robert Slade was a prominent Surrey landowner and proctor in Doctors’ Commons, the College of Advocates and Doctors of Law in Knightrider Street, near St. Paul’s, who became Deputy Lieutenant for Surrey. He married Eliza Foxcroft of Halsteads, near Thornton-in-Lonsdale in 1779. The artist is perhaps best known for his painting entitled Young Woman Overtaken by a Storm of c. 1799, now in the Brooklyn Museum, New York. His extensive art collection was sold at auction by M. Henry over five days between 17th and 21st April 1827 in Paris. (2) £7000-10000

108* Burrows (S., 19th century). Nocturne, mid-late 19th c., oil on canvas, showing a moonlit landscape, with a punt and rowing boat on a tree-lined river, and a figure on the bank, signed lower right, 25.5 x 35.5cm (10 x 14ins), gilt mount and frame, glazed (1)

£200-300

Lot 111

109* Butt (Johann Acton, fl.1884-1886). ‘“Old Sand Pit” Bromsgrove Lickey’, oil on canvas, landscape with trees showing a peasant droving sheep, signed lower left, small area of sl. surface loss, ms. inscription on verso with title and artist’s name and address (in artist’s hand?), 35.5 x 45.5cm (14 x 18ins), framed Birmingham artist who is known to have exhibited three landscapes in London between 1884 and 1886. (1) £200-300

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

£100-150

111* Attributed to George Chinnery (1774-1852). Mrs Blair, oil on wood panel half-length portrait of a woman wearing white dress and flop hat, signed indistinctly lower left, 19 x 14.3cm (7.5 x 5.5ins), framed (1)

£200-300

112* Continental School. Interior scene with dancing elderly lady, young boy and cat, mid 19th century, oil on canvas, ink stamp to verso “Revuelia Saluds4 Madrid”(?), 37 x 30cm (14.25 x 12ins), recent stretcher, gilt frame (1)

£200-300

Lot 112

113* Continental School. Portrait of a woman, c.1880s, oil on wood panel, semi-profile head and shoulders portrait of a young woman wearing a dark blue coat with tasselled tie, and gold neck brooch and earrings, 37 x 26cm (14.5 x 10.25ins), framed (1)

£200-300

Lot 113

114* Copnall (Frank Thomas (1870-1949)). Portrait of Frances Williams, oil on canvas, head and shoulders portrait of a pretty young girl with wavy brown hair, wearing a white dress and a coral necklace, signed lower right, with two small canvas repairs on verso, 61.5 x 51cm (24.25 x 20ins), framed, with remains of artist’s ms. studio label on verso, signed with address and titled ‘Frances, daughter of O.N. Williams Esq.’, together with Portrait of Edward Richmond Paton, 1897, black and white chalk portrait of a young boy, signed and dated lower right, 54 x 35cm (21.25 x 13.75ins), framed and glazed, with remains of old framer’s label on verso (Hugo Lang & Co., Liverpool) Frances Williams married Edward Richmond Paton. (2)

£500-800

Lot 114 47

Lot 115

115* Cuitt (George, 1779-1854). “Fountains Abbey”, oil on canvas, showing Fountains Abbey amongst trees with cattle, with a painting of the ruined abbey on an easel and paint materials on a stool beside in the foreground, and two peasant girls standing nearby, relined, 61.5 x 92.5cm (24.25 x 36.5ins), framed (1)

£1500-2000

116* Attributed to Jacob Gerritsz Cuyp (1594-1651/52). Portrait of a lady, c. 1630s, oil on wood panel, 75 x 62cm (29.5 x 24ins), attractive period gilt moulded frame Provenance: Private collection, Gloucestershire. Passed by descent since the late 18th century. Formerly in the collection of the Day family of Hinton House, Hinton Charterhouse, near Bath, Somerset. The present work bears comparison to a portrait of a 54 year old woman, dated 1630, previously attribted to Thomas de Keyser, in the Museum Boijmans Van Beuningen, Rotterdam. The same collection also holds a signed portrait by J. G. Cuyp of Cornelia van Wesel, dated 1639. In this portrait, the lady is also shown holding a small leather-bound prayer book. (1) £4000-6000

Lot 116

Lot 118 117* Davidson (Allan Douglas, 1873-1932). Self portrait, oil on wood panel, signed lower right, depicting the artist in open-necked white shirt and spotted red bandana, signed lower right, 35.5 x 25.5cm (14 x 10ins), gilt moulded frame, inscribed on back board ‘Allan Davidson, ROI, RMS, The Artist, from L.R. Nightingale, Wroxham Gallery, 1925’ Portrait and figure painter Allan Douglas Davidson was born in London, the son of historical painter Thomas Davidson. He studied at the Royal Academy, was elected to the Royal Institute of Oil Painters in 1921, and was a prominent member of the Langham Sketching Club. (1) £700-1000

118* Drummond (F., 19th century). French infantry receiving orders during the Franco-Prussian War, c.1870s, oil on canvas, showing a stormy scene with soldiers outside a fort receiving a letter from two cavalrymen, signed lower right, relined, 63.5 x 41.5cm (25 x 16.5ins), framed, with early ms. exhibition label in German on verso ‘Aus dem deutsch franzosischen krieg’ (1)

£150-200

119* Eddis (Eden Upton, 1812-1901). Portrait of a gentleman, oil on canvas, three-quarter length portrait of a gentleman in a black suit and bowtie, seated beside a table on which is placed an ink pot and quill, 112 x 91cm (44 x 34ins), gilt moulded frame (1)

£600-800

120* English School. Portrait of a young man, 19th c. oil on wood panel, 60.5 x 45.5 cm (23.75 x 17.75 ins), contemp. gilt moulded frame (1)

Lot 120

£150-200

Lot 119

Lot 121 121* English School. Landscape with animals and shepherdess by a farmhouse, oil on wood panel, indistinctly signed lower left, and dated 1736, 41 x 48cm (16 x 19ins), framed (1)

£500-800

122* English school. Portrait of Charles McIntosh, horticulturist, holding an Epiphyllum plant specimen, oil on canvas, half-length portrait of Charles McIntosh in a landscape, holding a pink-flowering plant in a terracotta pot, relined, 76 x 63.5cm (30 x 25ins), framed Renowned horticulturist Charles McIntosh (1794-1864) was descended from a long line of gardeners. He succeeded his father who had been head gardener at Abercairney in Perthshire, before moving to Taymouth Castle, where he continued to develop his knowledge of forestry, orchards, kitchen gardens and hothouse management. By 1825 he had taken charge of the grounds at Stratton Park, Hampshire, home of the banker Sir Thomas Baring. Whilst there, he contributed to the first issue of Loudon’s ‘Gardener’s Magazine’, redesigned the gardens at Pengethley in Herefordshire, laid out and planted the newly created pleasure gardens and conservatory attached to the Colisseum in Regent’s Park, and compiled and had published his first major work, ‘The Practical Gardener and Modern Horticulturalist’. McIntosh came to the attention of Prince Leopold of Saxe-Coburg, and for ten years he made great improvements to the grounds adjacent to the royal residence at Claremont House in Surrey, as well as remodelling the gardens at Laeken in Belgium. In 1838 McIntosh returned to Scotland to undertake his greatest role, that of head gardener to the immensely wealthy Duke of Buccleuch, whose palace gardens at Dalkeith McIntosh updated and modernised to great acclaim; the vast range of productive hothouses he implemented were amongst the most extensive in the UK. It was here that he wrote his major work, ‘The Book of the Garden’, which remained in print long after his death. Even in retirement McIntosh continued landscaping and improving the villa residences, parks and gardens of the gentry and nobility in Scotland and England. He was known to Queen Victoria and could count among his friends John Claudius Loudon, Professor John Lindley and Sir Joseph Paxton. McIntosh certainly grew epiphyllums at Claremont, and gave instructions for growing them in various of his writings; indeed, arguably his greatest legacy was that of hothouse design and the cultivation of succulents. (1) £1500-2000

Lot 122

Lot 123

123* English school. Harvesting landscape, c.1830s/40s, oil on canvas, showing a pastoral scene in a wheat field with various peasant figures, incl. children, variously engaged in gathering sheaves or resting, with a waggon and horses in the background, relined, 56 x 92cm (22 x 36.25ins) framed (1)

ÂŁ700-1000

124* English school. Portrait of Henry John Temple, 3rd Viscount Palmerston, oil on canvas, laid down on hardboard, three-quarter length standing portrait of Lord Palmerston, wearing a black coat, and resting one hand on a table on which are papers, leather-bound books, and a top hat, 54.5 x 43cm (21.5 x 17ins), framed British statesman Lord Palmerston (1784-1865) served twice as Prime Minister (1855-1858 and 1859-1865). (1) ÂŁ500-800

Lot 124

126* English School. Portrait of a lady in a muslin bonnet, c.1840s, oil on canvas, head and shoulders portrait of a lady in a black dress wearing a white muslin bonnet trimmed with pink ribbon and flowers, and a coral necklace and brooch, relined, 76 x 63cm (30 x 24.75ins) (1)

125* English School. Mary Queen of Scots, early to mid. 19th c., oil on canvas, head and shoulders portrait of Mary Queen of Scots in lace headdress and ruffled collar, wearing a crucifix round her neck, some flaking to paint surface, 61.5 x 46.5cm (24.25 x 18.25ins), framed (1)

£200-300

127* English school. Man in Armour, late 19th c., oil on canvas, head and shoulders profile portrait of a handsome moustachioed man wearing a helmet and breastplate and carrying a sword, 50.5 x 39.5cm (20 x 15.5ins), framed

£300-400

(1)

£150-200

128* English School. The Holy Family, 18th c., oil on canvas, showing Mary, Joseph, and the infant Jesus, with a dove and five putti above, relined, 25 x 34cm (10 x 13.25ins), old gilt frame (1)

Lot 126

£400-600

132* English School. Landscape with windmill, mid 19th century, oil on wood panel, showing a river landscape with trees, wooden bridge, a windmill, and a cottage, 19 x 28cm (7.5 x 11ins), framed

129* English School. River landscape, late 19th century, oil on canvas, showing a tree-lined river, with a figure fishing and two figures nearby, discreet old repair on verso, 36 x 48cm (14 x 18.75ins) ()

(1)

£150-200

130* English School. Warwick Castle, early-mid 19th century, oil on canvas mounted on wood panel, showing the castle from the river, with cottages and cattle, 32 x 52cm (12.5 x 20.75ins), framed (1)

£100-150

133* English School. A man smoking a pipe, early-mid 19th century, oil on wood board, interior scene with a man in a top hat seated on a wooden chair smoking a long clay pipe and holding a pewter tankard, 28.5 x 23cm (11.25 x 9ins), walnut-veneered frame

£200-300

(1)

£150-200

131* English school. “Loch Lomond”, early 19th century, oil on canvas, showing cattle watering in the early morning, with a sailing boat and mountains in the distance, titled in pencil on verso, 16.5 x 30cm (6.5 x 11.75ins), framed (1)

£150-200

Lot 134

134* Forrest (W.J., 19th century). Industrial city port, 1889, oil on canvas, showing a harbour with a circular viewing tower with classical pilasters, castellated roof, and dome, with a sailing barge, a steamship, and other craft, with buildings behind, a couple of minor repairs, signed and dated lower right, 35.5 x 53.5cm (14 x 21ins), framed (1)

£150-200

135* Grant (G. P.). Wise Words, mid-19th century oil on canvas depicting an interior scene, with woman reading to a young girl, cat looking out from under a table and dog looking in through side window, ink stamp to canvas verso "from Halford Bros., 361 Oxford St." and with two patch repairs, 29.2 x 25cm (11.5 x 9.25ins), contemp. gilt moulded frame (1)

£300-500

136* Guillemet (Jean-Baptiste Antoine, 1843-1918). Paysage de Normandie, oil on wood panel, signed lower left, 24 x 35cm (9.5 x 14ins), contemp. wood frame (1)

£800-1200

Lot 135

Lot 136

137* Hamilton (Karl Wilhelm de, 1668-1754). The Parliament of Fowls, a pair of oils on canvas, relined, 90 x 86cm (35.5 x 34ins) each, framed Provenance: From a private collection, Munich. Carl Wilhelm de Hamilton, was employed in Augsburg as Court Painter for Bishop Alexander Sigismund von Pfalz-Neuburg, and specialised in paintings of animals, birds, butterflies, often against a wooded backdrop. Another version of this pair of paintings was sold in Paris in 2005 (Artcurial, 14th June 2005, lot 21). (2) ÂŁ10000-15000

138* Harris (Henry Hotham, 1805-1865). “Wolverton Castle”, oil on canvas, showing a castle with two towers in a wooded landscape with a river and two figures, signed lower right, titled in pencil on verso, 16.5 x 30cm (6.5 x 12ins), framed (1)

£200-300

141* Hayter (Sir George, 1792-1871). Portrait of Lord Melbourne, oil on canvas, semi-profile half-length portrait of William Lamb, 2nd Viscount Melbourne (1779-1848), wearing a burgundy waistcoat and black jacket and necktie, relined, 86.5 x 69cm (34 x 27ins), framed British Whig statesman Lord Melbourne served as Home Secretary (18301834) and Prime Minister (1834 and 1835-1841). (1) £1500-2000

139* Harris (Henry Hotham, 1805-1865). Wooded landscape, oil on wood panel, showing figures on the edge of a wood, with a vista on the right, initialled lower right, 19 x 30.5cm (7.5 x 12ins), framed (1)

£150-200

142* Jacobi (M.M., 19th century). Rural scene with cottage and peasants in a landscape, oil on canvas, signed in red to lower left, relined, with some marks and restoration, 30 x 45.4cm (12 x 17.75ins), framed

140* Harris (George, 1847-c.1915). Landscape with a water wheel, oil on board, showing a wooded landscape, with a figure on a bridge beside a water wheel, signed lower right, 21.5 x 33.5cm (8.5 x 13.25ins), framed (1)

Little-known painter who lived in Birmingham and exhibited at least one painting at the Royal Society of Artists, Birmingham. (1) £150-250

£150-200

Lot 144

143* Circle of Cornelis Janssens van Ceulen I (1593-1661). Portrait of a Lady, half length, looking to one side, in a black dress with lace collar, pearl choker, earrings, c. 1640s, oil on canvas, relined, with some surface scratches and old repair patches, 280 x 355mm (14 x 11ins), later gilt frame The portrait artist Cornelius Johnson, also known as Cornelis Jonson was born in London, the son of religious refugees from Antwerp. From 1632, he became one of Charles I’s official painters, but he returned to the Netherlands with his family in 1643 during the English Civil War. The present portrait bears some comparison to the Portrait of an Unknown Lady by this artist, dated 1646, held at the Tate Gallery. (1) £400-600

Lot 145

144* Jeeves (George, later 19th c.). Scarboro’ North Bay, & Scarboro’ South Bay, a pair of oil on canvas coastal landscapes, each titled, signed and dated August 1881 to verso, some damage and discolouration, each 40.5 x 60cm (16 x 23.5ins), period gilt moulded frames (2)

£200-300

145* Kennedy (Edward Sherard, active 1863-1890). Still-life of a chair, vase and old leather-bound book, oil on canvas, showing a large tome embellished with metal furniture and a double-handled vase with relief foliate decoration, both placed on a carved and upholstered chair with a piece of brocade fabric, some restoration and re-touching, with artist’s ink-stencilled initials on verso, 77 x 56cm (30.25 x 22ins), framed (1)

£200-300

146* Labarthe (Chevalier, 19th century). French rural scene, oil on canvas, sunlit scene showing a peasant girl in clogs, apron, and cap, carrying a basket and an umbrella, with two jovial labourers looking on, and houses and flowering plants in the background, signed lower right, 46.5 x 61cm (18.25 x 24ins), framed (1)

Lot 146

£100-150

147* Lance (George, 1802-1864). Still-life of fruit, 1868, oil on canvas, showing a variety of fruit (grapes, plums, melon, peaches, pineapple, raspberries), on a ledge half-covered with matting, and a landscape beyond, initialled and dated on verso, 61 x 76.5cm (24 x 30ins), framed, with old framer’s label ‘Victor Waddington Galleries’, Dublin, on verso Exhibited at Bradford Art Gallery in 1949, with associated labels on verso of frame. George Lance was an English artist specialising in paintings of fruit and flowers, although he also painted portrait miniatures, and historical and genre subjects. Although Lance showed early artistic talent, he began working in a factory in Leeds when he was fourteen. However, he became unwell and returned to London. Visiting the British Museum one day, he struck up a conversation with Charles Landseer, who happened to be drawing there. On learning that Landseer was a pupil of Benjamin Haydon, Lance went to see Haydon, and asked if he would instruct him too. Haydon replied that he would teach him free of charge if he showed promise, so Lance entered Haydon’s studio, remaining there for seven years, whilst also studying at the Royal Academy schools. Lance exhibited widely, at the British Institution, the Society of British Artists, and at the Royal Academy. (1) £1500-2000

Lot 150

148* Lance (E.J., late 19th/early 20th century). A pair of still life studies of fruit, including plums, pears, apples & peaches, late 19th/early 20th century, oil on board, signed lower right, 23.5 x 33cm (9.25 x 13ins), matching frames, glazed, together with Thornton (A.J., late 19th/early 20th century), Still life study with grapes, plums & apples, oil on thin board, signed lower right, closed tear just touching upper right edge of image, 29.5 x 59cm (11.5 x 23.25ins), framed & glazed (3)

£150-200

149* Langstaffe (John, 1849-1912). Female figure herding geese within a wooded landscape, beside a river with mill and rowing boat, oil on canvas, signed lower left, 28.5 x 91.5cm (27 x 36ins), gilt moulded frame (1)

£200-400

150* Marr (Sophie, d.1901). “Clematis & Lilies”, oil on canvas, showing flowers tumbling out of a green china vase, incl. lilies, clematis, and hydrangeas, signed upper right, verso with additional signature, title, and artist’s address, 46 x 57cm (18.25 x 22.5ins), framed (1)

151* Marti Garces de Marcilla (Jose, 1880-1932). Studies of Spanish girls, together three oil on board paintings, including one three quarter length portrait of a seated woman in traditional costume, signed upper left, 18 x 11.5cm (7 x 4.5ins), together with a head and shoulders portrait of the same sitter, unsigned, 20.5 x 15cm (8 x 6ins), plus a study of a dancing Spanish girl in traditional costume, with seated female figure playing the guitar and two spectators, signed lower left, 18 x 12cm (7 x 4.75ins), gilt moulded and pierced frames

£100-150

(3)

£400-600

Lot 147

Lot 149

152* Metz (Gertrud, 1746-c.1793). Roses, Tulips, Chrysanthamum, Hydrangea, Delphinium, Narcissi, Mock Orange, Ear of Barley, and other flowers, fine oil on canvas still life of various flowers and insects, including butterfly, snail, small serpent, grasshopper, fly, etc., plus peach, grapes, sweet chestnut, maize, indistinctly signed lower left ‘Maria Gerdrud Metz F:’, 76 x 62cm (30 x 24.25ins), relined, 18th century gilt wood and gesso hand carved frame, with stylised acanthus leaf and scallop shell decoration, egg and dart border (with some restoration) Provenance: Private collection, Gloucestershire. Passed by descent since the late 18th century from the collection of Samuel Day (1757-1806) of Hinton House, Hinton Charterhouse, Somersetshire. (1) £5000-8000

154* Naive School. “Greenwich Pensioner”, c.1850, oil on board, showing a man with a wooden leg seated at a table and smoking a clay pipe, titled and attributed to Wilkie in old ms. on verso, 21 x 19cm (8.25 x 7.5ins), framed and glazed (1)

£100-150

155* Neapolitan School. Sailing ships at the habour wall, with smoking volcano in the distance, mid 19th c., gouache on laid depicting sailing ships flying international flags moored at the harbour wall with observation tower, unsigned, some dampstaining, 38 x 58cm (15 x 22.75ins), framed & glazed (1)

153* Meunier (Franz, active c.1900). Boy on a wall, and girl reading in a woodland landscape, together a pair of oil on panel paintings, each signed F. Meunier, München to lower edge, 16 x 12cm (6.25 x 4.75ins), framed (2)

£200-300

157* Picture clock. Landscape with church and figures, 19th century, oil on canvas, church tower incorporating working clock (with 3cm diameter), 53 x 63.5cm (21 x 25ins), gilt moulded frame with clock movement located in frame box behind, some wear (1)

£400-600

156* After Thomas Phillips (1770-1845). Portrait of Lord Byron, late 19th century, oil on copper, showing a head and shoulders portrait of the poet, some craquelure and minor flaking, 52 x 42.5cm (20.5 x 16.75ins), framed (1)

£400-600

158* Pocock (Henry Childe, 1854-1934). The Flautist, oil on wood panel, showing an eighteenth century bewigged gentleman seated on a stool playing a flute, with musical score propped up on a chair, against a backdrop of curtains, a round gilt mirror with candle sconces, and a console table with vase, sl. rubbed at edges in places, signed lower right, 25.5 x 17.5cm (10 x 7ins), framed (1)

Lot 157

£300-500

Lot 159

159* Poole (James, 1804-1886). Travellers on the Conwy, North Wales, with Mount Snowdon beyond, oil on canvas, showing two figures and a dog on a stone bridge over a waterfall, with Snowdon in the background against a stormy sky, signed lower right, relined, 61 x 91.5cm (24 x 36ins), unframed James Poole was a little-known, yet accomplished, artist who usually painted mountain and moorland scenery, often in Wales and Scotland. (1) ÂŁ1200-1800

160* After Paul Sandby (1730-1809). Oval landscape with river and mountain, mid 19th century, oil on metal, showing a river, mountain, and trees, with a building on a rocky outcrop, and a mounted figure and sheep in the foreground, 43 x 58cm (17 x 23ins), gilt moulded frame (1)

ÂŁ300-500

Lot 160

161* School of Giovanni Battista Salvi da Sassoferrato (16091685). Penitent Magdelene, oil on canvas, showing a head and shoulders portrait of Mary Magdelene with hands clasped, 46.5 x 37cm (18.25 x 14.5ins), framed (1)

ÂŁ1000-1500

Lot 161

162* Soloman (Abraham, 1824-1862). Portrait of Abraham Wolff (1819-1892), oil on canvas, half-length portrait, apparently unsigned but with label of attribution to verso, some flaking and loss of paint to lower edge, 38 x 30cm (15 x 12ins), framed and glazed Abraham Wolff MRCS, FRCS, LSA (1819-1892) studied at St Thomas's Hospital and in Paris and Vienna. He first practised at 225 Shoreditch, London, where he was Surgeon to the Synagogue and Hospital of Spanish Jews. In 1885 he had moved to 33 Gower Street, London, then to 66, finally to 48, Gloucester Gardens, Hyde Park. At one time he was Surgeon to the Jews' Deaf and Dumb Home. (1) ÂŁ400-600

Lot 162 68

163* Attributed to Gilbert Stuart, 1755-1828). “General Lord Amherst”, oil on canvas, half-length portrait of Field Marshal Jeffery Amherst, 1st Baron Amherst KCB (1717-1797), in military dress, some restoration, relined, 76 x 63.5cm (30 x 25ins), framed, with early ms. label on verso identifying sitter and artist, with additional information ‘From The Collection of Lord Woolavington’ Field Marshall Jeffery Amhurst served as an officer in the British Army and as Commander-in-Chief of the Forces. He is best known as the architect of Britain’s successful campaign to conquer the territory of New France during the French and Indian War. Under his command British forces captured the cities of Louisbourg, Quebec City and Montreal, as well as several major fortresses. He was also the first British Governor General in the territories that eventually became Canada. Numerous places and streets, both in Canada and the United States, are named after him. The Woolavington Collection was largely formed in the late 19th and early 20th century by Sir James Buchanan, who was subsequently created the first Lord Woolavington. He was a whisky magnate, philanthropist, successful owner of race horses, and collector of paintings. (1) £1500-2000

164* Attributed to Cesar Boetius Van Everdingen (1616-1673). Portrait of a woman in black, oil on wood panel, three-quarter length portrait of a seated woman in a black overdress and black pointed cap, with white chemise and lace collar, wearing long earrings and holding a fan, 21.5 x 17.5cm (8.5 x 7ins), framed (1)

ÂŁ3000-5000

Lot 165

Lot 166 165* Attributed to Jan Van Huchtenburg (1647-1733). Cavalry skirmish, oil on canvas, showing a chaotic battle scene, with horsemen firing muskets and brandishing swords, relined, 49.5 x 55cm (19.25 x 21.5ins), framed (1)

166* Wimperis (Edmund Morison, 1835-1900). “The Lovers’ Leap on the Dart, Devon”, 1884, oil on canvas, showing three figures in a river landscape, one fishing, some craquelure, signed and dated lower right, 35.5 x 54cm (14 x 21.25ins), framed, title inscribed in pencil on verso

£800-1200

(1)

£300-500

Lot 167

167* Woodforde (Samuel, 1763-1817). Portrait of Samuel Day, High Sheriff of Somerset, and of his wife, Mary Day, of Hinton House, near Bath, 1780, a pair of oil on canvas, half length portraits, Samuel Day wearing a grey coat, and holding his tricorn and cane in his right hand, Mary Day seated, wearing a black dress and white turban, the former inscribed and dated, 75.5 x 63cm (29.75 x 24.75ins), matching gilt moulded frames Provenance: Private collection, Gloucestershire. By descent from the Day family of Hinton House, Hinton Charterhouse, Somersetshire. See Rev. Joseph Nightingale, The Beauties of England and Wales, Vol. XIII, Part I, 1813, page 456. (2) ÂŁ3000-5000

168* Woodforde (Samuel, 1763-1817). Portrait of Samuel Skurray Day, half length oil on canvas portrait of Samuel Skurray Day in military uniform, 75.5 x 63.5cm (29.75 x 25ins), period gilt moulded frame Provenance: Private collection, Gloucestershire. By descent from the Day family of Hinton House, Hinton Charterhouse, Somersetshire. See Rev. Joseph Nightingale, The Beauties of England and Wales, Vol. XIII, Part I, 1813, page 456. (1) ÂŁ3000-4000

Lot 168

Lot 169 169* Meadows (William George, c. 1825-1901). Waggon & Horses on the Road, large-scale oil on canvas, signed lower centre, 76 x 126 cm (30 x 50 ins), period gilt frame (with some damage) (1)

£300-500

170* Continental School. Head-and-shoulders portrait of Jerome Zanchi (1516-1590), probably 16th c., oil on canvas laid onto contemp. wooden board with bevelled edges to reverse, showing the sitter full face with hat, beard and a wide collar, old manuscript label identifying the subject pasted to reverse, a few marks and scratches and overall somewhat soiled, 224 x 167mm (8.75 x 6.5ins) Jerome Zanchi (1516-1590) was an Italian protestant reformation clergyman and educator. According to Zanchi scholar Patrick J. O’Banion this may be a copy of the portrait made by Hendrik Hondius and published in Icones virorum nostra patrumque memoria illustrium (1599). The engraving in that work shows Zanchi with more rounded and thinner eyebrows, more hair across his lips and less of the collar visible than in the oil portrait here. (1) £300-500

Lot 170

171* Zobel (Benjamin, 1762-1831). Sheep in a landscape, 19th c. sand picture, 25.5 x 35.5 cm (10 x 14 ins), framed and glazed with old andwritten label to verso According to the note, Benjamin Zobel was a Table Decker to the Prince Regent at Windsor Castle. (1) ÂŁ100-150

Lot 171

172* Manner of Johann Joseph Zoffany (1733-1810). The Cellist, oil on canvas, full-length portrait of a young gentleman seated by a fireside playing a cello, with leatherbound books on shelves behind, relined, 77 x 62.5cm (30.25 x 24.5ins), gilt moulded frame (1)

ÂŁ1500-2000

Lot 172 75

THE HAGUE SCHOOL

173* Arntzenius (Pieter Florentius Nicolas Jacobus, 1864-1925). Still life of chrysanthemums, oil on canvas, signed lower right, 60 x 50.5cm (23.75 x 19.75ins), framed The artist belonged to the younger generation of The Hague School. (1)

ÂŁ2000-3000

174* Bosboom (Johannes, 1817-1891). Cathedral interior, pen, ink & watercolour on wove, signed & dated 1869 lower left, image 49 x 36.5cm (19.5 x 14.5ins), gothic arch mount within architectural oak frame, glazed (1)

£700-1000

175* Breitner (Georg Hendrik, 1857-1923). Working horses at rest with figures, by the waters edge, watercolour on wove, depicting a pair of resting work horses, with figures working against a harbour scene, with large shipping vessels in the distance, signed lower left, 18 x 34.5cm (7 x 13.75ins), framed & glazed The Dutch realist painter George Hendrik Breitner was born in Rotterdam in 1857. He enrolled at the academy in The Hague in 1876 and later worked at Willem Maris’s studio. In this early period he was especially influenced by the painters of the Hague School. Like his friend Vincent Van Gogh, who he was introduced to by Vincent’s brother Theo, Breitner preferred working-class models, labourers, and servant girls etc. Breitner moved to Amsterdam in 1886 and sketched, painted and photographed life in the city. Sometimes he made a number of pictures of the same subject, in varying weather conditions and from different aspects. (1) £1500-2000

Lot 174

Lot 175

176* De Bock (Theophile Emile Achille, 1851-1904). At the village edge with pond, appoach road and tail trees, oil painting on twelve ceramic tiles, signed lower right, few scratches to paint surface and with some overpainted, 44 x 59cm (17.5 x 23.25ins), framed ThĂŠophile de Bock was born in The Hague. He commenced work as a clerk for the Dutch Railway Company, but later painted as a full time occupation. He trained in The Hague under the landscape painters J.W. van Borselen, J.H. Weissenbruch and Jacob Maris. He spent the years 1878 to 1880 in the village of Barbizon in the Forest of Fontainebleau, and from 1880 to 1883 he lived in Paris, before returning to Holland. He was primarily a landscape painter, influenced by Corot, Millet and Rousseau. Provenance: Purchased by the current owner in Ghent in 1973 (copy of original receipt accompanies the painting). (1) ÂŁ1000-1500

177* Dommershuijzen (Charles, late 19th century). Fishing Boats off the Hook of Holland, 1892, oil on canvas, laid down on board, inscribed, signed and dated 20 June 1892 to verso (now transcribed and pasted on a large paper slip to verso of the backing board), 24 x 40cm (9.5 x 15.75ins), later gilt frame (1)

£300-500

178* Dutch School. Elderly lady peeling vegetables, mid/late 19th century, charcoal on wove paper, unsigned, few pin holes to corners and slight dampstaining to lower edge, 44.5 x 35.5cm (17.5 x 14ins), framed & glazed (1)

£200-300

179* Dutch School. Cows watering in a summer landscape, late 19th century, oil on wood panel, indistinctly signed lower left, 24 x 32.5cm (9.5 x 12.75ins), framed Lot 178

(1)

£150-200

Lot 180

Lot 181 80

180* Lussenberg (Jos, 1898-1975). Near the Buoy, 1956, oil on board, signed lower right, with old handwritten artist's label to verso, 59.5 x 79cm (23.5 x 31.25ins), framed (1)

£1000-1500

181* Lussenberg (Jos, 1898-1975). Sailing vessel in a squall, oil on board, signed lower right, 70 x 89.5cm (27.5 x 35.25ins), artist's label to verso, framed (1)

£1000-1500

182* Mauve (Anton Rudolf, 1876-1962). Drawing, black chalk on wove paper, with traces of monochrome wash, initialled A.M. lower right corner, 16.5 x 6.5cm (6.5 x 10.5ins), framed and glazed (1)

£150-200

183* Mauve (Anton Rudolf, 1876-1962). Country landscape with track, oil on canvas, signed lower right, 50.5 x 61cm (20 x 24ins), gilt moulded frame

Lot 182

Provenance: Purchased by the current owner in Lokeren, Belgium in 1973 (a copy of the original receipt is included with this lot). (1) £200-300

Lot 183 81

Lot 184 184* Poggenbeek (George Jan Hendrik, 1853-1903). Rural landscape with farmhouse and barn, black & brown chalks on laid paper, heightened with white, signed lower right, 27 x 44.5cm (10.5 x 17.5ins), gilt moulded frame, glazed (1)

185* Schoth (Anton, 1859-1906). Coastal scene with lighthouse, three-masted barque and fishermen in a squall, oil on canvas, signed lower left, 23 x 45cm (9 x 17.75ins), framed (1)

ÂŁ200-300

Lot 185 82

ÂŁ300-500

186* Sluyters Junior (Jan, 1914-2005). Still life of roses, peony, poppies, foxglove, cornflowers in a vase, oil on canvas, signed upper left, 80 x 60cm (31.5 x 23.5ins), framed (1)

ÂŁ3000-5000

187* Toorop (Charley, 1891-1955). Portrait of a young woman, black and brown crayon on artist board, signed with monogram lower left, few light spots, 50 x 38.5cm (19.75 x 15.25ins), framed (1)

£300-500

188* Van Borselen (Jan Willem, 1825-1892). River landscape with rowing boat, female figure on a path approaching a cluster of rural buildings surrounded by trees, oil on canvas, signed lower right, 27 x 53.5cm (10.5 x 21ins), gilt moulded frame (1)

£800-1200

189* Van Mastenbroek (Johann Hendrik, 1875-1945). Overschie Bridge, lithograph on Ingres laid paper, signed in pencil lower right, image size 47.5 x 62.5cm (18.75 x 24.5ins), framed and glazed

Lot 187

(1)

Lot 188

£70-100

190* Van Rysselberghe (Theo, 1862-1926). Portrait of a gentleman, oil on Sennelier wood panel, with manufacturer’s stamp to verso, 35 x 27cm (13.75 x 10.6ins), later gilded wood frame Provenance: Private collection, Wiltshire. Purchased by the current owner in Ghent, Belgium, in 1973 (original printed receipt included with this lot). Photographic certificate of authenticity for this work, stating that this work is by Theo Van Rysselberghe, dating from the artist’s main pointillist period 1885-1905, inscribed and signed to the verso of the photograph by P. Avernerts, dated 14th November 1968. The notable neo-impressionist Theo Van Rysselberghe adopted Seurat’s divisionist technique after seeing the latter’s La Grande Jatte while in Paris in 1886. Van Rysselberghe was the most prominent progressive artist to apply the technique to portraiture. (1) £7000-10000

Lot 191

191* Bastert (Nicolaas Syvert, 1854-1939). River landscape with drawbridge, oil on canvas board, signed lower left, 30.5 x 39.5cm (12 x 15.5ins), framed

192* Weissenbruch (Johan Hendrik, 1824-1903). Dutch polder scene, oil on board, signed lower left, 24.5 x 37.5cm (9.75 x 14.75ins), gilt moulded frame

(1)

£300-500

£1000-1500

193* De Zwart (Willem, 1862-1931). Market Day, etching on wove, signed lower right, some toning, 15 x 22.5cm (6 x 8.75ins), framed and glazed, together with Rural scene with buildings and large tree, etching on wove, signed lower right, some toning, 25.5 x 18.5cm (10 x 7.25ins), framed and glazed, plus a group of five miniature etchings by John Hendrik Weissenbruch (1824-1903), mounted as one, framed (3)

£200-300

Lot 192

Lot 193 87

ORIENTAL ART

Lot 194

Lot 195 88

194* Chinese Pith Paintings. An album containing thirty-seven watercolour drawings on pith paper, mid 19th c., including seventeen mostly single figure portraits of one or two figures in traditional costume (one leaf detached), four depicting punishments and two of furniture and objects, the remaining fourteen half-page watercolours depicting landscapes and natural history plus one of a reclining Napoleon deceased, the larger watercolours, the large watercolours 23 x 16cm (9 x 6.25ins) or the reverse, the smaller watercolours each 10 x 15cm (4 x 6ins) and mounted two-to-a-leaf, scattered spots and minor nicks to blank areas, all with blue paper borders, evidence of further leaves excised and now missing, contemp. gilt-dec. morocco, heavily rubbed and lacking clasp, 4to (1)

£1000-1500

195 Chinese Pith Paintings. An album containing twelve watercolour drawings on pith paper, mid 19th c., all depicting processional scenes with multiple (mostly male) figures, many figures carrying banners, or litters and shrines on poles, one scene depicting eight musicians with musical instruments, some scattered light spotting and a few minor chips and worm tracings, largely confined to lower blank areas of first three prints, each 20 x 32cm (8 x 12.5ins), all within blue paper borders, contemp. patterned moire cloth with broken tie, some fraying, oblong folio (1)

Lot 196

£500-800

197* Chinese Pith Paintings. Three Chinese watercolour drawings on pith paper, each depicting a pair of birds (cranes wading, pheasants courting, and song birds in a magnolia tree), 18.5 x 31cm (7.25 x 12.25ins), mounted, framed and glazed

196 Chinese Pith Paintings. An album containing ten watercolour drawings on pith paper, mid 19th c., each depicting a single butterfly and flowers, some scattered spotting, one lightly browned and final watercolour with sl. loss to leaf area near stem, each 9.5 x 14cm (3.75 x 5.5ins), each within paper border with Spanish bookseller’s name stamp to upper margin, some edge fraying, contemp. patterned moire cloth, edge wear, covers detached, oblong 8vo (1)

(3)

£300-500

Lot 197 89

£200-300

Lot 198

198 Chinese Pith Paintings. An album containing eleven watercolour drawings on pith paper, mid 19th century, including seven scenes with figures, of which three are entirely populated with female figures, one depicting a group of women weaving and sewing, another showing a group of female musicians (sheet detached), the other scenes include a court scene, an altar scene, etc., plus four watercolour drawings of natural history interest, depicting a pair of peacocks, a group of butterflies and two still life studies of flowers and fruit, occ. nicks and chips to pith paper, each approx. 20 x 32cm, within coloured paper border, a few leaves detached, orig. decorative purple moire cloth over boards with tie, a little frayed, oblong folio (1)

ÂŁ2000-3000

199* Chinese School. Portrait of a seated boy emperor, early 20th c., opaque watercolour on silk, artistâ&#x20AC;&#x2122;s red inkstamp top left, a couple of small spots, within patterned silk border, 45 x 25.5cm (17.75 x 10ins), framed and glazed (1)

ÂŁ150-200

Lot 199

Lot 200

200 Chinese School. “The Legend of the White Snake”,Willow Tree Gallery, Tianjin, c. 1960, 16 fine watercolours, with some gold heightening, on white card, bound concertina-style in original silk boards (front board detached) enclosed in original silk foldover case with ivory clasps, paper label to upper cover, folio (sheet size 43 x 32cm, 16.75 x 12.5ins) Scarce. (1)

£400-600

201* Chinese School. A collection of ten oriental scenes with figures, late 19th century, pen, ink & brushwork drawings on silk depicting interior and exterior scenes with figures performing various activities, one signed and ink stamped, each approx. 22 x 18cm (8.5 x 7ins), framed & glazed (10)

£200-300

Lot 201

Lot 202

202* Chinese School. A pair of traditional scenes with figures and trees, late 19th/early 20th century, gouache paintings on marble, one with painted decorative border, 27.5 x 27.5cm (10.75 x 10.75ins), with matching gilt moulded bamboo effect frames, grazed (2)

ÂŁ200-300

203* Chinese scrolls. Three Chinese scrolls, two depicting two female figures in a landscape, one depicting a seated male figure, early 19th c., watercolours on paper, within silk borders, each titled with artist seal, some creases and a few stains, a few tears to borders, 131 x 33cm (51.5 x 13ins) (3)

ÂŁ300-500

Lot 203 92

Lot 205

204* Indian Miniature. Military camp scene, late 19th/20th c., opaque watercolour on paper, heightened in gold, within gold sprinkled border, adhesion marks to top margin, image 20.5 x 12.5cm (8.25 x 5ins) (1)

£150-200

205* Indian miniatures. A pair of female musicians, later 19th c., pen, ink and monochrome wash on laid paper within red and green borders, a few light spots, the largest 24 x 17.5cm (9.5 x 6.75ins), mounted on card (2)

£100-150

206* Karbassi (H., 20th c. ). Three Persian miniature paintings, opaque watercolours on ivory, heightened with gold, one signed to lower margin, mounted within polychrome arabesque borders, the largest 18.5 x 12cm (7.25 x 4.75ins), mosiac frames, glazed (3)

£200-300

207 No lot 208* Kunisada (Utagawa, 1786-1865). Ladies in a landscape with cherry-blossom, colour woodblock print, 35.5 x 25 cm (14 x 9.75 ins), mount aperture, framed and glazed, with one other colour woodblock (2)

£70-100

Lot 206

209* Kunisada (Utagawa, 1786-1865). Four woodblock prints, four colour woodblocks on crepe paper, mounted within a lace border, slight toning at top border, overall size 69 x 52cm (27.25 x 20.5ins), framed and glazed (1)

£70-100

210* Kunisada (Utagawa, 1786-1865). ‘Princess Sayo’, 1852, colour woodblock print, 35 x 23.5cm (13.75 x 9.25ins), together with two other female portrait colour woodblocks by Kunisada, 35 x 23.5cm (13.75 x 9.25ins), framed and glazed (3)

£200-300

211* Mughal School. Young prince with belted jambiya offering food and wine to a lady beneath a tree, 18th century, fine nim-qalam pen and coloured ink miniature on paper, with pale green and grey watercolour wash, heightened with gold, dark green/black paper strips to border, 155 x 115mm (6.2 x 4.6ins), framed and glazed Provenance: Purchased by the current owner from the descendants of Leopold Hirsch of Aldbourne, whose famous collection was dispersed by Christies in 1934. (1) £2000-3000

Lot 209

212* Mughal School. A hunting scene with horse and rider spearing a wild animal, later 19th century, opaque watercolour on paper, with arabic script above, 228 x 110mm (9 x 4.25ins), framed and glazed

Lot 210

(1)

£100-150

Lot 211

Lot 214

213* Nakayama (Takashi, 1893-1978). Peasants by the shore, a pair of watercolours on wove paper, each signed lower right, 31.5 x 14.5cm (12.3 x 5.75ins), matching gilt frames, glazed (2)

ÂŁ100-150

214* Persian book cover. A late 18th Persian/Turkish polychrome lacquer hexagonal book cover with leather spine, each cover with central circular panel depicting male figures, caligraphic gold border within red, green and gold foliate ground, a little rubbed in places with small losses, 25.5 x 18cm (9.75 x 7.25ins) (1)

Lot 213

ÂŁ200-300

217* Tibetan Thangka. A painted Tibetan Thangka, late 19th century, opaque watercolour on cloth, few minor marginal creases, overall size 115 x 91cm (45.25 x 35.75ins)

215* Tibetan Thangka. A painted Tibetan Thangka, late 19th century, opaque watercolour on light canvas cloth, heightened in gold, edged with blue silk, overall size 164 x 109cm (64.5 x 43ins), some light surface marks and minor creases (1)

(1)

£400-600

£500-800

216* Tibetan Thangka. A painted Tibetan Thangka, late 19th century, opaque watercolour on cloth, heightened with gold, overall size 130 x 93cm (51 x 36.5ins), some minor marginal creases

218* Tibetan Thangka. A painted Tibetan Thangka, late 19th century, opaque watercolour on cloth, heightened with gold, some minor creases and surface marks to margins, overall size 131 x 95cm (51.5 x 37.5ins)

(1)

£400-600

219* Tibetan thangka. Two Tibetan thangkas, 20th c., gouache and gold on paper, the largest 70 x 43.5cm (27.5 x 17ins), framed and glazed (2)

ÂŁ200-300

220* Yokouchi (Tasuke). Landscape with waterfall and maple trees, watercolour, signed lower left, 49 x 21cm (19.25 x 8.25ins), framed and glazed (1)

ÂŁ100-150

Lot 220

ETCHINGS, LITHOGRAPHS & WOODCUTS

221* Ackroyd (Norman, 1938- ). McDara’s Day, 1998, etching with aquatint, signed, dated, titled, and numbered 35/90, plate size 172 x 237mm (6.75 x 9.3ins), framed and glazed (1)

223* Ackroyd (Norman, 1938- ). Nowt Bield, Hoy, 1996, etching with aquatint, signed, dated, titled, and numbered 32.60, plate size 153 x 202mm (6 x 8ins), framed and glazed

£100-150

(1)

222* Ackroyd (Norman, 1938- ). Randwick Valley, Hoy, 1996, etching with aquatint, signed, dated, titled, and numbered 32/60, plate size 150 x 205mm (6 x 8ins), framed and glazed (1)

£100-150

224* Ackroyd (Norman, 1938- ). Yesnaby, 1996, etching with aquatint, signed, dated, titled, and numbered 32/60, plate size 157 x 202mm (6.2 x 8ins), framed and glazed

£100-150

(1)

£100-150

225* Ackroyd (Norman, 1938- ). Achill Island, 1998, etching with aquatint, signed, dated, titled, and numbered 35/90, plate size 175 x 255mm (7 x 10ins), framed and glazed (1)

227* Barker (Anthony Raine, 1880-1963). Circus scene, 1912, lithograph, signed, dated, and numbered 12/30 in pencil, image size 30 x 39cm (11.75 x 15.25ins), framed and glazed

ÂŁ100-150

226* Ardizzone (Edward, 1900-1979). Shelter Scene, pub. The National Gallery, 1941, colour lithograph, 75 x 100cm (29.5 x 39.5ins), framed and glazed (1)

(1)

ÂŁ200-300

Lot 226

100

ÂŁ70-100

Lot 228 229 Blampied (Edmund, 1886-1966). Nightime, Dieppe, petching, signed, 25.2 x 35.5cm (10 x 14ins), framed and glazed

228* AR Bartlett (Charles William, 1860-1940). Miono-Matsubara, 1916, colour woodcut, signed lower left, sheet size 25.5 x 37.5cm (10 x 14.75ins), extreme outer margins with tape discolouration, period decorated Japanese-style painted black and gilt frame (with some minor damage), without glass (1)

(1)

£200-300

£500-800

230* Boxsuis (Sylvan G., 1878-1941). Corfe Castle, colour woodblock, signed and titled in pencil to lower margin, the full sheet, 28 x 33cm (11 x 13ins), corner mounted with tabs to upper margin only

Lot 229

(1)

101

£100-150

231* Brangwyn (Frank, 1867-1956 ). Street in Puy, etching with drypoint, signed in pencil, plate size 405 x 300mm (16 x 11.75ins), framed and glazed

233* Brockhurst (Gerald Leslie, 1890-1978). Une Dacquoise, 1922, etching, signed in pencil, plate size 165 x 113mm (6.5 x 4.5ins), framed and glazed

(1)

£150-200

£100-150

232* Bresslern-Roth (Norbertine von, 1891-1978). North African Donkeys, colour linocut, signed and inscribed Handdruck in pencil to lower margin, 18.5 x 26.5cm (7.25 x 10.5ins) mount aperture, framed and glazed (1)

£400-600

234* Brockhurst (Gerald Leslie, 1890-1978). Galway Peasant, 1920, etching, printed in an edition of 55, signed in pencil, plate size 100 x 107mm, framed and glazed Fletcher 10. (1)

102

£150-200

Lot 236

235* Burridge (Frederick Jango, c. 1869-1945). The Smithy, etching, signed in pencil, plate size 190 x 245mm (7.5 x 9.7ins), framed and glazed (1)

£70-100

236* Buzzacchi (Mimi Quilichi). Panorama of Rome, 1947, uncoloured woodcut, signed, titled and numbered 13/100 in pencil by artist below image, 17 x 84 cms (6.75 x 33 inches), framed and glazed (1)

£100-150

237* Clilverd (Graham Barry, 1883-1978). H.M.S. Victory, Portsmouth, etching with drypoint, signed in pencil, plate size 302 x 200mm (11.9 x 7.9ins), framed and glazed, together with three similar signed etchings by Clilverd, including one view of York Minster, and two of cathedral interiors (presumably York also), each signed in pencil, similar sizes, matching frames, glazed, plus an early 19th century watercolour view of a continental harbour, apparently unsigned, somewhat toned, 15 x 19.5cm, period frame, glazed, inscribed in an old hand to verso ‘reputed David Cox - bought at a sale at Windsor’ (5)

Lot 237

£150-200

103

239* Craig (Edward Henry Gordon, 1872-1966). Commedia dell’Arte, wood engraving on thin japan tissue, printed in an edition of 150 copies, this copy numbered 39, signed with initials, dated, and inscribed ‘Mr & Mrs Heldane McFall from EGC’, a few pale discolouration spots, short closed tear to centre of left hand margin (generally in good condition), sheet size 177 x 243mm (7 x 9.5ins) (1)

£150-200

238* Craig (Edward Henry Gordon, 1872-1966). The Storm, King Lear, 1923, woodcut on thin japan tissue, state 5, printed in an edition of 150 copies, this copy numbered 47, signed, dated, and inscribed in pencil to lower edge ‘To Haldane McFall from his old friend’, some pale discolouration (generally in very good condition), image size 170 x 160mm (6.75 x 6.25ins), sheet size 247 x 180mm (9.75 x 7.1ins) (1)

£250-350

240* Craig (Edward Henry Gordon, 1872-1966). A Penny, 1923, copper engraving on laid paper, printed in an edition of 26 copies, this copy numbered 10, signed with initials, dated 1923, titled, and inscribed ‘To dear old Mac from EGC’, in very good condition, sheet size 215 x 140mm (8.5 x 5.5ins) (1)

Lot 239

104

£100-150

241* Croasdale (P., 20th century). An album containing thirty-eight woodcuts and wood engravings, some printed on japan, others on wove paper, and a few on thin card, c. 1929-40, various designs, including Paeonies and Centaurias, Ballet, Ambleside, Industrial Landscape, Blackburn, After Crossing the Sahara, Water Lilies, Scene in the New Forest, The Race, etc., some signed in pencil, mostly captioned, and many dated, all mounted in contemporary decorated cloth album, 4to (29 x 24cm, 11.5 x 9.5ins) (1)

Lot 242

£200-300

242* Drian (Etienne Adrien, 1885-1961). Elegante, etching with drypoint, published by Devambez for Maison Parry, signed in pencil, plate size 44 x 19cm (17.25 x 7.5ins), with margins, some light overall toning, framed and glazed (1)

£100-150

243* Greg (Barbara, 1900-1983). Landscape with sheep, woodcut on japanese tissue, showing sheep under spreading trees, signed in pencil to lower margin, image size 10 x 16.5cm (4 x 6.5ins), mounted (1)

£80-120

Lot 243

105

245* Houston (George, 1869-1947). Twelve Etchings by George Houston A.R.S.A., 1915, a set of twelve drypoint etchings, each signed and titled in pencil, plate size 17.5 x 25cm (7 x 9.8ins), sheet size 25 x 32cm (9.8 x 12.5ins), each individually mounted, and contained in original publisher’s brown half cloth portfolio, rubbed and some marks, large folio (1)

£200-300

246* Icart (Louis, 1888-1950). Montmartre, 1949, etching with aquatint, signed in pencil to lower right margin, 45 x 69cm (17.75 x 27.25ins) (1)

£200-300

244* Hayter (Stanley William, 1901-1988). Marquis de Sade, Le prisonnier des iles, Cassie & L’archipel (le rendevouz des iles), from Ombres Portées by Georges Hugnet, 1932, together four uncoloured engravings, the first and last with mezzotint, printed in an edition of 80, this print numbered 54/55, pub. by Editions de la Montaigne, Paris, April 1932, plate size 15.4 x 9.5cm, each mounted Black 62, 64-66. (4)

£400-600

247* Iwan (Friedrich, 1889-1967). Einsame Baude, Riesengebirge, circa 1930, colour etching, signed in pencil, plate size 120 x 170mm (4.75 x 6.6ins), sheet size 215 x 257mm (8.5 x 10.1ins), together with five other similar signed colour etchings by Friedrich Iwan, all views of the Riesengebirge, or Giant Mountains, in Lower Silesia (the present-day border between the Czech Republic and Poland), each signed, various sizes (6)

Lot 245

106

£200-300

248* Jacquemin (Andre, 1904-1992). Fille de Bali, 1944, etching with drypoint, signed, titled, and numbered 1/30, plate size 300 x 160mm (7.9 x 6.25ins), framed and glazed (1)

Lot 249

£70-100

249* Kasimir (Luigi, 1881-1962). Vienna, colour etching, signed in pencil, 39 x 26.5 (15.25 x 10.25 ins), framed and glazed, together with Singer (Emil, 1881-1942), St Peter's, Brno, colour etching, signed in pencil, light water stain to lower margin, plate size 55 x 40 cm (21.5 x 15.75 ins), framed and glazed (2)

251* Langmaid (Rowland, 1897-1956). The Needles, Old Portsmouth [and] Tower Bridge, together three uncoloured etchings, each signed and titled in pencil below image by artist, 8 x 28.5cms (3 x 11 inches), 10 x 33cms (4 x 13 inches) and 15.5 x 22cms (6 x 8.5 inches) respectively, mounted, framed and glazed

£70-100

(3)

£200-300

250* Kasimir (Luigi, 1881-1962). Street scene, Vienna, colour etching, signed in pencil, plate size 41 x 38.5 cm (16 x 15.25 ins), together with another etching by the same artist of St Stephen's Cathedral, Vienna interior, framed and glazed

252* Lindsay (Lionel Arthur, 1874-1961). In Zafra Market, etching, signed, from an edition of 100 signed proofs, plate size 254 x 178mm (10 x 7ins), sheet size 393 x 260mm (15.5 x 10.25ins)

(2)

(1)

£70-100

Lot 251 107

£80-120

255* Luigini (Ferdinand Jean, 1879-1943). Crepuscule en hiver, 1924, colour etching, published by L’Estampe Moderne, Paris, showing the last rays of the sun on skeletal trees in a snow-clad landscape, with crows and two hayricks, signed in pencil to lower margin, image size 47 x 59cm (18.5 x 23.25ins) (1)

£70-100

253* Lloyd (Reginald J., 1926-). Boats in a Harbour, 1996, etching, signed, dated, and numbered 17/20, plate size 203 x 149mm (8 x 5.85ins), sheet size 390 x 270mm (15.4 x 10.75ins), together with twelve other etchings by R. J. Lloyd, all printed on heavy wove paper, including Kingfisher, 1983, Ram & Harvest Moon, 1983, Girl and Screen, 1996, etc., with one or two duplicates, various sizes, sheet size generally 350 x 265mm (13.75 x 10.5ins) (12)

£200-300

256* Manet (Edouard, 1832-1883). Le Chat et les Fleurs, etching on thick wove paper, with printed signature lower left, plate size 195 x 151mm (7.7 x 6ins), sheet size 209 x 165mm (8.25 x 6.5ins), framed and glazed, with framer’s label for Man Fong, Hong Kong, to verso

254* Lloyd (Reginald J., 1926-). Screen and Sunflower, 1997, etching on thick wove paper, signed, dated, and marked Proof, plate size 150 x 200mm (6 x 8ins), sheet size 258 x 390mm (10.2 x 15.25ins), together with other etchings by R. J. Lloyd, including Owl, Girl and Screen series, The Church Gate, etc., including one or two duplicates, each signed and dated, mostly marked as proofs, a few numbered from editions of 20, sheet size 25.5 x 39cm (10 x 15.25ins) and a little smaller (12)

(1)

£200-300

108

£100-150

259* Pissarro (Orovida, 1893-1968). Ceremonial Dance, 1927, etching, final state B, signed, dated, titled and numbered 28/35, plate size 195 x 250mm (7.75 x 9.8ins), framed and glazed (1)

£100-150

257* Pennell (Joseph, 1857-1926). Garrick Theatre, London, circa 1890, etching on laid paper, signed in pencil, plate size 280 x 218mm (11 x 8.5ins), sheet size 360 x 230mm (14.25 x 9ins), collector’s mark to lower left corner (1)

£150-200

260* Pissarro (Orovida, 1893-1968). 'An Interrupted Meal', 1930, etching, numbered, titled, signed and dated in pencil to lower margin, image 27.5 x 17.5 cm (10.75 x 6.75 ins)Limited edition, 3/50. (1)

258* Pissaro (Orovida, 1893-1968). Rupert Rides, 1952, etching, final state, printed in an edition of 50, signed, numbered and titled, additionally inscribed ‘To Catlin from O.C.P.’ to lower margin, plate size 31.5 x 23.7cm (12.4 x 9.3ins), framed and glazed (1)

£200-300

(1)

109

£200-300

263* Tushingham (Sidney, 1884-1968). Sunshine and Shadow, etching with drypoint, signed in pencil, plate size 375 x 267mm (14.75 x 10.5ins), framed and glazed with Thomas Agnew labels to verso (1)

£70-100

261* Sainton (Charles Prosper, 1861-1914). Fairy reclining in the reeds; Three dancing fairies, silverpoint etchings, each signed in pencil bottom left, 39 x 24.5cm (15.25 x 9.5ins) and 38 x 31cm (15 x 12.25ins), mount aperture (2)

£100-150

262* Tunnicliffe (Charles Frederick, 1901-1979). Hard Winter, etching printed in sepia, signed in pencil, plate size 222 x 277mm (8.75 x 10.9ins), with margins, framed and glazed

264* Underwood (Leon, 1890-1975). Emperor Jones, 1927, woodcut on thin laid paper, signed and dated ‘27, numbered 2 from an edition of 50, image size 280 x 216mm (11 x 8.5ins), sheet size 405 x 270mm (16 x 10.6ins), framed and glazed

(1)

£300-500

110

£150-200

267* Walker (Frederick, 1840-1875). ‘The Lost Path’, 1863, etching, signed in pencil to lower margin, Thomas Agnew imprint of 1885 at foot, 53.5 x 42.3cm (21 x 16.75ins), framed and glazed

265* Walcot (William, 1874-1943). Whitehall, Horseguards [and] St. Pauls from the River, together three uncoloured etchings, each signed in pencil by artist below image, each approx. 10 x 15cms (4 x 6 inches), mounted, together with an unsigned etching of a marine scene by W. Wyllie (4)

Provenance: Thomas Agnew Gallery, label to verso. (1)

£100-150

£150-200

266* Walcot (William, 1874-1943). ‘Arteries of Great Britain’, five etchings, c. 1922, five drypoint etchings, each signed in pencil to lower margin, images 11 x 32.5cm (4.25 x 12.75ins), 16 x 20cm (6.25 x 8ins), 12 x 33cm (4.75 x 13ins), 9.5 x 26 (3.75 x 10.25ins) and 9 x 26cm (3.5 x 10.25ins), framed Views of the Thames, Tyne, Mersey, Forth and Clyde. (5)

268* Ward (Leslie Moffat, 1888-). Mountains and Palaces, Ronda Spain, etching, signed, titled, and marked 'trial proof after 3rd ground' below image by artist, mounted and framed but lacking glass, together with Nixon (Job, 1891 - 1938),San Viglio, Lago de Orta, etching with drypoint, signed in pencil below image, plate size 24 x 37 cm (9.5 x 14.5 inches), mounted, framed and glazed

£300-500

(2)

£100-150

269* Whitford (Désirée, early 20th century). ‘Beyond Paradise’, 1931, colour woodcut on thin paper, signed, dated, titled and numbered 1/50 to lower margin, 172 x 233mm (6.75 x 9.2ins) mount aperture, framed and glazed (1)

Lot 267

111

£70-100

ORIGINAL ILLUSTRATIONS, CARTOONS & DESIGNS

Lot 270

Lot 272

270* Belcher (George Frederick Arthur, 1875-1947). ‘Do You Know That Woman?, - ‘Only To Talk About.’, black crayon on paper, signed lower right, image with single-ruled border in blue crayon, 37.5 x 35.5cm (14.75 x 14ins), mount aperture, framed and glazed (1)

£100-150

271* Bellew (Paddy, 1905-1984). Lloyd's Golf Club holds an indoor handicap, 1934, pen and ink cartoon, signed upper right, framed and glazed The Irish cartoonist Paddy Bellew worked for the Bystander, Tatler and Men Only, and published two books of cartoons, Point of View (1935) and Private View (1937). (1) £100-150

272* Browne (Hablot Knight, ‘Phiz’, 1815-1882). ‘Venus dissuading Adonis from hunting the Wild Boar’, pencil with traces of brown wash on paper, signed in initials lower right, image 24.5 x 19cm (9.75 x 7.5ins), mounted (1)

Lot 271

112

£100-150

273* Caruso (Enrico, 1873-1921). Original pen and ink caricature of himself and four other musicians, London, May, 1905, pen and brown ink on paper, consisting of portrait and profile caricatures of Caruso, Paolo Tosti, Alberto Randegger, Antonio Scotti and Luigi Denza, with signatures of all the musicians added, including Caruso, inscribed by him ‘Fece London Maggio 1909’, 19.5 x 16cm (7.75 x 6.25ins), framed and glazed, with old label to verso of Hampstead Art Suppliers, 87 Heath Street, London NW3 (1)

£400-600

274* Furse (Roger Kemble, 1903-1972). Original costume design for Miss Joy Andrews as Madame Dupont-Fredaine, the dressmaker in Waltz of the Toreadors [by Jean Anouilh], Criterion Theatre, 1956, pencil and gouache on paper, with watercolour wash, signed and inscribed, 41.5 x 29.5cm (16.3 x 11.6ins), framed and glazed, with two books illustrated by Roger Furse (Men Dressed as Seamen, 1943 & The Tragedy of Anthony & Cleopatra by William Shakespeare, 1952) (3)

£150-200

Lot 273

275* Lee-Elliott (Theyre, 1903-1988). Ballet Dancers, gouache on paper, signed and dated, 85 x 139 mm (3.3 x 5.5 ins), framed and glazed, with additional inscription to verso 'For Clifford and Hermionie from Theyre and Jo, Christmas 1951', together with a copy of Paintings of the Ballet by Theyre Lee-Elliott (1903-1988), published by Collins, 1947

Lot 274

(1)

113

£100-150

Lot 276

Lot 278 276* Markino (Yoshio, 1874-1956). Sheet of sketches of young ladies, pen, ink and monochrome wash on paper, mounted to an album sheet, with pasted signed greeting by Yoshio Markino below 'With best wishes yours very sincerely Yoshio Markino', overall size 215 x 170 mm (8.5 x 6.75 ins), together with two mounted portrait photographs of an unidentified lady and man of the cloth, presumably taken from the same album (1)

£100-150

277* Raemaekers (Louis, 1869-1956). The Great War and What I Know About It. Facts for Discussion. “By One Who Knows”, a small booklet containing eight blank pages on which the artist Louis Raemaekers has drawn eight lively cartoon studies of members of the allied forces in pencil, black crayon and watercolour, bound in original printed wrappers, with title printed to upper wrapper, stating that the proceeds from the sale of this work will be handed to the British Red Cross Fund, stapled as issued, 92 x 75mm (3.6 x 3ins) (1)

£100-150

278* Raven-Hill (Leonard, 1867-1942). 'Boy - I want my boat back', 1929, pen and ink cartoon, relating to the sinking of the Seydlitz, signed and dated lower left, some light toning, 37 x 23.5 cm (14.5 x 9.25 ins), framed and glazed

Lot 277

(1)

114

£80-120

MODERN PRINTS

282* Braque (Georges, 1882-1963). ‘Bord de Mer’, 1960, colour lithograph, 15 x 34.5cm (6 x 13.5ins), framed and glazed (1)

£100-150

279* Bawden (Edward, 1903-1989). Billingsgate Fish Market, 2009, uncoloured lithograph after the original linocut, by Bawden, printed by the Curwen Press in an edition of 225, 57 x 71cm, framed and glazed (1)

£150-200

280* Bawden (Edward, 1903-1989). Kew Palace, 1983, colour lithograph, after the original linocut by Bawden, printed by the Curwen Press, in an edition of 160, Curwen Press archive impression, with their stamp, 47 x 61cm, framed and glazed (1)

£250-350

281* Bradley (Helen Layfield, 1900-1979). Rostherne Mere in the snow at sunrise, with promenading figures, colour photolithograph, signed in pencil lower right, image size 27 x 37cm (10.5 x 14.5ins), mounted, framed and glazed (1)

283* Cox (Morris, 1903-1998). ‘Tryst of Maiden Mummers’, 1983, two linocuts on paper, each captioned, signed and dated in pencil to lower margin (limited edition of 51?), 39.5 x 26.5cm (15.5 x 10.5ins), framed and glazed

£100-150

(2)

115

£100-150

286* L’Estampe Moderne. Deuxieme Volume, 1898-1899, fortynine (of 50) colour lithographs or chromolithographs, some heightened with gold, by Bellery-Desfontaines, Bracquemond, Fantin-Latour, Helleu, Ibels, Le Sidaner, Prouvé, Steinlein, etc., lacking the plate by Henri Martin, entitled Dante rencontre Beatrix, each with titled tissue-guard, t.e.g., contents partly loose, orig. pubs. cloth, rubbed and some soiling, with some fraying to extrems., folio (1)

284* Denny (Robyn, 1930- ). Composition, 1963, colour screenprint, signed, dated, and marked in pencil ‘Edition of 80’, image size 337 x 335mm (13.25 x 13.2ins), sheet size 460 x 470mm (18 x 18.5ins), some light toning, and pale waterstaining to lower edge, aluminium frame, glazed (1)

£1000-1500

287* Freedman (Barnett, 1901-1958). 'Music - Still life', 1951, colour lithograph, 71 x 96.5 (28 x 38 ins), framed and glazed J. Lyons & Co., series lithograph. The artist was commissioned to produce this subject to decorate their tea-shops. (1) £100-150

£150-200

288* Herron (Ron, 1930-1994). Simulation, No. 136 HE 28 CD 560, pub. Archigram, January 1973, original collage of printed colour paper and pen, titled and signed lower left, 40 x 45cm (16 x 17.75ins), card window mount 285* Done (Ken, 1940-). ‘America’s Cup Exhibition, Black Swan Gallery, Freemantle, January, 1987, colour print, sheet size 74 x 58cm (29 x 22.75ins), framed and glazed (1)

This collage is reproduced in a booklet titled ‘Environment’ published by Nairn, a copy of which is included with the lot. (2) £100-150

£70-100

116

Lot 286 117

118

289 Hockney (David, 1937-). Six Fairy Tales, From the Brothers Grimm, with Original Etchings by David Hockney, Petersburg Press in Association with the Kasmin Gallery, 1970, 39 b & w etched illustrations, tissue guards, original blue calf, a few light mottled stains, folio, together with a suite of six loose etched plates, each signed in pencil by the artist below image, captioned in ink to verso ‘Grimm Ed. A. 51/100’, a few spots to verso of last plate, contained in original blue calf portfolio, together with a miniature edition of Six Fairy Tales, Petersburg Press, 1970 (with mansucript address of the Press at front), all contained in original slipcase, folio Limited edition, Edition ‘A’ of 100 copies. Inscribed in pencil by the artist to Editions leaf: “David Hockney, Ed A. 51/100”. (3) £6000-8000

119

Lot 292

290* Hoi (Lebadang, 1923-). Horse and Girl, colour lithograph, signed and numbered 19/275 in pencil, image size 56.5 x 39cm (22.25 x 15.4ins), framed and glazed with printed authentication label of The Collector’s Guild pasted to verso, stating that only 75 prints from the edition were available in Great Britain (1)

£70-100

291* Inshaw (David, 1943-). Woman’s face with hat and veil, etching on paper, artist’s proof, signed to lower margin, print size 17 x 16cm (6.75 x 6.25ins), together with Taub (Peggy), Evening shower, uncoloured aquatint and engraving on paper, 16.5 x 19cm (6.5 x 7.5ins), signed, titled and numbered 16/30 in pencil to lower margin, light vertical creasing and small split to left margin (2)

£70-100

292* Muafangejo (John Ndevasia, 1943-1987). Elephant with its baby elephant in 1979, linocut, signed, dated 1979, and numbered 31/100, image size 46 x 36.2cm (18 x 14.25ins), sheet size 50 x 40cm (19.5 x 15.75ins), framed and glazed (1)

£200-400

293* Muafangejo (John Ndevasia, 1943-1987). Sad People according to their child is dead, 1970, linocut on paper, signed, dated and numbered 30/100, image size 518 x 337mm (20.4 x 13.25ins), sheet size 593 x 423mm (23.3 x 16.6ins), some light soiling to margins, in clip frame (1)

£300-500

Lot 293

120

Lot 294

Lot 295

294* Muafangejo (John Ndevasia, 1943-1987). Men are working in town, 1981, linocut on paper, signed, dated and numbered 76/150, some toning and light discolourlation, image size 596 x 415mm (23.5 x 16.25ins), sheet size 685 x 490mm (27 x 19.25ins), framed and glazed (1)

ÂŁ300-500

295* AR Nevinson (Christopher Richard Wynne, 1889-1946). Banking at 4000 feet, 1918, offset colour lithograph on wove paper, signed in pencil, image size 193 x 155mm, framed and glazed (1)

ÂŁ700-1000

296* Nolan (Sidney Robert, 1917-1992). Frog, monochrome screenprint, signed in pencil, image size 63.5 x 52 cm (25 x 20.5 ins), framed and glazed (1)

ÂŁ200-300

Lot 296 121

Lot 298

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

£150-200

298* Tucker (William, 1935-). Ten Variations, Leslie Waddington Prints Ltd. and Alastair McAlpine Esq., 1968, ten die cut colour screenprints collaged to paper, printed by Kelpra Studio Ltd., published by Leslie Waddington Prints Ltd. and Alastair McAlpine Esq., each marked in pencil ‘AP’ to lower right corner, and signed and dated in pencil on verso, sheet size 25.5 x 20cm (10 x 8in), loosely contained in orig. card portfolio with cloth spine, lettered in black on upper cover, corners a little rubbed and bumped, 4to Limited edition of eight numbered copies, this being an unnumbered set of artist’s proofs. (1) £300-500

299* Vasarely (Victor, 1906-1997). 0519-Bayna, 1964, colour screenprint on wove paper, with printed signature, laid on board, 345 x 345mm (13.6 x 13.6ins), framed and glazed, with printed title label to verso (1)

Lot 299

£100-150

122

Lot 300

Lot 301

302* Wood (Ronnie, 1947-). Charlie, 2002, col. lithograph on wove paper with Ronnie Wood Scream Art blindstamp to lower right corner, signed, titled and numbered in pencil (142/290) to lower margin, 41 x 32cm (16 x 12.5ins), together with a Scream Art Ltd certificate of authenticity

300* Williams (Kyffin, 1918-2006). The Farmer, His Dog, and His Cottage, 1918-2006, colour linocut on Griffen Mill handmade paper, printed by Gregynog Press, numbered 72/100, 22 x 29.5cm, framed and glazed (1)

£200-300

(1)

301* Williams (Kyffin, 1918-2006). Rhosgadfen, c. 1981, colour linocut, on Griffen Mill handmade paper, printed by Gregynog Press, numbered 72/100, 27.7 x 35.7cm, framed and glazed (1)

303* No lot

£200-300

123

£100-150

SCULPTURE

Lot 304

Lot 305

304* British School. An alabaster carving of an embracing couple, circa 1960s, nude, 3-quarter length, 54cm high on a mahogany base, 60cm overall (1)

£200-300

305* European School. A modern bronze sculptural group depicting five soldiers in 18th century dress, surrounding a further soldier with a staff, 65.5cm high (1)

£200-300

306* British School. A bronzed resin figure modelled as an allegorical figure in robes, 20th century, on an integral square base, 17cm high (1)

£70-100

Lot 306 124

307* Classical School. A carved stone head of an ancient Greek man, probably 18th century, of sizeable proportion and weathered, 32cm high, mounted on a square stone base, 46cm overall (1)

£300-500

308* European School. A modern cast lead torso of abstract form, mid-20th century, mounted on a white marble base, 15cm overall (1)

£70-100

Lot 307

309* Continental School. Corpus Christi, late 17th or early 18th century carved ivory figure of Christ on the cross, the figure attached to a wood panel painted in gold and red with carved gilt frame surround, total dimensions 35.5 x 24cm (14 x 9.5ins) (1)

Lot 308

125

£500-800

Lot 311 310* Continental School. Female street seller, late 19th century, bronze, the modelled arm outstretched with a bouquet of flowers, 20cm high on a later velvet base (1)

ÂŁ100-150

311* Duchoiselle. Native American Indian in a Canoe, late 19th century, bronze sculpture with brown patina of a North American Indian hunting in a canoe, cursive signature to base of canoe, presented on a red marble base, 38cm length, 28cm height (15 x 11 inches) Duchoiselle was a well-regarded French sculptor specialising in idealised images of Native North American. (1)

312 No lot

126

ÂŁ1000-1500

Lot 310

313* Continental School. A cast bronze abstract figure of a swimmer, c. 1950s, 42cm long, mounted on a white marble base (1)

ÂŁ300-500

314* After Giambologna (c. 1529-1608,). Mercury, 20th century, bronze figure of Mercury, typically modelled standing poised on one foot wearing winged helmet and holding a caduceus on a green serpentine base, 101.5cm high (40 ins) (1)

ÂŁ700-1000

Lot 314 127

315* Guillemin (Emile, 1841-1907). Eclaireur Ă cheval, fine bronze with brown patina, signed, mounted on 30cm (11.75ins) high, 34cm (13.5ins) wide, mounted on polished marble socle (1)

ÂŁ1500-2000

128

317* McGibbon (Reca, d. 2007). “Peter”, carved wooden head of the apostle St. Peter, mounted on a square wooden base, signed and titled in pencil on the base and with sculptor’s address in Cookham, 29cm high overall Reca McGibbon was best known for her portrait bust of her good friend Stanley Spencer, now is exhibited in the Cookham Museum. (1) £200-300

318* After Henry Moore (1898-1986). Reclining Figure, late 20th century, bronze, 9 x 16 x 9cm (3.5 x 6.5 x 3.5ins), mounted on a rectangular mottled green marble base with printed label of Detroit Institute of Arts indicating that this is an authenticated copyrighted reproduction 316* Classical School. A carved white marble head of a Greek boy, probably 19th century, 20cm high (1)

The original maquette was produced for the Elmwood figure. Moore carved a series of six Elmwood figures from 1935 to 1978. (1) £100-150

£800-1200

319* Neapolitan School. A bronze figure of Hermes, early 20th century, seated on a grey marble base, 40cm high Lot 317

(1)

129

£600-800

Lot 320 130

Lot 322

320* Neapolitan School. A bronze and green painted Satyr, late 19th/early 20th century, modelled holding a wine sack on a rectangular base, 57cm high overall

322* Romano-British School. A Roman mosaic portion of a pavement, intricately detailed with a stylised flower motif amongst scrolls, 56cm high x 66cm wide

(1)

Sold a with letter of provenance. (1)

ÂŁ600-800

321 No lot

131

ÂŁ400-600

323* Russian School. A cast iron sculpture of a dog with her puppies, on oval base, with ‘USSR’ markings to base, 32cm wide (1)

£70-100

324* After Hippolyte Francois Moreau (1832-1927). Les Hirondelles, an Edwardian spelter figure of a cherub after Moreau, on faux marble socle with brass plaque ‘Les Hirondelles, Par-Hip. Moreau’, 55cm high (some damage), together with a modern bronze figure of William Shakespeare, 33cm high (2)

£70-100

325* English School. A stone carving of a recumbent ram, late 20th century, on an integral rectangular base, 25cm long (1)

£100-150

326* Indonesian School. A large carved wood sculpture of the Va female nude, late 20th century, finely detailed on an integral block plinth, 152cm high (1)

£150-200

Lot 326

132

MODERN WATERCOLOURS & DRAWINGS

Lot 327

327* AR Ardizzone (Edward, 1900-1979). Landscape with olive trees, Tuscany, c. 1945, pencil on paper, signed with initials lower right, 24 x 32.5cm (9.5 x 12.75ins) (1)

£500-800

328* AR Ayrton (Michael, 1921-1975). Study for Steep Street, c. 1955-56, pen, black ink and wash on paper, 42 x 30.5cm (16.5 x 12ins) mount aperture, framed and glazed, with Thomas Agnew label to verso (1)

£500-800

Lot 328 133

331* Cornwell-Klyne (Adrian Bernard, 1892-1969, M.B.E., F.R.P.S.). An archive of approx. sixty drawings, sketches and studies, c. 1910s/1960s, mostly pencil or pen and ink studies of the human figure, plus a few outdoor scenes, some with watercolour or wash, various sizes, many signed and dated and several in old window mounts, together with related Cornwell-Klyne effects including b&w photos of Turner watercolours and drawings, a few Christmas cards and notes, jottings, and three strips of 35mm colour film negatives Adrian Klein was a writer, artist and wrote books on photography and cinematography. After serving as an officer in the British Army, becoming a Major in 1921, he became a Fellow of the Royal Photographic Society and changed his name to Adrian Cornwell-Klyne. (approx. 100) £150-200

329* Bradbury (Arthur Royce, 1892-1977). Two studies of the female nude, and one study of a female walker, together three coloured crayon drawings, one dated 1955, and another dated 1986, each with artist’s hand-signed label to verso, approx. 305 x 215mm and slightly smaller, matching gilt frames, glazed (3)

£200-300

330* Buren (Daniel, 1938-). A group of six original drawings relating to an unidentified exhibition, c. 1980s, coloured pencils on paper, all depicting striped designs on walls, one with pencil measurements and one with lettered positioning ideas for lighting, all unsigned and undated, 21.5 x 29cm (8.5 x 11.5ins), together with a box file of related ephemera including printed material, photocopies, transparencies, slides, photos and postcards, all relating to various Buren exhibitions and projects in the 1980s and 1990s, some of the material relating to Genesta Gallery, London (a box file)

332* Daghani (Arnold, 1909-1985). Macmillan, 1957, pen & black ink on paper, signed and dated, 41 x 29cm, framed and glazed

£100-200

(1)

134

£200-300

333* Daghani (Arnold, 1909-1985). Peasant Woman, 1969, pen, ink and monochrome wash on paper, signed and dated 26/4/1969, 65 x 50cm, framed and glazed

335* Daghani (Arnold, 1909-1985). Standing Nude, 1967, coloured crayon and ink on paper, signed and dated Feb. 1, 1967 lower right, 23.5 x 17.5cm, mounted

(1)

£250-350

£200-300

334* Daghani (Arnold, 1909-1985). Abstract Head, 1968, watercolour and black ink on paper, signed and dated 22/12/1968 lower right, 30 x 22cm, mounted

336* Daghani (Arnold, 1909-1985). Marionettes, 1960, pen and black ink with wash on paper, signed and dated Jan. 19, 1960, 33 x 31cm, framed and glazed

(1)

£200-300

135

£200-300

339* Danish School. Coastal scene with house atop a hill, 1907, watercolour on paper, signed ‘Hertha von Holstein Rathlou, Hesselhus?, 13 Sept 1907’ lower right, 21.5 x 29.5cm (8.5 x 11.5ins), framed and glazed (1)

£100-150

337* Daghani (Arnold, 1909-1985). Surrealist Design, 1972, watercolour and coloured inks on paper, signed and dated Feb. 18, 1972, 15 x 11cm, mounted, together with another small abstract design in pen and black ink on paper, signed and dated 15-3-1975, mounted (2)

£200-300

340* AR Dobson (Frank, 1888-1963). Study of a seated female nude, 1920, pencil on paper, signed and dated, 38.1 x 18.4cm, framed and glazed (1)

338* Daghani (Arnold, 1909-1985). The Accordian Player, Bucharest, 1949, pen, ink and monochrome wash on paper, signed, titled, and dated June 7, 1949, 9.5 x 22cm, framed and glazed (1)

£200-300

136

£600-900

Lot 341

341* AR Dunoyer de Segonzac (Andre, 1884-1974). Le Blond Vapoureuse, pen & ink with watercolour, signed, 31 x 41cm (12.25 x 16ins), framed and glazed (1)

ÂŁ700-1000

342* Fromme (Ludwig, early 20th century). Cheetah sitting on a rock by a river, watercolour, signed lower right, 29.5 x 46cm (11.5 x 18ins), mounted, framed and glazed (1)

ÂŁ200-300

Lot 342

137

343* Gottlieb (Henry, 1892-1966). Large study of a female nude, black charcoal on canvas, showing a seated female nude, 101 x 96cm (39.75 x 37.75ins) (1)

£200-300

344* Green (Kenneth, 1916-1973). Portrait of John Whitehorn CBE, 1979, colour pastels on grey paper, signed and dated lower left, 43 x 32cm (17 x 12.5ins), framed and glazed (1)

£100-150

345* Griggs (Frederick Landseer, 1876-1938). South Porch, Little Hadham, 1901 pen & black ink on paper, signed with monogram and dated 1901 lower left, titled in ink to lower margin, some overall toning, 150 x 205mm (6 x 8ins) mount aperture, framed and glazed The original illustration by Griggs for Highways and Byways in Hertfordshire by Herbert W. Tompkins, first published in 1902, which was reproduced without the artist’s handwritten caption on p. 318. A copy of the published work is included with this lot. (1) £600-800

346* Hanisch (Reinhold, 1884-1937). Jewish Elders taking part in a Tashlich ceremony during Rosh Hashana, reverse painting on glass, painted in black on a gold background, showing Jewish figures symbolically casting their sins into the river on the afternoon of the Jewish New Year, with associated prayer in Hebrew script to lower margin, signed lower right, 12 x 17cm (4.75 x 6.5ins), gilt beaded frame

Lot 343

Reinhold Hanisch was an Austrian who came to know Adolf Hitler when they met in a shelter for the homeless in Vienna in 1909. By the following year Hanisch and Hitler had formed a business partnership whereby Hitler painted postcards and pictures and Hanisch sold them, the two men sharing the proceeds equally. They eventually quarelled when Hitler accused Hanisch of selling one of his paintings and retaining all the money himself, which Hanisch denied. Hanisch subsequently became a painter himself, supplying, among others, the Jewish frame dealer Jakob Altenberg with pictures. He later published articles about his former business partner, describing Hitler’s frequent association with Jews during his early years in Vienna. (1) £200-300

Lot 344 Lot 347

138

Lot 345

347* Hardy (Paul, 1862-1942). Forest landscape, watercolour on board, with surface varnish, showing knarled trees on the edge of a wood at dusk, with a castle silhouetted in the distance, some marks to surface, signed lower left, 75 x 61.5cm (29.5 x 24.25ins), framed Best known as an illustrator of books and magazines, Paul Hardy exhibited a number of paintings in the 1890s, including one at the Royal Academy. (1) £100-150

348* Haste (John Barrie, 1931-2011). “Campo San Maurizio Venice”, 1971, watercolour, signed and dated lower right, 46 x 71cm (18.25 x 28ins), mounted, framed and glazed (1)

£100-150

349* Howey (Robert Leslie, 1900-1981). Buttermere, pastel on paper, signed and titled in pencil to mount, 12 x 14cm (4.75 x 5.5ins), framed and glazed (1)

£100-150

Lot 348

139

Lot 350

350* Jones (Barbara, 1912-1978). Christ’s Hospital Girls’ School, Hertford, 1950s, watercolour on paper, 32 x 44cm (12.5 x 17.25ins), framed and glazed with printed caption label (Katherine House Gallery, Marlborough) to glass lower right stating that the watercolour is signed to verso (1)

£400-600

351* Krause (W.E. Hamilton, early 20th century). “At Their Moorings”, 1907, watercolour, showing Newlyn harbour, signed and dated lower left, 13 x 21cm (5.25 x 8.25ins), gilt mount and frame, glazed, with old framer’s label ‘H. Morell’ on backboard Copy after the well-known work by Stanhope Forbes entitled ‘At Their Moorings’ painted in 1906 (Ferens Art Gallery, Hull). (1) £100-150

Lot 351

140

352* Paynton (Colin F., 1946-). Long Mynd, watercolour over pencil on paper, signed lower right, 29 x 46cm (11.5 x 18ins) mount aperture, framed and glazed, with Anthony Dawson gallery label to verso (1)

£70-100

354* Scott (Fred, 20th c.). Flying Lesson, 1993, collage of coloured and black and white printed pictorial papers, 61 x 28cm (24 x 11ins), signed and dated to lower mount, framed and glazed, together with a miscellany of sketches, scraps, photos, printed material, etc., much unsigned and unidentified, but mostly seeming to relate to Meirion Evans, some initialled ‘M.E.’, and one further artwork framed and glazed (a folder)

£200-300

353* Richards (Fred, early 20th century). “Voldendam, Holland”, 1905, pencil and watercolour, showing a windmill with peasant woman carrying pails, signed, dated and titled to lower margin, 34.5 x 24.5cm (13.5 x 9.5ins), mounted, framed and glazed

355* Shanks (Tom Hovell, 20th c.). Ben Lomond, from Kintra, 1958, watercolour on paper, signed and dated lower right, 52.5 x 74.5cm (20.5 x 29.25ins), framed and glazed

(1)

£150-200

141

£200-300

358* AR Tarrant (Margaret Winifred, 1888-1959). Fairy with Cherry Blossom, watercolour with pencil on paper, signed lower right, 19 x 14cm (7.5 x 5.5ins), framed and glazed (1)

£2000-3000

356* Shipsides (Frank Winston, 1908-2005). “Dusk”, watercolour, showing a schooner with a tug alongside, signed lower right, 25 x 36cm (10 x 14.25ins), mounted, framed, and glazed, titled in pencil on backboard Frank Shipsides was born in Mansfield, Nottinghamshire in 1908, and lived primarily in Bristol, where he exhibited at the Alexander Gallery, and was President of the Bristol Savages in 1974/75 and 1984/85, receiving an honorary MA from the University of Bristol in 1989. (1) £150-200

359* Van Lynden (Francoise, 1922-). Study of a fine drawing room with classical fireplace, 1983, pencil and watercolour on wove, signed and dated lower left, 37 x 27cm (14.5 x 10.75ins), framed and glazed (1)

357* Shipsides (Frank Winston, 1908-2005). “Harmonious”, watercolour, showing several men on the deck of a ship, two of them wrestling, signed lower right, titled lower left, 26 x 36cm (10.5 x 14ins), mounted, framed, and glazed (1)

£150-200

142

£200-300

Lot 358 143

361* Williams (Ivor, 1908-1982). Still life of flowers, watercolour, showing delphiniums and roses in a blue and white striped jug, signed lower left, 34.5 x 25cm (13.5 x 10ins), mounted, framed and glazed Ivor Williams was the son of distinguished Welsh painter Christopher Williams RA (1873-1834) and Emily Appleyard (sister of the artist Fred Appleyard). He trained at the Central School of Art and Design and later at the Slade School of Art. He is best known for portraiture and large scale figure compositions, and he exhibited widely, including at the Royal Academy. (1) ÂŁ100-150

360* Walden (M.F., early 20th century). Portrait of a man, 1920, watercolour, head and shoulders portrait of a dark-haired young man wearing a blue jacket and a purple tie, signed and dated lower right, 31 x 20cm (12.25 x 8ins), mounted, framed and glazed, with Rowley Frames label on verso, together with Portrait of a woman, pencil, half-length portrait of a seated woman with hands clasped, signed lower right, 32 x 20cm (12.5 x 8ins), mounted, framed and glazed, with Rowley Frames label on verso (2)

ÂŁ100-150

144

MODERN PAINTINGS

362* AR Ambrogiani (Pierre, 1907-1985). Still life of vegetables, oil on canvas, showing a basket of vegetables on a table, incl. carrots, marrows, tomatoes, aubergines, cabbages, signed lower left, 71.5 x 91cm (28 x 35.75ins), framed (1)

ÂŁ4500-5000

145

363* Board (Ernest, 1877-1934). “Study of a Monk’s Head”, 1913, oil on board, signed and dated lower right, 29 x 34cm (11.25 x 34.5ins), framed and glazed, with artist’s ms. studio label on verso (2)

£200-300

364* Brooks (R., 20th century). American sailing vessel, mid 20th century, oil on board, showing an American merchant ship ketchrigged, signed in red lower left, 40 x 50cm (15.75 x 19.75ins), framed

365* Buys (Jan, 1909-1985). Two African tribesmen in a landscape, oil on card, signed lower right, 51 x 25.5cm (20 x 10ins), framed and glazed

(1)

£100-150

£200-300

366* Centkiewicz-Michalska (Halina, 1912-2007). Still life of a vase of flowers, oil on canvas, signed lower right, 45.5 x 32.5cm (18 x 12.75ins) (1)

146

£200-300

Lot 369

367* Dain (Michael, 20th century). “Two Figures in a Field”, 1965, oil on canvas, showing a sunlit landscape with a male and a female figure in a large crop field, with a hedge behind, signed and dated lower left, verso also with artist’s signature and titled in his hand, 38 x 38cm (15 x 15ins), framed (1)

£100-150

370* Francis (Thomas Edward, 1873-1961). St. Bartholomew’s Church, Otford, Kent, oil on canvas, signed lower right, titled in an early hand to verso of stretcher, 35.5 x 53.5cm (14 x 20ins), framed (1)

£200-300

368* Dunlop (Ronald Ossory, 1894-1973 ). “In the Woods”, oil on card laid down on board, signed lower right, 19 x 26.5cm (7.5 x 10.5ins), framed, with ‘The Arun Art Centre’ title label on back board, together with another oil on hardboard, showing figures in a landscape, signed lower right, 15.5 x 22.5cm (6 x 9ins), framed Ronald Ossory Dunlop was born in Dublin, and educated at Wimbledon School of Art, as well as in Manchester and Paris. In 1923 he founded the Emotionist Group of Writers and Artists. He held his first one-man show at the Redfern Gallery in 1928. (2) £300-400

369* Finny (Richard Jeffery, 1909-). Warehouses at Isleworth, oil on board, signed lower left, 32.5 x 39cm (12.75 x 15.25ins), framed (1)

371* Garrard (Peter John, 1929-2004). Apple trees near the Jagerwirt, oil on canvas, initialled lower left, 46 x 66.5cm (18 x 26.25ins), gilt moulded frame, King Street Galleries label to verso dated 21.6.84

£200-400

(1)

147

£150-200

372* AR Gear (William, 1915-1997 ). Untitled, 1962, mixed media (coloured ink and crayon) on paper, signed and dated lower right, 78 x 57cm (30.75 x 22.5ins), framed and glazed (1)

ÂŁ1200-1800

148

373* AR Gear (William, 1915-1997 ). Landscape, Yellow/Orange, October 1962, oil on canvas, signed and dated lower right, restretched by the artist June 1990, additionally signed, titled and dated to reverse with further note in the artistâ&#x20AC;&#x2122;s hand concerning the restretching of the canvas to verso, some consequent light unobtrusive creases to the canvas, 122 x 81.5cm (48 x 32ins), framed (1)

ÂŁ5000-7000 149

374* Graham Brown (Eva, 1875-1965). Figures before a temple in India, oil on canvas, signed lower left, 54.5 x 47.5cm (21.5 x 18.75ins), mounted (1)

ÂŁ150-200

375* AR Hamilton (Letitia Marion, 1878-1964). Irish landscape, oil on wood panel, showing a group of cottages amidst fields huddling under a stormy sky with scudding clouds, initialled lower left, 30.5 x 31.5cm (12 x 12.25ins), framed Letitia Marion Hamilton was an Irish artist who, with her sister Eva, studied under William Orpen at the Metropolitan School of Art in Dublin and under Frank Brangwyn. She was the great-granddaughter of the artist Caroline Hamilton (1771-1861). Letitia was a prolific painter of the Irish countryside, exhibiting more than 200 paintings at the Royal Hibernian Academy, of which she became a member in 1943. She was a founder member of the Society of Dublin Painters in 1920, which marked the start of modernism in Irish art. (1) ÂŁ1500-2000

Lot 374

Lot 375 150

376* Hennah (Joseph Edward, 1896-1963). “Symonds Yat”, oil on canvas, wooded landscape with the River Wye, 33 x 76.5cm (13 x 30ins), framed, with signed ms. title label to verso (1)

£100-150

378* John (Vivien, 1915-1994). Study of flowers and foliage, oil on paper study of datura, rhododendron and climbing plumbago, signed lower right, few pin holes to edges, framed, 76.5 x 56cm (30 x 22ins), together with French School, Waterlilies, 1970, oil on canvas, signed Linnette and dated lower right, 41 x 51cm (16 x 20ins), framed

377 Isherwood (Lawrence James, 1917-1988). Irish Miner, oil on board, signed lower right, 41 x 30.5cm (16 x 12ins) (1)

£400-600

(2)

151

£150-200

379* Kadar (Bela, 1877-1956). Zwei Madchen, gouache on paper, signed lower left, 29 x 23.5cm (11.5 x 9.25ins), framed and glazed, with Anthony Hepworth gallery label to verso Provenance: Private collection, Bristol. (1)

ÂŁ500-800

380* Le Bas (Rachel Anne, 1923-). Autumn Storms on Exmoor, oil on canvas, relined, 60.5 x 92cm (23.75 x 36.25ins), framed Provenance: artist address and picture title in manuscript to verso. (1) ÂŁ200-300

Lot 379

Lot 380 152

381* AR MacTaggart (Sir William, 1903-1981). “Plough and Stubble, East Lothian”, oil on board, signed lower left, 17.5 x 23cm (7 x 9ins), gilt moulded frame, inscribed in the artist’s hand to verso ‘Plough and Stubble, W. MacTaggart RSA Jr.’ and with printed exhibition label Provenance: Bonhams, Edinburgh, lot 38, 23rd April 2009, ‘Property of a Lady of Title’. Exhibited: Aitken Dott & Son (The Scottish Gallery), Festival Exhibition, 1959, no 34. (1) £2000-3000

153

382* Matthews (Les, 1946-). Venus of the Clearing, 1979, oil on canvas, signed and dated December 1979 to lower centre, 91 x 142.5cm (36 x 56ins), framed, with title and presentation inscription by the artist to stretcher verso (1)

£300-400

Lot 384

383* Matthews (Les, 1946-). The Star of the Andromeda Spiral, 1973, oil on canvas, signed and dated lower centre, additionally titled and inscribed with the artist’s name and address to verso of stretcher, 109 x 137cm (43 x 54ins), framed and glazed (1)

£300-500

384* Matthews (Les, 1946-). Holding the Histories of the Night, oil on canvas, 101.5 x 71cm (40 x 28ins), framed, with title, artist’s name and address handwritten to verso of frame (presumably in the artist’s own hand) (1)

£200-300

385* Maynard (A.F., early 20th century). Coastal landscape, oil on canvas, sunlit seascape with waves crashing onto rocks, signed lower left, 61.5 x 82cm (24 x 32.25ins), framed Provenance: The Tilley family, Alvescot Lodge, Oxfordshire. (1)

Lot 385 £150-200

154

386* Moroney (Ken, 1949-). Next door gardens, 1983, oil on board, 130 x 180mm (5 x 7ins), framed with David Messum gallery label to verso, giving the artist’s name, title of the work, and date

Lot 388

Irish artist Ken Moroney lives and works in London. His ‘plein-air’ style is reiminiscent of the Newlyn School and later landscape artists such as Edward Seago and Edward Wesson. (1) £150-200

387 Ogilvie (James Gordon, 1901-1972). Summer landscape with harvest, oil on canvas, signed lower right, 30 x 40cm (11.75 x 15.75ins), framed (1)

£150-200

388* Panting (Arlie, 1914-1989). Totemic figures, 1960, oil on canvas, signed and dated lower right, 76.5 x 101cm (30 x 43.75ins) Milwaukee born, Arlie Panting painted in London from the mid 1950’s onwards, her neo-romantic style incorporating American influences, ‘It is very much an art that gives a personal mood with a sensitivity and serenity that recalls something of the Italian Primitives... It is very much the romantic spirit - suffused with reverie.’ (Conroy Maddox, Art Review, October 29, 1966). (1) £150-200

389* Panting (Arlie, 1914-1989). ‘Eternal Rectangle’, 1971, oil on canvas, signed and dated lower right, 76 x 55.5cm (30 x 21.75ins) (1)

155

£100-150

392* Pernes (Leo, c.1910-1960). Harbour scene, oil on canvas, showing a busy sunlit harbour with boats and figures, signed lower left, relined, 38 x 46cm (15 x 18ins), framed (1)

£200-300

390* Panting (Arlie, 1914-1989). ‘Proserpine’, 1979, oil on canvas, signed and dated lower right, 50.5 x 40.5cm (19.75 x 16ins) (1)

£100-150

393* Popiashvili (Avtandil, 1944-). “Spring”, oil on canvas, ms. inscription on verso giving artist’s name and title, 40 x 49.5cm (15.75 x 19.5ins), framed Born in Georgia, Avtandil Popiashvili studied at the Nikoladze Art School and the Tbilisi Academy of Art. Particularly known for the vividness of his palette, the artist has exhibited widely. (1) £300-500

391* Panting (Arlie, 1914-1989). ‘Autumn’, 1985, oil on canvas, signed and dated lower right, 61 x 91cm (24 x 35.75ins) (1)

£150-200

156

394* AR Portway (Douglas Owen, 1922-1993). Reclining Nude, 1988, oil on paper, signed and dated lower right, 74.5 x 56.5 cm (29.25 x 22.25 ins), framed and glazed (1)

ÂŁ1000-1500

157

397* Sauter (Rudolph Helmut, 1895-1977). ‘The White Sail’ (Littlehampton), 1929, oil on board, signed and dated lower right, handwritten label to verso, 24 x 33cm (9.5 x 13ins), framed

395* Saum (Hans, early 20th century). Mountain landscape, Grainau, oil on board, signed and titled lower left, 51 x 61cm (20 x 24ins), period cream and gilt decorative frame (1)

(1)

£200-300

398* Seerey-Lester (John, 1945-). Northern street scene in the 1930s, 1982, oil on canvas, showing a shop-lined street in the 1930s with shoppers and a delivery boy with bicycle, with factories in the background, signed and dated lower left, 45 x 55.5cm (18 x 22ins), framed

396* Sauter (Rudolph Helmut, 1895-1977). ‘The Waning Moon’, Tucson: Arizona, 1931, oil on board, signed and dated lower left, 24 x 33cm (9.5 x 30ins), additionally signed, titled and dated by the artist to verso, and with his address label pasted to verso (1)

£150-200

£300-500

Award-winning artist John Seerey-Lester is best-known for his wildlife subjects, but he also has an interest in figurative and nostalgic paintings. (1) £400-600

158

399* Still life. Flowers, fruit, and a jug on a table, early 20th century, oil on canvas, showing vine leaves, chrysanthemums, a variety of fruit, incl. grapes, melon, pears, figs, apples, tomatoes, and a blue and white glazed jug, relined, 50 x 76cm (19.75 x 30ins), framed (1)

ÂŁ200-300

400* AR Stockham (Alfred, 1933-). Seated woman in a park, circa 1970, oil on board, framed and glazed Provenance: Purchased by the current owner in the 1970s. An accomplished colourist, Alfred Stockham studied at Camberwell, and the Royal College of Art after six years in the Royal Navy. He taught fine art at Bristol Polytechnic from 1968, finishing as Head of Fine Art 1987-88. His work has been extensively exhibited in London and the West Country, and his work has appeared regularly at the Royal Academy and Royal West of England Academy Summer and Autumn Exhibitions. (1) ÂŁ400-600

Lot 399

Lot 400

159

401* Thysebaert (Louis, 1879-1962). The Lute Player, after Frans Hals, oil on canvas, signed lower right, 60 x 50cm (23.75 x 19.75ins), framed (losses to moulded edges of frame) (1)

£200-300

402* AR Webb (Kenneth, 1927-). “Landscape with Bog nr Glenbeigh”, County Kerry, oil on canvas, signed lower right, 40 x 101cm (15.75 x 39.75ins), mounted, framed and glazed, with label to verso ‘The Ritchie Hendriks Gallery, Dublin’ (1)

£1000-1500

403* Willoughby (Vera, 1870-1939). Pasiphae, tempera on wood panel, bears monogram lower left, some marks and surface wear, signed and titled by the artist to verso (somewhat indistinct), 66.5 x 73.5 cm (26.25 x 29 ins) Hungarian-born Vera Willoughby studied at the Slade School of Fine Art in London, and designed a number of posters for the Underground Group between 1928 and 1935. (1) £700-1000

Lot 401

Lot 402

160

Lot 403

161

404* Wilson (Robert Arthur, 1884-1979). Still life of peaches on a table, oil on canvas, with paper label to verso giving the name of the artist, 65.5 x 72.5cm (25.75 x 28.5ins), pale green stained wood frame Provenance: By direct descent from the artist. (1)

£300-500

406* Attributed to Douglas Owen Portway (1922-1993). African landscape with figures, watercolour and gouache on thick paper, unsigned, 39.3 x 53cm (11.5 x 20.8 ins), framed and glazed

405* Manner of Christopher Wood (1901-1930). River landscape, c.1920s, oil on canvas, showing a rowing boat, block, boat hook, cannon, and buoy, on a wooden deck by a river with sailing boats and pollarded willow trees, some surface soiling and discolouration, and short closed tear to left-hand margin, 45 x 58mm (18 x 22.75ins), framed (1)

Provenance: From the collection of the owner of lot 394 in this sale. (1) £300-500

£300-500

162

DAY TWO

CERAMICS & GLASS To commence at 11am 409* A collection of ceramic birds, including a Sitzendorf Jay modelled on tree stump, blue mark to base, 26cm high; a Hutschenreuther woodpecker on a tree stump, 26cm high (some damage); a Goebel Jay, 24cm high, plus a Goebel woodpecker, 19cm high, and three others (7)

£100-150

407* A Beswick pottery pigeon, typically painted, incised mark to base and original label, 20cm long, together with a Beswick perch, No. 1875, 16cm long (2)

£50-70

410* A Victorian Minton pottery charger, painted with a kingfisher amongst foliage on a brown ground, impressed mark to base, 39cm diameter (1)

408* Brotherhood of Ruralists. An assorted group of eighteen original prototype pots and pot lids with designs by Peter Blake, David Inshaw and Anne Arnold, c. 1983, comprising one pot with hinged lid, seven pot bases and ten pot lids, most pot and pot lid diameters approx. 6cm, plus three related small tiles and an orig. colour proof showing the three designs, sheet size 38 x 51cm (15 x 20ins)

£80-120

It is understood that these ceramic pot and lid samples were intended for the Tate Gallery but were eventually never produced. All the pots, lids and tiles are glazed with the design of one or other artist. (22) £200-300

411* An Art Nouveau WMF claret jug by Warszawa, the ruby glass jug encased in stylised mounts depicting a female picking fruit, with hinged cover and handle, manufacturers stamp to base, 35cm high

Lot 409

(1)

164

£200-300

412* A collection of Coalport figurines, comprising “Cinderella’s Ball”; “Epsom Summer Ball”; “The Rainbow Ball”; “Poppy Ball”; “Lauren”; “Rose Ball”; “Loves Dream”; “In Love”, together with a Royal Doulton figurine “Old Country Roses” plus a Beswick pottery lion cub and Sylvac dog (11)

414* A Dutch polychrome delft plate, 19th century, decorated with a vase of flowers within a blue ring border amongst flowers and white and blue scroll border leading to a shaped edge, 21.5cm diameter (hairline crack), together with a Japanese Satsuma pottery tea set comprising teapot, sugar bowl and cover, milk jug, six cups and six saucers, all decorated with warriors, red marks to base

£100-150

(16)

£100-150

415* A pair of Doulton amphora shape vases by Thomas Phillips, circa 1900, each with hand painted floral sprays with gilt painted outlines on a blue scale ground, each signed ‘T. A. Phillips’, green ‘Doulton Burslem England’ mark to base, impressed ‘840’, 24cm high Thomas Phillips worked for Royal Doulton at Burslem between 1888 and 1930, Phillips formerly served an apprenticeship with Worcester. Phillips specialised in painting ‘Spanish’ style pieces, a type of decoration developed by the then art director John Slater which involved hand painted florals outlined in raised gold. (2) £300-500

413* A Victorian ruby glass decanter and stopper etched with grape and vine decoration, supported in an electroplated bottle stand with ‘Patent’ adjustable neck, with scroll handle, 38cm high, together with three ruby glass vases, all with differing wheel cut decoration, plus a large green glass vase of long slender form, enamelled with foliate decoration, 42cm high (5)

£100-150

416* A Fabergé frosted glass lioness on a plinth, signed ‘Fabergé 001/100’, 35cm wide (minor damage), together with a pair of coloured glass ornaments, each moulded as a teardrop in blue and red swirls, 28cm high, plus other coloured glass including a modern laticinio bowl, the base inset with millefiori, 11cm diameter (5)

Lot 414

165

£100-150

Lot 417

Lot 418

417* An Art Nouveau iridescent circular inkwell, with brass top and applied metal organic decoration, stamped ‘DEP.10385, R.G.M. 168180’, 7cm high together with a white metal jug in the Art Nouveau style, the base stamped ‘Etain Garanti’, 17cm high (2)

£100-150

418* A pink lustre pottery jug, early 19th century, printed with scenes of snipe shooting and coursing, with moulded handle and spout, painted ‘3’ on base, 12cm high (1)

£70-100

419* Leach (Bernard Howell, 1887-1979). Large Stoneware dish, c. 1966, a large circular stoneware dish, decorated with a flying bird to centre, and border of curved thick strokes in black on a mottled brown ground, with St. Ives and B.L. impressed stamps to base, diameter 35cm A similar example of a stoneware dish with bird motif is illustrated in Carol Hogben, The Art of Bernard Leach (1978), illustration 115. Provenance: Private collection, Gloucestershire. A photographic certificate of authenticity, signed by David Leach accompanies this lot. (1) £2000-3000

420* A Lladro figure of a girl with parasol, 31 cm high, together with a porcelain figure modelled as an Art Deco nude flapper, ‘Wien’ printed mark to base, 32cm high; together with a Lladro figure of a Geisha girl, 28cm high (damaged); a Royal Doulton cylindrical twin handled vase printed and painted with flowers on an ivory ground, 21cm high (damaged), plus six pottery cider mugs, various sizes including a Victorian oversized mug, printed in black, ‘The Farmer’s Arms’, 16cm high (9)

Lot 420

£70-100

166

Lot 419

167

Lot 421

168

421* A Victorian Minton majolica garden seat, modelled as a crouching monkey holding a coconut whilst supporting a tasselled pillow above its head, (unmarked), on a faux woven base, 47.5cm high, old chip to base (1)

422* A saltglaze stoneware maquette attributed George Tinworth, c.1900, sculpted as a seated model of Sir Henry Doulton by his desk, incised with ‘GT’ monogram, 9.5cm high Provenance: Pulver Collection. It has been suggested by Geoffrey Godden that this was a prototype for a larger model of Tinworth’s employer which was never commissioned and therefore only bears the artist’s monogram and not the factory stamp. George Tinworth (1843-1913), worked for the Doulton Factory at Lambeth from 1867 until his death. (1) £500-700

£2000-3000

423* A pair of Victorian blue and white meat pots, manufactured by Don Pottery of Swinton, Yorkshire, each of oval form printed with Italian Views, ‘Black Swan’ printed mark to bases, 9cm wide Although the pieces do not bear the maker’s mark, they are printed with part of a view from Don Pottery’s well known ‘Named Italian Views Series’. The Black Swan more than likely relates to a tavern or ship for which they were manufactured. Illustrated in The Dictionary of Blue and White Pottery, by Coysh & Henrywood (vol. 1, p. 44). (2) £100-150

424* A rare Mintons plate, manufactured for The Cunard Steamship Company, printed with the R.M.S. Lusitania within scroll border, printed mark to base, 23.5cm diameter (1)

| Lot 422

169

£50-70

427* A modern Sèvres style planter, with printed and painted sprays of flowers in a gilt painted border on a bleu-celeste ground, with gilt metal mounts including mask head handles, printed Russian mark to base, 40cm wide (1)

£100-150

425* A Victorian oil lamp, with orange glass shade above cut glass reservoir supported by fluted brass column on black glass base, 79cm high, together with another oil lamp with amber glass shade, clear glass reservoir on brass and black glass base, 53cm high (2)

£100-150

428* A Sitzendorf porcelain centrepiece, the floral encrusted pierced basket supported by three cherubs, 31cm high (loose on base) (1)

426* A Victorian oil lamp with cranberry shade, pink milk glass reservoir on an embossed brass and black glass base, 61cm high together with another oil lamp with etched glass shade, pink glass reservoir printed with fruit on a brass and black glass base, 57cm high (2)

£100-150

170

£70-100

429* A Royal Copenhagen figure, modelled as a young deer on a grassy base, green printed mark to base and blue waves mark, 28cm high, plus a Melba ware pottery Hereford bull, 15cm high

432* A Royal Worcester blush ivory swan, late 19th century, modelled as a swan supporting a woven bowl, date mark for 1899, no. 532, 19cm high

(2)

(1)

£70-100

433* A Swedish glass vase by Strombergshyttan, with straight tapered sides engraved with three geese, manufacturers markings and original label, 16.5cm high

430* A Royal Doulton figural group, “Tango” HN 3075, green printed mark to base (seconds), 33cm high, together with three Coalport figures comprising “Emma”, limited edition no. 153/7500, “Mystique”, limited edition no. 2761/9500, “Diamonds & Roses”, limited edition 598/7500 (4)

(1)

£70-100

£100-150

434* A pair of Victorian ruby glass table lustres, each with clear cut glass drops, 28cm high (some damage), together with a pair of large Victorian green glass lustres each with wheel cut decoration, 37cm high (lacking drops)

431* Royal Doulton Figurines, “Rachel” HN3976; “Lauren” HN 3975; “Sarah” HN 3978; “Kirsty” HN 2381 and “Country Rose” HN 3221 (5)

£100-150

(2)

171

£100-150

THE AUDREY DOWNES-HALL COLLECTION OF GAUDY WELSH POTTERY ‘Gaudy Welsh’ is a term used to denote pottery and porcelain, which was hand painted on an assortment of bodies (always white) manufactured from circa 1820 to 1890, using a specific palate of colours unique to this type of ‘cottage’ ware, South (Monica. A.), Gaudy Welsh, A Visual Reference Book, 1997 refer

435* A Royal Crown Derby part tea service, decorated in the Imari pattern, comprising teapot and cover, twin handled sucrier and cover, five bute shape teacups and five saucers, square sandwich plate and five side plates, printed and infilled in red, blue and gold, some pieces printed ‘Tiffany & Co, New York’, all bearing red mark to base c.1945 (-)

437* Gaudy Welsh. A collection of Grape Pattern mugs, including a cider mug with concave sides, acanthus moulded handle on a raised foot, 7.5cm high, plus five child’s mugs, approx. 5cm high (some damage)

£150-200

(10)

436* A Victorian blue and white pottery ‘Napoleon’s Victories’ ewer and basin, c.1835-40, manufactured by William Smith & Co, Stafford Pottery, Stockton-on-Tees, Yorkshire, the baluster ewer printed with battle honours and advancing army, blue ‘XI’ stamp to base, 24cm high, the basin similarly printed and with impressed manufacturers stamp, 35.5cm diameter

£100-150

438* Gaudy Welsh. A collection of Chinoiserie Pattern mugs, all very similar including a mug with concave sides with printed and hand-coloured panels decorated with figures within gold painted borders on a dark blue ground with flared and raised foot and scroll handle with spur, 6.5cm high (7)

Illustrated in The Dictionary of Blue and White Pottery, by Coysh & Henrywood (vol 1., p. 257). (1) £300-500

£80-100

439* Gaudy Welsh. A rare Mandarin Pattern miniature chamber pot, of baluster form with two panels printed and hand-coloured decorated with figures in the Chinoiserie style on a blue ground with loop and spur handle, 6cm high, together with a similarly decorated one, 6cm high (2)

172

£70-100

444* Gaudy Welsh. A rare pair of dresser jugs in the Llanrust Pattern, each of pedestal baluster form with moulded spout and scroll handle, 17cm high

440* Gaudy Welsh. A part tea service in the rare Crest Pattern, comprising tea pot, sucrier and cover, milk jug and slop bowl, cake plate plus tea cup and saucer, the teapot of squat ogee form with domed cover with ring handle, moulded spout and handle on a shaped flared foot, 20cm high (6)

(2)

£100-150

445* Gaudy Welsh. Three jugs in the Cambrian Rose Pattern, each with moulded spout and scroll handle, 17cm high, 15.5cm high, 15cm high

441* Gaudy Welsh. A collection of mugs comprising Glamorgan Pattern, concave sides, scroll handle on raised foot, 8cm high; rare Cynon Pattern, 6.2cm high; Wagon Wheel, 7.4cm high; plus an unidentified pattern, 7.5cm high (4)

£100-150

(3)

£80-100

442* Gaudy Welsh. Three very similar miniature jugs in the Chinoiserie Pattern, including an ovoid jug with printed and handcoloured panels decorated with figures, on a dark blue ground with gold painted borders, the neck with moulded beading on a reeded foot with scroll handle, 8.5cm high, together with a similarly decorated mug, 8.5cm high and jug 7.5cm high (5)

£70-100

443* Gaudy Welsh. A collection of items, comprising Floret Pattern cup and saucer, 5cm high (saucer 14.5cm diameter); Feather Pattern slop bowl, 8.5cm high, plus plate, 23cm wide; pair of Straw Flower Pattern plates, 20cm diameter; Floret Pattern sandwich plate, 25cm wide, plus a small Columbine Pattern oil jug dish, 11cm diameter (7)

£80-100

446* Gaudy Welsh. A similar pair of jugs in the Amranwen Pattern, each with moulded spout and handle, 20cm high, 18cm high (2)

173

£80-100

452* Gaudy Welsh. A pair of Conwy Variant Pattern jugs, each with shaped rim and handle, 18cm high, together with a Llangollen Pattern jug, 16cm high, plus Conwy jug, 13.5cm high (4)

447* Gaudy Welsh. A rare jug in the Llangwm Variant Pattern, with shaped rim and scroll handle, 20cm high (1)

453* Gaudy Welsh. A cider mug with scroll handle on flared foot, base inscribed ‘500 of these traditional Cider Mugs were reproduced by Wade Potteries for the Taunton Cider Company 1987’, 10cm high, together with three Gwent Pattern mugs, 8cm high and smaller

£100-150

448* Gaudy Welsh. A mixed collection of items comprising a Toby Ware cream bowl, with black ‘Allertons’ back stamp, 7.5cm wide, five tea cups and saucers including Tulip Variant Pattern and Wagon Wheel, 4cm high plus a Toby pepper pot with black ‘Allertons’ back stamp, 12.5cm high (7)

(4)

454* Gaudy Welsh. A Vine Pattern tea service, comprising teapot, two milk and cream jugs, two sandwich plates, six tea cups and saucers, teapot 20cm high (12)

£100-150

450* Gaudy Welsh. A large Grape Pattern punch bowl, with shaped rim, incised decoration on pedestal foot, 28.5cm diameter, some damage (1)

£50-70

451* Gaudy Welsh. A Garland Pattern part tea service, comprising pedestal teapot, milk jug and three cups and saucers, teapot 20cm high (5)

£80-100

£70-100

449* Gaudy Welsh. Three jugs in the Grape Pattern, 19cm high, 18cm high, 14cm high, together with a Tricorn/Powys jug, 10.5cm high, plus Feather Pattern jug, 14cm high (5)

£100-150

£70-100

174

£100-150

458* Gaudy Welsh. A collection of seven oil jugs, in various patterns including Tartan Pattern, 13cm high, Hexagonal Pattern, 10cm high, plus a Grape Pattern cockle dish, 14.5cm diameter 455* Gaudy Welsh. A Drape Pattern jug with moulded spout and scroll handle on pedestal foot, 15.5cm high, together with two further jugs in the same pattern, plus two Pagoda Pattern jugs, 16cm high and 13cm high (5)

(8)

£80-100

459* Gaudy Welsh. A Strawberry Pattern miniature mug decorated on a blue ground with gold painted borders, 5.5cm high, together with two further miniature mugs in the Floret Pattern, each 5.5cm high

£80-100

(3)

£70-100

456* Gaudy Welsh. An Oyster Pattern cream jug, with beaded borders and moulded spout, 9.5cm high, together with three further jugs including Glamorgan Pattern, 13cm high, plus a Thrift Pattern jug and slop bowl, 15cm diameter

460* Gaudy Welsh. A Grape Pattern mug, with concave sides, moulded handle on flared foot, 8.5cm high, together with five Grape Pattern miniature mugs, approx. 5cm high

(5)

(6)

£50-70

£70-100

461* Gaudy Welsh. A Tea House Pattern twin handle sucrier and cover, on a shaped foot, 17cm high, together with a Drape Pattern baluster vase, 10cm high, a Prince of Wales Pattern cup and saucer, plus Cobaea Pattern ovoid jug, 10cm high (4)

457* Gaudy Welsh. A set of three Sunflower Pattern graduated jugs, each with zoomorphic handle, 16cm high, 14.5cm high, 12.5cm high, with black ‘Allertons’ back stamp, together with four further jugs in the same pattern (7)

£50-70

462* Gaudy Welsh. A collection of six slop bowls, including Angel’s Trumpet (Datora) Pattern, 16cm diameter, Oyster Pattern, 16cm diameter, plus Tulip Pattern, 16cm diameter (6)

£100-150

£80-100

463* Gaudy Welsh. A Dotted Circle Pattern trio, comprising circular sandwich plate, 21cm diameter, and cup and saucer, together with another in the Nasturtium Pattern, the sandwich plate 22cm wide (4)

175

£70-100

469* Gaudy Welsh. A collection of items including Wagon Wheel slop bowl, 14.5cm diameter, two Grape Pattern tea cups and saucers, an Oyster Pattern cream jug, etc. (14)

£50-70

470* Gaudy Welsh. A Dillwyn Pottery, Swansea jug, with shaped rim and scroll handle, 16cm high, together with a Grape Pattern cake plate, a slop bowl plus a Staffordshire jug in the Gaudy style (4)

£50-70

471* Gaudy Welsh. A collection of jugs including Gwynedd Pattern, 15.5cm high, plus a smaller jug in the same pattern, 14cm high, two dragon handle jugs, 17cm high, 15cm high (5)

£50-80

464* Gaudy Welsh. A rare Rhos-Mair Pattern sandwich plate, 23cm wide, together with two further sandwich plates including Waterlily Pattern, 24.5cm wide, plus Vine Pattern sandwich plate, 25cm wide

472* Gaudy Welsh. A collection of Floret Pattern teawares, comprising three tea cups and saucers, slop bowl and cake plate

(4)

(5)

£70-100

£50-80

465* Gaudy Welsh. A collection of six tea cups and saucers, comprising Trumpet Pattern; Caerleon Pattern; Burma Pattern; Pyrethrum Pattern; Persian Pattern; Basket of Flowers Pattern (6)

£70-100

473* Gaudy Welsh. A collection of sandwich plates, including Pin Wheel Pattern, 22cm wide, plus two Floret Pattern plates, 22cm wide

466* Gaudy Welsh. A collection of six tea cups and saucers, comprising Cobea Pattern; Drape Pattern; War Bonnet Pattern; Shrimp Pattern; Penhant Pattern; Enfys Pattern (6)

(5)

£70-100

467* Gaudy Welsh. A collection of six tea cups and saucers, comprising Vine Pattern, Trumpet Pattern, two Columbine Pattern, Parkland Variant and St. Hilary Pattern (6)

£70-100

474* Gaudy Welsh. A rare Pattern sandwich plate in blue and green with shaped rim, 25cm wide, together with a Blueberry Pattern cake plate, 25cm wide (2)

£150-200

475* Gaudy Welsh. A collection of four jugs including Snowdonia Pattern with shaped rim, moulding and scroll handle, 20cm high, Amranwen Pattern, 13cm high, Cambrian Pattern, 15cm high (4)

468* Gaudy Welsh. A set of three graduated jugs in the Oyster Pattern, 13cm high and smaller, together with a Grape Pattern jug, 9.5cm high (4)

£70-100

176

£70-100

COLLECTABLES

476* A large collection of lead farmyard and zoo animals, including farm hands, machinery, trees etc. (play worn) (a carton)

£100-150

480* A well carved wood owl, probably Black Forest, with glass eyes modelled standing on a rocky base, 42cm high (1)

£100-150

477* An Ancient Bronze anchor axe head, Luristan, early 1st Millennium B.C., with deep crescentric blade joined centrally to the open shaft, circa 2200-2000 B.C., 11cm long (1)

£300-500

478* A Daniels Patent banjo, nickel plated with rosewood neck inlaid with mother of pearl, 88cm long, together with a mandolin by Domenico Zanoni, Napoli, 57cm long (some damage) (1)

£70-100

481* An eight branch glass chandelier, early 20th century, each branch with drip pan and drops, 61cm diameter (1)

479* Five Victorian ivory billiard balls, all approx. 5cm wide (5)

£300-400

177

£200-300

482* A substantial Victorian style brass chandelier, early 20th century, each branch with frosted glass shade and with heron finials, 78cm diameter (1)

£300-500

487* A heavy cast iron eagle counterweight, c. 1865, manufactured for the Columbia Printing Press, Philadelphia, 1813, well detailed, perched on a cornucopia above an integral cylindrical base, 50cm high x 41cm wide (1)

£400-600

483* An Edwardian three branch brass chandelier, the long fluted suspension post, supporting a frosted glass bowl (damaged), 100cm high together with a late Victorian brass twin branch chandelier in the Art Nouveau style, 90cm high (2)

£100-150

484* A substantial copper measure, with tapered sides, stamped ‘G R 174 28’, scroll handle, 44cm high, together with a smaller measure (2)

£100-150

485* A collection of copper, brass and pewter items, including brass fire irons, three pairs of brass candlesticks, pair of brass chamber sticks, brass jam pan, pewter chamber stick, copper mug and measures (2 cartons)

488* A pair of Victorian iron easel frames, cast with grape and vine decoration, each with registration marks, 16cm high together with four further brass easel frames plus a bronze plaque of rectangular form cast with three horses drinking from a trough, 17cm x 23cm

£70-100

486* A large collection of copper and brassware, including a twin handle cooking pot with a beaten finish, 52cm diameter (5 cartons)

(5)

£70-100

178

£70-100

491* An Indonesian carved Leti figure, early 20th century, carved in the sitting position with traces of pigment to mouth, 33cm high, together with a West African chieftains spear, c.1920, with figural carved haft and spear point with downward crescents, 155cm long overall

489* A collection of Erotic items including a German silver compact, with circular engine-turned case engraved with c-scrolls and lattice borders, the hinged lid enclosing mirror and copper engraved insert depicting a man and women copulating, stamped with crown and crescent mark and ‘835S’, 6.5cm diameter, together with a WWII period aluminium cigarette case, the outer case with Middle Eastern decoration and reverse engraved with a reclining nude, similarly decorated inside, 14.5cm long, four Japanese porcelain “peep” cups plus a brass book vesta case, the sprung lid enclosing an insert of a female, 4.2cm long (9)

(2)

£80-120

492* A brass firescreen in the form of an eagle, early 20th century, head turned to the left with pierced geometric guard hinged wings on pronounced claws, 69cm high

490* Fan. A mid nineteenth century hand-painted silk and lace fan, folding cream silk fan, with gouache vignette of two putti, one holding a basket of flowers and the other holding a foliate garland, the leaf embellished with black lace, mounted on pierced ivory sticks (one partially replaced), 25cm (9.75ins), mounted in a gilt case glazed (1)

£80-120

(1)

£150-200

179

£80-100

Lot 494 497* An African lignum vitae knobkerrie, the spherical head with long shaft, 82cm long (1)

£100-150

498* A cast iron ‘Little Joe Bank’ money box, 14cm high, together with various other items including an Art Nouveau copper jug, stamped ‘J.S & S’, 25cm high, brass desk stand circa 1930s, an Aesthetic period blue glass vase etc. (2 cartons)

£80-120

493* A Dunhill Namiki fountain pen, circa 1920s, with lacquer work to casing, 14K nib and 15K plated clip and band together with other pens including a Parker Duofold with 14K nib and a Mabie Todd “Swan Self Filler”, plus two Yard o Lead propelling pencils (a carton)

£100-150

494* A collection of Art Deco period leaded glass panels, including six with stylised flower motif on a predominantly green, blue and amber ground, 39cm high x 75cm wide (16)

£200-300

495* A 19” Phillips Terrestrial globe, c. 1980s, with 12 gores, on a hardwood stand, 60cm high together with cased set of laboratory scales, Sykes Hydrometer and “The Ultra Lens” (4)

£70-100

496* A Victorian copper jelly mould, stamped ‘201 c’, together with four later jelly moulds, an Arts and Crafts copper plaque embossed with a griffin, 19cm diameter plus Victorian and later pewter wares (a carton)

£70-100

499* A Nigerian Ibo wooden ceremonial mask, well detailed with polychrome pigment, 43cm long together with a Congo Lego ceremonial mask with grass beard, 25cm long (2)

Lot 497

180

£100-150

502* A collection of early English pewterware including quarts and measures of variable sizes, a plate c.1780 with ‘John Langford, London’ touchmark, 24.5cm diameter, plus an Old Sheffield Plate chamberstick and snuffer, engraved with a heraldic crest, 16cm wide, and two related reference books etc. (18)

£100-150

500* A straw-work Noah’s Ark, 19th century, with multi-coloured straw work decoration, sloping roof, the side with sliding door, 26cm long, with composition figures of Noah and his wife, two daughters, son and approx. ninety animals including elephants, giraffe, squirrels, birds and cats Possibly Prisoner of War work(?). (a carton)

£600-800

503* A Victorian Samson Mordan & Co postal scales, brass on a walnut base with ivory inset and weights, 20cm wide, together with a Regency mahogany tea caddy, 31cm wide (2)

£70-100

501* A German painted wood Noah’s Ark, with flat bottom, 49cm high, with approx. fifty-seven animals including, cows, foxes and camels (a carton)

£100-150

504* Rocking horse. An Edwardian rocking horse, wooden rocking horse with handles, glass eyes, arched neck, pricked ears, mouth baring teeth and showing tongue, and carved wooden mane, lacking tail, with orig. pigskin and calf saddle attached, on bow rockers, worn with loss to paint surface and some damage, height 81cm (32ins), body length 77cm (30.25ins), overall length 122cm (48ins), together with a copy of The Rocking Horse, A History of Moving Toy Horses, by Patricia Mullins, New Cavendish Books, 1992, orig. pictorial boards in d.j. and slipcase, large 4to (1)

£200-300

505* A ship’s lantern for Port, manufactured by ‘Eli Griffiths & Sons, The Beacon, Birmingham’, with bull’s eye glass, wired for electrical use and painted blue , 60cm, high plus five coaching lamps (6)

Lot 502

181

£70-100

506* An Art Deco table lamp, with two seated clowns, on green marble and alabaster base, 8cm wide (1)

£100-150

507* A French Point De L’Halluin tapestry in the Renaissance style, with woven manufacturers markings, approx. 215cm high x 250cm wide (1)

£100-150

508* A model wood ‘Fresh Fish’ cart tea caddy in the Victorian style, the two-wheel cart decorated with fish, having two canisters and covers and canvas canopy, 45cm high x 40cm long (1)

Lot 506

£100-150

509* A collection of tribal related items, comprising a fly whisk made from an elephants tail; an antique hippopotamus tusk bound in leather, 19cm; a necklace formed as ostrich egg discs; a necklace strung with heavy fragments of shell, a woven necklace strung with heavy shell fragments; a cowry shell hanging; a camel bone pendant with engraved circles 11cm long plus another bone pendant carved as a serpent with a face, 10.5cm long (8)

£300-500

Lot 507

510* An Irish bog oak truncheon, typically carved with shamrocks and hard, 34cm long (1)

£70-100

511* A collection of walking sticks including a stick carved with a dog’s head grip, 82cm long, plus a rosewood cane with ribbed and bulbous grip, 86cm long, together with a pair of carved oak blocks carved as characterful faces, 14.5cm high (10)

Lot 508

182

£50-70

ORIENTAL WORKS OF ART INCLUDING JADE

512* A very fine mutton fat jade carving of a recumbent horse, late Qing Dynasty, carved in realistic detail shown resting on all fours, the front legs raised on one side, his head turned back with his tail appearing to lay neatly over his hind legs, the greyish white stone with some ochre rivering on the reverse, all the hairwork neatly incised, 9cm long Provenance: Miramar Collection - Geneva, with collection label attached. (1) ÂŁ7000-10000

183

513* An extremely rare mutton fat Hindustan style pendant, 18th century, of even colour and fine polish decorated on the top side in â&#x20AC;&#x153;Kundanâ&#x20AC;? gold work set with red stones (possibly rubies) and large table-cut diamond set to the centre, surrounded by smaller ones, drilled with two holes for a silk cord, 5.5cm high Provenance: Miramar Collection - Geneva, with collection label attached. (1)

ÂŁ5000-7000

184

514* A rare and important jade water coupe for the scholars table, Qing Dynasty, of greyish-white tones becoming pale celadon, the rounded form, well hollowed out with a smooth interior, the outside carved in shallow design of bats seen flying amongst storm clouds and raised upon a simple flat base, wheel cut with four characters “Xingyouheng Tang”, approx. 10.5cm diameter Xingyouheng Tang (Hall of Constancy) which relates to the title of Prince Ding, this lineage was first given to Yong Huang in 1751 and was last conferred on Pu Xu in 1855 this prince died in 1908. Provenance: Miramar Collection Geneva, with collection label attached. (1) £10000-15000

185

515* A fine mutton fat jade sword slide for fitment to a belt, 18th century, the low relief carving formed of six rows of raised dots, terminating in a stylised Tao Tien mask wrapping over the edge, the jade of pure white tones appearing flawless, 5.5cm long Provenance: Miramar Collection - Geneva, with collection label attached. (1) ÂŁ500-700

516* A very fine mutton fat jade square form panel, 18th century, the stone of whitish grey tones throughout and carved in shallow relief with a complex design of a bat suspending two cash coins amongst billowing ribbons above a leafy branch of peach, all symbolic in conveying the wish for prosperity and long life, the reverse drilled for attachment to a garment and subsequently filled, 6.3cm x 6.3cm Provenance: Miramar Collection - Geneva, with collection label attached. (1) ÂŁ1200-1600

Lot 515

Lot 516

186

517* A large and fine Imperial inscribed mutton fat jade “Pei”, late Qianlong period, of even greyish-white tone carved on front with a framed recessed panel containing four raised characters in Archaic form which may be translated as “Always suited for sons and grandsons”, two peaches co-joined beneath, borne on a leafy branch, the reverse polished flat and incised with forty nine “Lishu characters” and titled “His majesty’s poem for Pei”, in-filled in gilt, 9cm x 5cm Possibly from the Palace Workshops. (1)

£15000-20000

187

518* A rare and important spinach jade rectangular panel, possibly used in a precious metal mounted belt buckle, Qianlong Mark and Period 1736-95, boldly carved on front with a ferocious Tao Tien mask with bared fangs, the convex panel neatly incised with four characters reading Qianlong nianzhi and of the period, the colour deep throughout, 8cm wide, in a fitted box Possibly from the Palace Workshops. (1)

188

ÂŁ6000-8000

519* A ladies jadeite ring bracelet, late Qing Dynasty, of even white colour with some areas of rich apple-green inclusions, approx. 8.5cm diameter (1)

ÂŁ250-350

Lot 519

520* An interesting white mutton fat jade plaque, late Ming Dynasty to early Qing, well carved in bold relief on the front with a sinuous Chilong and a Phoenix wrapped around a flaming pearl, the stone of even colour, carved on the reverse with four simple scrolls with the centre open continuing to the design above, 5cm wide (1)

Lot 520

189

ÂŁ400-600

521* An extremely fine pair of emerald green Jadeite Panels, Qing Dynasty, each rectangular panel of bright patches of emerald green colour and darker inclusions, carved in shallow relief with a full face Imperial Dragon cavorting in a sea of stylised waves, set within a narrow linear border, another similarly decorated with a Phoenix carved in the same manner to represent the Emperor and Empress, 4.5cm wide, in a fitted box Provenance: Neuman Collection and Wilderness Collection of Dr Dean Edell, each with collectors labels attached. (2)

190

ÂŁ15000-20000

522* A fine mottled green spinach recumbent water buffalo, carved in the style of the Ming Dynasty and possibly of the period, well modelled in a realistic pose seated on all four legs shown neatly tucked beneath its body, its head turned to the side and slightly tilted, the stone of mottled greens in varying shades with an area of whitish rivering, the hair on the tail neatly incised, 18cm long Provenance: Marcia Jean Knowles Collection by repute, originally owned by her uncle, a Naval officer, prior to the 1950s. (1)

191

ÂŁ10000-15000

523* A very rare Imperial Book Cover, Qing Dynasty, 18th century, carved from a panel of spinach jade, neatly incised on front with two confronting Imperial five claw dragons chasing the flaming pearl of immortality within a sky of storm clouds, the reverse deeply carved with thirty one characters in Kaishu style all infilled in gilt, titled ‘My second essay for gaining points’, 19.5cm x 11.5cm Provenance: Wilderness Collection of Dr Dean Edell, with collection label attached. Illustrated in “The Brush and the Stone” (no.8 p. 14). (1)

192

£15000-20000

524* An extremely rare bronze form Mirror, Qing Dynasty and possibly Imperial period of Qianlong Emperor 1736-95, carved in relief from a dark spinach nephrite jade of even colour, the reverse exquisitely carved to imitate an early bronze form, with three sinuous Chilong-dragons cavorting around a square seal with four raised archaic style characters, Qianlong nianzhi, further surrounded with numerous foliate rims with scroll patterns on front with a mercury backed lead glass mirror typical of that associated with the late 18th century, 16.5cm wide (1)

ÂŁ15000-20000

193

527* A spinach jade panel of rectangular form with a deeply recessed cartouche on front carved in relief with Guanyin, the goddess of mercy, neatly incised on front and back with minute characters which may form a prayer or sutra relating to the goddess, the top edge drilled at an angle for attachment of a silk cord, 6cm x 4cm (1)

£100-150

525* A tall baluster form jade snuff bottle, late Qing Dynasty, carved in shallow relief on front with rocky outcrop and branches of bamboo, of greyish white colour and some green inclusions, the reverse carved with an exotic bird, 7.5cm high (1)

£400-500

528* A mutton fat “Pei”, carved with a pair of confronting archaistic style Dragons, the jade of even colour with some darker inclusions at the edges, 4.6cm high

526* A yellow jade snuff bottle, late Qing Dynasty, formed as a recumbent dog, the front legs poised forward and held together his long tail curled to one side, well hollowed out, 6.5cm long (1)

(1)

£200-300

£600-800

529* A miniature mutton fat jade rectangular panel, 17th/18th century, carved on front with sixteen characters and a small panel incised with the artists name, the reverse with a recessed panel and drilled to each side to allow attachment to a garment, 3.7cm wide Lot 527

(1)

194

£250-350

530* A small white jade pendant in the form of a “Ruyi head”, decorated with an Archaic “Shou” character of rounded form set within a row of petals, surrounded by scrolls, drilled for suspension, 3.2cm wide (1)

£70-100

532* A very fine white Nephrite jade belt slide with suspension loop to hang a sword, Qing Dynasty 18th/19th century, the rectangular form panel with bordered cartouche carved in shallow relief, with rocky outcrops and tree bearing ripe fruit and a bird hovering nearby, 6cm long (1)

£1000-1500

531* An interesting carved jade oval panel, Qing Dynasty, 18th century, the convex shape suited as an insert for a Ruyi-sceptre and exquisitely carved with a Dragon cavorting within a sky of storm clouds, the jade of even whitish tones with some lighter rivering

533* An interesting small pebble jade carving of mottled grey tones, Qing Dynasty or possibly earlier, carved as a recumbent tiger, appearing to sleep on all fours tucked neatly underneath, ears drawn back and tail resting to the side, 5.5cm long

(1)

£700-1000

195

£200-300

534* A well carved pebble nephrite jade of grey, green and russet tones, boldly carved in the Ming style, 17th/18th century, carved as a stylised mythical creature in a recumbent pose, the body tightly drawn in, head resting on its back and the tail to its side, the detail neatly incised and the underbody realistically rendered, approx. 7cm wide (1)

£800-1200

536* A miniature mutton fat jade “Pei” carved in classical design with a recessed bordered panel of confronting archaistic dragons framing a goat with clouds above, the reverse similarly framing four seal form characters, 4cm long, attached with a contemporary silk cord hung with tassels (1)

535* An interesting celadon jade panel, Republic Period, of large size, the rectangular form with scenes of Sho-Lao and attendant in a bordered panel flanked by a Dragon and Phoenix with flaming pearl, the reverse similarly decorated with stylised calligraphy, hung with a jade drum, decorative silk knots and tassels for suspension, 7cm high (1)

£200-300

537* A celadon jade belt hook, late Qing Dynasty, of slender form with linear edge and narrow elongated dragon head, 8.5cm long, together with another of more rounded form with a more detailed dragon of classical design, 7cm long, each with a fine polish

£250-450

(2)

196

£200-300

538* A very fine openwork mutton fat jade plaque, 18th century, formed as an elongated panel in a endless knot design, intricately woven and framing two characters joined together translating as Good Luck and Long Life, symbolic for a wedding gift, originally used as a belt buckle, 8.5cm wide (1)

£500-700

539* A fine gentleman’s saddle ring, the emerald green jadeite panel in heavy 18ct gold mounting, 21mm diam. (1)

£1500-2000

541* A fine contemporary “Shan yu” or white mountain jade hairpin, possibly Republic period, carved with a Phoenix head extending to an openwork spiral design and continuing solid to the pointed end, glossy polish overall, 26.5cm long

540* A very fine lady’s saddle ring, the rich apple green jadeite panel mounted with a gallery of pave set diamonds, the 18k gold mounting with decorative panel to each side, 20mm diam. (1)

£1500-2000

(1)

197

£100-150

542* A fine pebble jade feather-holder, late Qing Dynasty, of classical design with butted end drilled for attachment, the flattened top with areas of ochre inclusion and natural skin, with glossy polish, 6.5cm long (1)

£100-150

543* A small white jade carving of a bronze form pig, late Qing to Republic, standing on all fours with its head facing forward, the flawless jade incised all over with a scaly armour and scroll motifs in an archaistic manner, 4cm long (1)

£250-350

544* An extremely rare “Peking Glass” Imperially inscribed archers ring, of classic design, the rich “winter green” glass wheel cut with twentyeight characters forming an Imperial poem, followed by two seals, Qianlong and cylindrical date for 1785, mark and period, 2.9cm long Provenance: Wilderness Collection of Dr Dean Edell, with collectors label attached. (1) £3000-5000

198

545* A mutton fat jade carving of an adult bat, late Qing Dynasty, with wings folded back to its body, two smaller bats to each side, the underneath with two further bats surrounding a leafy branch with a large peach highlighted by a patch of ochre coloured natural skin in the centre, the details neatly incised and realistically rendered, 7cm wide (1)

ÂŁ3500-5000

199

Lot 546

546* A rare pale celadon jade carving, Ming Dynasty to Early Qing, the large section of jade possibly from a section of boulder carved in shallow relief on the front to depict a Caparisoned Elephant, with back cloth decorated borders on top, a peach in front and the edge hung with tassels, the elephant with head turned to one side, his trunk and tusks appearing to be raised , his short tail on the opposite shoulder is wrapped around to the front, the reverse decorated with storm clouds and a wind chime with four raised archaic form characters suspending beads, tassels and an endless knot with billowing ribbons, 9cm long (1)

£1500-2000

547* An exceptionally rare mutton fat jade carving, 18th century, the very thick section of jade of even colour throughout appearing flawless, carved in shallow relief to depict a “Champion Vase with Cover” formed in a rectangular section below relief of stylised archaic formed Phoenix, standing upon a “Tao Tien” mask, each shoulder bordered with elaborate archaisitic chilongs continuing to the cover which is adorned with two dragons heads confronting on a Ruyi form knop with rope borders below, the reverse carved in an identical manner, the jade has a soft polish overall, 8.5cm high

Lot 546 detail

The carving is typical of the Archaistic revival popular with the Emperor Qianlong, 1736-95. (1) £6000-8000

200

Lot 547

201

550* A small and rare “Yellow Jade” pendant, 18th century or earlier, neatly incised detail depicting a archaic style bat, with wings outspread, the material of even natural colour throughout, 4.5cm wide (1)

£700-1000

548* A very fine openwork jade carving, Qing Dynasty, carved from a pale greenish-grey jade, carved on front with a rocky ledge and a bold branch or prunus with flowers and buds, a lingxi is seen in the lower right portion close to falling flowers on the shoulders, the reverse similarly decorated with the addition of a bird in flight and enhanced by the use of ochre skin from the pebbles exterior, 5.5cm high (1)

£700-1000

551* A small mutton fat jade pendant, possibly late Qing Dynasty, the greyish green material of ovoid shape, carved in shallow relief to depict Guanyin (the Goddess of Mercy), the reverse void of decoration and drilled for suspension (1)

549* A mutton fat jade carving, late Qing to Early Republic, the flawless material of even colour throughout depicting rock formation in varied layers, a monkey on front appearing to hold the tail of another who is shown peering over the top to the other side, crisply carved detail overall with a glossy polish, 5.5cm long (1)

£600-800

202

£70-100

552* A greyish white jade covered vase, late Qing Dynasty, the tapering ovoid body carved in the Moghul / Hindustan style, in shallow relief with leafy fonds, resting on four carved legs decorated in a similar manner, each shoulder elaborately decorated with entwined leaves and blooms and stylised palm leaves, each side supporting loose rings, rising to a neat ovoid neck with raised linear band, the cover decorated in the same manner with co-joined leaves and smaller rings, two tier knop formed of overlapping petals, the colour is even throughout with some paler patches, the interior is well hollowed, 21cm high (1)

ÂŁ4000-6000

203

Lot 553

Lot 554

204

553* A fine celadon jade shallow dish, late Qing Dynasty, the interior carved with a bi-fad chilong appearing to cavort in a clear sky, the four lobed shape with silver mounts set with pear shape eyelets and a cabochon ruby to the dish edge, raised on a neat footrim with rounded edges, 12.5cm wide

554* A grey-green jade carving of a recumbent horse, late Qing Dynasty to Early Republic, seen resting on all fours neatly tucked beneath its body, the tail drawn alongside, the hair work neatly rendered, the head slightly raised allowing a neat mane to follow the contours of the neck, the eyes wide open appearing to awaken from rest, some stain used to highlight areas of the carving and vein of rivering to the reverse, 9cm wide

Provenance: Mirimar Collection Geneva with collectors label attached. (1) ÂŁ1500-2000

(1)

ÂŁ1500-2000

555* An extremely fine and rare jadeite ladies bangle, with ten rose-cut diamonds set in gold collets, the bangle with a crisp polish highlighting a fine apple-green colour with some small patches of emerald green, 8cm diameter Provenance: From the estate of Marcia Knowles, given to her by friends in Malaysia in the 1950s. (1) ÂŁ3000-5000

Lot 554 detail

Lot 555

205

558* A fine pale celadon jade openwork circular panel, late Qing Dynasty, the domed convex form carved with a ferocious dragon cavorting in the sky in pursuit of a female chilong shown entwined though the dragons tail, the compact design is neatly rendered throughout with hair work and crisp openwork overall, the reverse is concave form and left only with a smooth polish, 6cm diameter

556* A white mutton fat jade “Pei” pendant, late Qing to Early Republic, of even white and grey tones and carved with a detailed Guanyin seated on a tier of lotus leaves, all recessed in a cave-like aperture with narrow frame, above rising to a stylised chilong with lingxi, cleverly carved from an area of ochre skin, drilled for suspension, 7cm high (1)

(1)

£500-700

£1500-2000

559* A compact pale celadon jade carving of a recumbent Buddhistic Lion, late Qing Dynasty, appearing to be at play and shown holding a leafy branch and lingxi in one paw, the carving of even colour throughout and with a glossy polish overall, the detail neatly rendered and carved in the manner associated with the 18th century, 6.5cm wide (1)

557* A collection of four mutton fat jade pebbles, each variously carved in differing styles to depict a Happy Putai, Guanyin holding a Ruyi, a Monkey plus a single horned Kylin with bi-fad tail, each pebble of shades of white and celadon, three appear to have ochre skin and one has been enhanced with stain, the carvings in general are neatly rendered (4)

£300-500

206

£600-800

561* A Chinese porcelain yellow ground baluster vase, 19th century, polychrome decorated with a procession of a mother with child in a cart drawn by a mythical creature, two figures each with a fan, further figures offering tea and fruits, cranes in flight, a tree and clouds, 27cm high, two vertical hairline cracks, with associated hardwood cover and base (1)

£200-300

560* An interesting fine white mutton fat jade “Pei”, Qing Dynasty, carved in an irregular form in shallow relief to depict an unusual stylised chilong shown cavorting in the sky, the reverse carved in a similar manner, the flawless white material with a soft polish overall, possibly Qianlong period, 5cm high (1)

£1500-2000

562* A Chinese mottled green hardstone boulder slice, 21xm wide x 16cm high on hardwood stand, together with a green hardstone carving of an archaic sword, 23cm long, plus two green hardstone axe heads each with carved decoration and suspension holes (4)

207

£80-120

563* A Japanese blue and white porcelain bowl, early 19th century, decorated with stylised chrysanthemums on a blue ground and shaped rim, stilt marks to base, 26.5cm diameter (1)

£80-120

565* An Oriental bronze ewer, probably Tibetan early 20th century, modelled as a mythical duck like creature on four paw feet, the oval body cast with lizards and dragons in relief on a foliate ground with hinged handle and domed cover with frog finial, 27.5cm wide (1)

566* A Chinese rock crystal brush washer, with two coups each carved as seed heads with tendrils and flower heads, 17cm wide

564* A Chinese blue and white octagonal porcelain bowl, Qianlong, painted with fishermen, pagodas in a mountainous landscape within a foliate and lattice border, 23cm wide (1)

£100-150

(1)

£100-150

£80-120

567* A modern decorative jadeite cabinet bottle, carved in the form of a snuff bottle, chemically dyed to be enhanced with patches of emerald green, 6cm high (1)

£50-70

568* A Chinese Mission Doll, circa 1900, the painted wooden head and body in finely embroidered robes, 28cm high Reputedly made by girls in the American Embassy during the Boxer Rebellion. (1) £300-500

208

Lot 567 569* A pair of Chinese panels, late 20th century, each with printed porcelain panels of young ladies drinking tea in a landscape setting, each with carved hardwood frames, 120cm high x 36cm wide (2)

£100-150

570* A Chinese hard stone “Bi”, carved with Mons and mythical creatures, 23.5cm diameter, together with a brown hardstone “Bi” carved in relief with mythical creatures, the reverse with incised decoration, 20.5cm diameter, both 20th century (2)

Lot 568

£80-120

Lot 570

209

Lot 571

210

571* A collection of 20th century Chinese yellow metal jewellery, comprising two bangles and six brooches, bearing Chinese markings, total weight 195g (8)

£2000-3000

572* A collection of Oriental hardstone carvings including an agate carving of a recumbent beast, 12cm long, a green hardstone brush washer carved as a mythical beast, 23.5cm long, a black hardstone brush washer carved in relief with an Imperial dragon chasing a pearl, 19.5cm wide (7)

574* An Indian bronze figure of Parvati, the Hindu Goddess, late 19th/early 20th century, standing in traditional costume on a lotus base, 14cm high, together with Sino-Tibetan bronze figure of an Infant Buddha, his left arm raised, his right facing down, a position adopted after his miraculous birth on a lotus base, 19.5cm high, plus a Chinese bronze tripod censer and cover with two cavorting dragons in a cloudy sky, the domed cover with Dog of Fo finial, 18cm high, together with a carved African tribal mask, figure holding a shield plus an ebony figure of a girl

£100-150

(6)

£200-300

575* An Islamic brass enamel bowl, 19th century, possibly a “Magic” bowl, finely detailed interior with Kufic script, the exterior with polychrome enamel work, 11.5cm diameter (1)

573* A Chinese hardwood figure carved as the Deity of Longevity, holding a staff with a crane to his side, inlaid with brass wire decoration on a pierced base, 63cm high (1)

£100-150

211

£100-150

Lot 578

576* A jade carving of a stylised swan, late Qing/early Republic, 4.5cm long, with a miniature jade carving of a stylised Ho-Ho bird, and another similar, with brown inclusions (3)

£80-120

Lot 579

577* A greyish white mutton fat openwork jade carving, depicting two chilong, their tails entwined, cavorting in storm clouds, with areas of black inclusion and various rivering, 5cm wide (1)

£150-200

578* A celadon jade recumbent horse, late Qing Dynasty, his head turned to the left, with incised mane and tail, 5cm wide (1)

£70-100

579* A beige jade pendant carved as a pea pod, with darker brown inclusions, pierced for suspension, 6.6cm long (1)

£50-80

580* A contemporary grey jade pendant carved in an archaic style with a chilong clambering on top with a shield, enhanced with dye (1)

Lot 580

£70-100

212

581* A highly polished Burmese jadeite carving of a stylised dragon, the grey material highlighted with apple green inclusions, 5cm wide, together with another Burmese jadeite carving of Guanyin in prayer, seated on a lotus base, drilled for suspension (2)

£80-120

Lot 583

582* A circular jadeite pendant carved on the front with flowers and lily pads, and bordered with stylised dragons, 5cm diameter (1)

£60-80

583* An Art Deco bowenite paper knife, the shaped mottled green stone with faceted white metal collar, 21cm long, minor chips along the edge of the blade (1)

£100-150

584* A rare silver and jewelled Tibetan/Newari monster mask drop pendant, 18th/19th century, set with agate, coral, turquoise and tourmaline stones, 9cm high x 7.5cm wide The symbol of the benevolent and protective ‘monster mask’ (Tibetan Tsipater) is of ancient Indian origin (Sanskrit Kirttimukha / face of glory), its use is common to both Tibet and Nepal. (1) £500-700

Lot 584

213

585* An Ivory netsuke, 19th century, carved as a child seated and showing an empty bowl, the handle and edge bordered with rope, natural himotoshi, 4.5cm high (1)

587* A miniature ivory mask, early 19th century, carved with a ferocious facial expression and bulging eyes, 5cm high Most likely from a Noh play which is a classical music drama. (1)

£300-500

586* A rare wood “ashtray” netsuke, well carved to depict the head of “Buddhistic Lion”, the eyes lacquered in gold with black pupils, signed in the base GYOKOMIN, 3.5cm wide (1)

£400-500

588* A very fine ivory netsuke carved as an Eagle attacking a terrified monkey, the eagles talons embedded into the monkeys face whilst his beak tears at the body, the eyes of both are inlaid with amber and have pupils, age lines and a fine patination overall, 5cm wide

£300-500

(1)

214

£600-800

589* A well carved wood netsuke, 18th century, carved as the “Witch Hannya” changing her form into a serpent and wrapping her scaled body around the Midori Bell, in which her lover hides from her wrath, 4cm high (1)

£500-700

590* A good wood netsuke, 18th century, carved as a dancer dressed as an angel with wings, the detail finely rendered with good patina overall, signed on the reverse GYOKOKO and two himotoshi, 4.5cm high (1)

£400-600

Lot 589

591* A fine ivory netsuke, Meiji Period 1868-1912, carved as a boy stopping for a rest as he turns and smiles, he carries a silken bag over one shoulder and a parasol in the other hand, signed on an inlaid red lacquer panel MINGYOKU, 5cm high Carved in the manner of a student from the Tokyo School. (1)

Lot 590

215

£800-1200

592* A fine stained and lacquered ivory netsuke, Meiji Period 1868-1912, well carved to depict Sumo wrestlers struggling for supremacy on a small raised stage set on three feet, the details lacquered, the base signed on an inlaid mother of pearl panel YASUMITSU, 4cm high Yasumitsu carved in the same manner as Yasuaki and may have been a follower of his style. (1) £1500-2000

593* A fine lacquer and ivory netsuke, Meiji Period 1868-1912, carved as a Merchant with a branch hung over his right shoulder laden with abundant wares for sale, including sandals, inro, fruit, tobacco pouch and a Daruma doll, his coat lacquered in green with various inlays, two himotoshi lined in horn, the base with red lacquer panel signed YASUTAKA, 5cm high Yasutaka was associated with the School of Yasuaki. (1)

£1200-1800

Lot 592

594* A very fine cinnabar lacquer gourd form netsuke, late 18th century, neatly carved overall with fine details of flowers and leafy vines, a grasshopper and a branch of peach, a silk cloth tied over the mouth and seen draped over the neck, a central wire with silver loop for attachment, 4.5cm high (1)

Lot 593

216

£500-700

595* An extremely fine Sino-Tibetan Gilded Bronze Female Deity, possibly representing “Tara the Green Goddess”, 18th century, seated upon a double lotus base bordered with bead decoration, she is seated in a quiet posture wearing a richly ornamented crown, earrings set with emeralds, various necklaces with gemstones, bracelets and armbands, her legs semi-crossed and draped in silk, with one leg extended from the base resting upon a cluster of lotus, borne on leafy stems. The Deity with minor areas of wear, most original gilding intact, a line of six characters inscribed on the rear which translates to “Made in the Great Qing Dynasty in the Yongzheng Period” and most likely of that dating, 13.5cm high Provenance: From a private European Collection formed prior to 1935. (1) £7000-10000

217

596* superb Sino-Tibetan Buddha, Qing Dynasty, Qianlong Period, 1736-95, the figure superbly cast and richly ornamented in gilt, shown seated upon a lotus base with beaded borders, Buddha sits crossed-legged in a blessing position, his right hand with open palm extending forwards, he is draped in swags from the left shoulder, covering his torso and resting in pleats across his legs, a varja is seen directly in front of him, the base with typical varja-symbols including Yin-Yang motifs, retaining heavily gilded areas with some wear visible, 17cm high Provenance: Miramar Collection, Geneva with label attached stating the old Pinyin for Chien-Lung. (1) ÂŁ10000-15000

218

219

599* A Japanese silver box and cover formed as a Daikoku mallet, Meiji period, 1868-1912, decorated with exotic flowers on a simulated background, lined in green velvet, the handle pierced with cord and red tassel, with jungin mark for 1868-1912 and makers mark, 13.5cm high, overall weight approx. 4.75oz Daikoku was the god of wealth and guardian of farmers. (1)

£120-180

597* A Chinese green hardstone seal, mid-20th century, carved as mythical beast surmounting a square seal in the Emperor style, 15cm high, plus three smaller green hardstone seals all individually carved (4)

£80-120

598* A Chinese silver bowl, circa 1920, with circular cartouche engraved ‘E.M.L. Mixed Doubles Newchwang 1920’ on a beaten finish ground, marks rubbed but probably Hung Chong, 13.5cm diameter, approx. 7oz Probably a trophy for a tennis match. (1)

600* A Chinese silver trophy cup, late 19th century, the cup profusely decorated with bamboo trees and exotic birds on three bamboo supports united by domed base, approx. 19cm high, 10oz (1)

£150-200

220

£250-350

601* A pair of Sino-Tibetan patinated bronze ring turn handles, 19th century, each cast with a dragons head on a pierced circular base, 11.5cm diameter (2)

£80-120

603* A Chinese labradorite snuff bottle, with green stone cabochon stopper, 7.5cm (1)

£100-150

602* A Chinese hardstone snuff bottle carved as a peanut with spherical green stone stopper, 6cm, together with an agate snuff bottle carved as a gourd with stem shape stopper, 6cm (2)

£80-120

604* A Chinese tigers eye snuff bottle with matching cabochon stopper, 7cm (1)

221

£100-150

Lot 605 607* A Chinese armorial part tea service, c.1765, comprising teapot and cover, milk jug, two tea bowls, two saucers, tea pot stand and two coffee cans, each finely decorated with armorial and motto ‘Spes Anchora Vitae’ with blue and gilt painted borders, the tea pot with straight sides and twisted handle each terminating in gilt painted floral spray, the cover with strawberry finial, 25cm wide

605* A collection of modern Chinese snuff bottles, of varying shapes and decoration including a cameo cut bottle decorated with an amethyst dragonfly and domed stopper, 8.5cm high, a similar bottle with a green crane and stopper inset with red cabochons, 8cm high, etc. (10)

£100-150

The armorial represents the Arms of William Macleay of Keiss Castle, Lord Provost of Wick. His son, Alexander (1767-1848), was an entomologist and colonial statesman, in 1848 he was chosen to be the first speaker of the Legislative Council, which was then established for the first time in New South Wales, Australia. (9) £1000-1500

606* A large Chinese porcelain table lamp, decorated in the famille-verte palate with sprays of flowers on a geometric ground, on wooden base, 38cm high (1)

£70-100

Lot 607

222

608* A Chinese porcelain twin-handle vase, 20th century, of baluster form decorated with branches of flowers in pink, green and red, on a white and turquoise ground, with iron red seal mark to base, 35cm high, together with a pair of Chinese porcelain bowls, early 20th century, each polychrome painted with floral sprays on a raised foot, iron red mark to base, 12cm diameter, on hardwood stand, with fitted pine carrying box (1)

ÂŁ100-150

609* A Chinese porcelain cylindrical vase, polychrome painted with a female musician seated before two children amongst sprays of flowers and insects on a black ground, the top and base of the vase with repeating decoration and stylised flowers on a green ground, divided by iron red scroll borders, 36.5cm, converted to a lamp base the top rim with three drilled holes and one vertical hairline crack (1)

ÂŁ200-300

Lot 608

610* A Chinese porcelain baluster vase and cover, c.1900, decorated with exotic birds resting on a branch amongst sprays of flowers and foliage, on red ground, with domed cover and tapered finial, iron red mark to base, 28.5cm high (1)

Lot 609

223

ÂŁ80-120

SILVER & GOLD

615* A Chinese 14K gold ring set with an oval apple green jade cabochon, together with a hollow 9ct gold curb link bracelet, 13g gross, Chinese white metal brooch stamped with Chinese marks, plus costume brooch and gold coloured metal and pearl bar brooch

611* A pair of Chinese famille-verte porcelain hexagonal vases, early 20th century, each painted with mallards, lilies and butterflies, iron red mark to base, 28cm high, together with a Chinese porcelain bowl, early 20th century, painted with figures by a house, the interior decorated with a spray of flowers, iron red mark to base, 17cm diameter, on associated hardwood stand (3)

(5)

£100-150

612 Kleiner (Robert). Chinese Snuff Bottles in the Collection of Mary and George Bloch, 1st ed., British Museum Press, 1995, together with An Exhibition of Chinese Snuff Bottles from the Collection of Mary and George Bloch at the Galleries of Sydney L. Moss..., 1st ed., 1987; Chinese Snuff Bottles: The White Wings Collection, [1997]; Precious Playthings: Important Chinese Snuff Bottles form the Mack Collection, [2000]; Treasures from the Sanctum of Enlightened Respect. Chinese Snuff Bottles from the Collection of Denis Low, [1999], all with col. illusts. from photos, orig. cloth in d.j.s, first d.j. rubbed, second d.j. rubbed and sl. split, all 4to, VG (5)

£150-200

613 Moss (Hugh & Graham, Victor & Tsang, Ka Bo). The Art of the Chinese Snuff Bottle. The J. & J. Collection, 2 vols., 1st ed., N.Y. & Tokyo, 1993, col. illusts. from photos throughout, orig. cloth in slipcase, folio (2)

616* Kings Pattern cutlery, including a silver gripped carving set by Mappin and Webb, Sheffield 1962, together with electroplated soup spoons, dinner knives, forks and teaspoons plus other flatware including electroplated horn gripped knives and forks

£150-200

(a carton)

614 White (Helen). Snuff Bottles from China : The Victoria and Albert Museum Collection, 1992, col. illusts. from photos, orig. cloth in d.j. and cloth slipcase, folio, together with Hall (Robert), Chinese Snuff Bottles III, London & Paris, 1990, col. illusts. from photos, orig. cloth in d.j., sl. rubbed, sm. folio, plus National Palace Museum. Masterpieces of Chinese Snuff Bottles in the National Palace Museum, Taipei, [1996?], col. illusts. from photos, orig. cloth in glassine d.j. and card slipcase, 4to, plus others on Chinese snuff bottles and related (14)

£100-150

617* A collection of electroplated items including a baluster mug with acanthus scroll handle on pedestal foot, 14cm high, a shaped salver engraved with lattice and scrolls, 30cm diameter, a tapered mug with walrus tusk handle engraved with presentation inscription, 13cm high, flatware, plus an Edwardian canteen of cutlery by Frank Mills, Sheffield (2 cartons)

£100-150

224

£70-100

620* A similar lot (2)

£200-300

621* A similar lot (2)

£200-300

622* A similar lot (2)

£200-300

618* Elizabeth II Silver Jubilee. ‘The Stamps of Royalty’, a finely detailed set of 25 silver stamps, marked 925, in fitted presentation case with felt cleaning cloth, approx. 15oz, together with Westminster Mint ‘The Flying Scotsman’ silver proof 5oz coin’, in plastic fitted case with certificate, plus an Executive Proof Collection set, United Kingdom 2007 Proof Coin Collection, No 2290, in fitted case with paperwork, total weight approx. 20oz (3)

£200-300

623* An Asprey & Garrard silver mounted decanter, the ovoid glass with mitre moulding, three rings and silver collar, with mushroom stopper, Garrard & Co Ltd, London 1993, 29cm high, in original box (1)

£100-150

624* A similar lot (1)

£100-150

625* A similar lot (1)

£100-150

626* A similar lot 619* A pair of Asprey & Garrard silver Corinthian column candlesticks, each with detachable sconce, Garrard & Co Ltd, Sheffield 1993, 26cm high, in original box (2)

(1)

£200-300

225

£100-150

631* A similar lot (1)

£100-150

632* A similar lot (1)

£100-150

633* A similar lot (1)

£100-150

634 A similar lot (1)

£100-150

627* A pair of Asprey & Garrard silver bottle coasters, each plain and circular with turned mahogany base, Garrard & Co Ltd, Birmingham 1993, 12.5cm diameter, in original box (2)

£150-200

628* A similar lot (2)

£150-200

629* A similar lot (2)

£150-200

635* Five Indian white metal cups, each chased with foliate decoration, 4cm high, approx. 4.5oz, plus a South American silver buckle set with turquoise stamped Sterling, a similar neck tie, silver envelope stamp case, Chester, date letter worn, silver open face pocket watch and other time pieces etc. (20)

£80-120

630* A cased Asprey & Garrard silver condiment set comprising pedestal salt and pepperette plus lidded mustard pot and spoon, Garrard & Co Ltd, Birmingham 1993, with original box, approx. 4.5oz (1)

£100-150

636* A George VI silver Asprey lighter, with overall engine-turned decoration, with presentation inscription, assayed with makers mark, London 1948, together with a silver open-face pocket watch with white enamel dial (2)

226

£80-120

Lot 637 637* A mixed collection of silver including a trophy cup, London 1879, 21cm high (approx. 7.5oz), a cased set of three ashtrays, Birmingham 1956 (7oz), sauce boat with flying scroll handle, London 1919, 15.5cm long (4oz), pierced bon-bon dish, Birmingham 1922, 11.5cm wide (approx. 2oz), five napkin rings, five teaspoons, a baby feeder and spoon plus a circular photograph frame, 8cm diameter, weighable silver 34oz overall (25)

£300-500

639* A Victorian silver tape measure, the circular casing with pierced heart shapes to each side, with winding handle and chain for suspension on chatelaine, with German made cloth tape, Lawrence Emanuel, Birmingham 1897, 2.5cm diameter (1)

638* An Edwardian novelty silver “Chick” pin cushion by Sampson Mordan, formed as a chick breaking out of an egg, Chester 1909, Reg no. 475678, 4cm long (1)

£100-150

227

£100-150

COINS

640* Elizabeth I. Hammered coinage, Third Issue sixpence, 1566, i.m. portcullis, approx. 3.0 grams, fine/good fine with dark tone, (North 1997. S 2562), together with a Fifth Issue shilling, i.m. woolpack (for 1594 - 6), nearly fine, (North 2014. S 2577) and a Third Issue sixpence, 1572, i.m. ermine. S 2577), fair/fine, (North 1977. S 2577) (3)

£70-100

642* Miscellaneous. Eishenhower. Proof silver dollar, 1971 - S (for San Francisco), in plastic case, uncirculated, together with a silver Liberty dollar, 1924, fine, various English coins (21) including a six pence of Elizabeth I, 1574, nearly fine, and unofficial medals (2) commemorating Queen Elizabeth II and the Queen Mother, plus other European coins (3) - Italy, 20 euro coin commemorating Leonardo da Vinci, 1997, Hungary 100 forint commemorating the World Cup Football Championship 1982, and Wales, an unofficial pattern in silver for a 25 ecu coin by the Tower Mint Ltd, featuring Edward the Black Prince, 1992 (last three uncirculated); Victoria, Silver crown, 1891, fine, together with a George V Jubilee crown, 1935, fine but cleaned, a George VI Festival of Britain crown, 1951, boxed, good/extremely fine, Elizabeth II Coronation crown, 1953, boxed, plus other crowns commemorating Winston Churchill, 1965, the Silver Wedding, 1972, the Jubilee, 1977, and the Royal Wedding, 1981, Nelson and the Battle of Trafalgar commemorative and £2 coins in a card case, specimen £2 coins (2) in Britannia silver on card mounts, plus specimen cupro-nickel £5 coins (2), mainly uncirculated condition (42)

641* Ireland. St. Patrick Halfpenny. Anonymous halfpenny, obverse: ECCE GREX (behold the flock) above St. Patrick preaching to a crowd, reverse: FLOREAT REX (may the king flourish) flanking St David kneeling, playing a harp, his head raised towards the English crown, Copper with a brass splash on the crown (to simulate gold), uncertain mint traditionally identified as Dublin, 1688-90, 25mm, approx. 7.1 grams, nearly fine/fair, (Dowle and Finn 339-40, Yeoman pp 38f.) Scarce. Bt. Coincraft, London (for £195). The first issue of St. Patrick halfpence, struck in 1646-60, also circulated briefly in the Isle of Man until demonetized in 1680. In 1681, a quaker, Mark Newby brought a substantial number of these coins to North America and was instrumental in having them made legal currency in New Jersey. (1) £100-200

644* Henry V (1413-22). Groat, class C, with mullet on king’s right shoulder, initial mark: cross, London mint, approx. 3.3 grams, fine with dark tone, (North 1387, S 1765) (1)

£70-100

645* Henry VI (1422-61). Rosette-mascle issue groat, initial marks: (obverse) cross type IIIa; (reverse) cross type V., Calais mint, approx. 3.8 grams, very fine with light tone, (North 1460, S 1859) (1)

643* Edward III (1327-77). Treaty period half groat, London mint, approx. 2.1 grams, very fine with attractive dark tone, (North 1259, S 1620), together with John (11991216), Short cross penny, Class 5b, London, Reverse: ADAM.ON.LVND, approx. 1.3 grams, fine, (North 971, S 1351) (2)

£80-120

228

£70-100

646* Edward IV (second reign, 1471-83). Groat, class xiv with trefoils on cusps and saltire stops, i.m. annulet, London mint, approx. 2.7 grams, nearly very fine but reverse slightly off centre, with small nick in edge and very short crack, dark tone, (North 1631, S 2096) (1)

648* Henry VIII. Second Coinage, Groat, i.m. Rose, obverse reads AGL and omits Irish title, reverse has saltires in forks of cross, Tower mint, approx. 2.7 grams, good fine, (North 1797, S 2337D) (1)

£70-100

651* Elizabeth I. Hammered coinage, Third Issue sixpence, 1566, i.m. portcullis, approx. 3.0 grams, fine/good fine with dark tone, (North 1997, S 2562), together with a Fifth Issue shilling, i.m. woolpack (for 15946), nearly fine, (North 2014, S 2577), and a Third Issue sixpence, 1572, i.m. ermine, (S 2577), fair/fine, (North 1977, S 2577) (3)

£70-100

649* Edward VI (1547-1553). Third period ‘Fine Silver’ sixpence, i.m. tun, London mint, approx. 2.6 grams, fine but short crease mark, (North 1938, S 2483) (1)

£70-100

652* James I (1603-25). Second coinage, third bust shilling, i.m. lis (for 1604-5), approx. 5.6 grams, fine, (North 2099, S 2654) together with another shilling, i.m. escallop (for 1606-7), (North 2100, S 2655), fair/fine (2)

647* Henry VIII (1509-47). Third coinage (1544-47) gold crown, Tower mint, i.m. pellet in annulet (each side), approx. 2.6 grams, good fine, (North 1834, S 2305) Scarce. (1)

£300-400

650* Elizabeth I (1558-1603). Hammered coinage, Second Issue shilling, i.m. martlet (for 1560-6l), approx. 6.2 grams, nearly very fine and full size, but with fine scratches on the obverse and short sections of the legends not struck up, (North 1985, S 2555) (1)

£70-100

229

£70-100

653* James I. Second coinage, Fourth bust sixpence, 1606, i.m. escallop, approx. 2.9 grams, very fine/fine with dark tone, (North 2103, S 2658), together with a James I First coinage, second bust shilling, i.m. lis, fair/fine but clipped around part of edge, (North 2073, S 2646) (2)

655* Charles I. Tower halfcrown, Group IV, i.m. triangle in circle (for 1641-3), approx. 14.9 grams, very fine but struck on irregular flan and legends not struck up in part on both sides, (North 2214, S 2775, Brooker 371-6) (1)

£70-100

657* Charles I. Tower mint under Parliament (1642-8), Shilling, Group 4.4. i.m. (P), approx. 5.8 grams, good fine/fine but reverse slightly off flan, (North 2231, S 2843, Brooker cf 551), together with a Tower shilling, Group G, bust 1, i.m. star (for 1640-1), fine, (North 2232, Brooker cf 546-8) (2)

656* Charles I. Tower shilling, Group 3a with no inner circles and no plume above shield, i.m. bell (for 1634-5), approx. 5.7 grams, good fine, (North 2225, S 2787), together with another shilling, Group 3a. i.m. crown (for 1635-6), obverse good fine but portrait weak and slight surface damage on bust, reverse very fine, (North 2225, S 2787), and a Tower sixpence, Group 3a. i.m. tun (for 1636-8), fine, (North 2241, S 2800) (3)

£70-100

658* Charles I. Provincial and Civil War Issues, Aberystwyth, Dovey Furnace mint, groat, 1648-9, i.m. crown each side, approx. 1.9 grams, very fine/fine, reverse slightly off-centre and legends faint in part, oval piercing at 3 o’clock not affecting portrait (North 2354, S 2911, Brooker 790 but from different dies), together with a York threepence, undated but approx. 1643, i.m. lion, 1.2 grams, fine/very fine but obverse slightly off-centre, (North 2323, S 2877, Brooker 1105-7) First coin rare. (2)

654* Charles I (1625-49). Tower halfcrown, Group lll, i.m. obverse: tun over crown, reverse: tun (for 1636 - 8), approx. 14.8 grams, good fine with a full flan, (North 2209, S 2771, not in Brooker with this obverse initial mark) Very rare. (1)

£100-200

230

£70-100

£80-120

661* George III (1760-1820). Gold half guinea, Second laureate head series, 1764, approx. 3.8 grams, fine, remains of mount on edge, (S 3732) (1)

£40-60

659* Charles I. Bristol halfcrown, 1645, i.m. plumelet on obverse only, obverse: Bristol horseman with Bristol plume behind and BR monogram below, reverse: Three Bristol plumes above, Declaration: Date and BR monogram below, approx. 14.2 grams, nearly very fine but some double striking on the reverse and some parts on the inscriptions unclear, overcleaned, particularly on the reverse, (North 2491, S 3009, Brooker -) Rare. (1)

663* George III. Gold half sovereign, Last or New Coinage, 1820, approx. 4.0 grams, (extremely fine but a few surface and edge scuff marks, (S 3786) (1)

£100-200

662* George III. Gold sovereign, Last or New Coinage, 1820, approx. 7.9 grams, fine, (S 3785C) (1)

£100-200

660* William and Mary (1688-94). Shilling, 1693, approx. 5.9 grams, fine/very fine and nicely toned, (S 3437), together with Victoria, ‘Old Head’ coinage, sixpence, 1893, extremely fine but very small scratch on obverse, (S 3491), and a Victoria Jubilee Coinage half crown, gilded and with remains of brooch mount on obverse and a Jersey 1/24 shilling, 1888, both fine (4)

664* George IV (1820-30). Gold sovereign, First type with (obverse) laureate head and (reverse) St George, 1822, approx. 8.0 grams, fine, (S 3800)

£50-80

(1)

231

£100-200

665* George IV. Gold sovereign, Second type with (obverse) bare head and (reverse) crowned shield, 1825, approx. 7.9 grams, very fine with some scuff marks and an edge nick, (S 3801) (1)

667* William IV (1830-37). Gold sovereign, Second bust, 1832, approx. 8.0 grams, good fine but some surface marks and edge nicks, (S 3929B) (1)

Lot 668

£100-200

£150-250

668* George V (1910-36). Gold sovereign, 1911, approx. 8.0 grams, extremely fine, (S 3996) (1)

£120-150

669* George V. Gold sovereign, 1912, approx. 8.0 grams, extremely fine, (S 3996) (1)

£120-150

666* George IV. Gold half sovereign, Second type with (obverse) bare head and (reverse) crowned shield, 1828, approx. 3.9 grams, very fine, a few surface marks and faint traces of ink numbering on obverse, (S 3804) (1)

£80-120

Lot 669

232

FURNITURE & CLOCKS

670* A longcase clock, circa 1760, the dial with 28cm silvered chapter ring engraved with black roman numerals, signed in running script ‘John Stancliffe’, with ‘Halifax’ penny moon face, brass back plate, pierced brass spandrels , 30cm square, in a later oak and mahogany case, the hood with caddy top and columns, 210cm high, with key, pendulum and weights (1)

£500-700

671* A modern Italian clock garniture, the substantial brass and white marble mantle clock with white enamel dial, black roman numerals painted ‘Imperial’, the case with mythical putto on lions paw feet, 63cm high, with matching six-branch candelabras, 60.5cm high (3)

Lot 670

233

£200-300

672* A German mahogany cased mantle clock, circa 1920, with silver dial, black roman numerals in domed case on four bun feet, 30cm high, together with an Edwardian black slate mantle clock, with brass dial, black roman numerals in an architectural case, 32cm high

676* A pair of modern tubular steel armchairs, each with light brown leather seats and backs, 84cm high

(2)

677* A Victorian walnut bookcase, the stepped frieze over two glazed doors, enclosing shelves, over two drawers and carved cupboard doors enclosing shelves, on a block plinth, 245cm high x 126cm wide x 46cm deep

(2)

£100-150

673* An Edwardian drop dial wall clock, the stained oak case with arched pediment, glass door and side panels, white enamel and brass dial with black Roman numerals, with pendulum, 98cm high (1)

(1)

£50-80

£200-300

£100-150

674* A late Victorian walnut frame armchair, the carved toprail with reeded uprights, button upholstered upholstery, padded arms over turned supports on ceramic casters, 100cm high x 65cm (1)

£80-120

675* A pair of oak Caroleon style armchairs, late 19th century, the carved crown top rail, over vertical wavy pierced back flanked by crowns and barley twist uprights, scroll arms, solid seat and scroll supports united by barley twist cross stretchers, 121.5cm high x 64cm wide (1)

678* A substantial Victorian oak bookcase, in Gothic Revival style, the shaped cornice over three glazed doors each with fluted column, enclosing shelves, over three carved panel doors each with buttress type joining, enclosing shelves on a solid base, approx. 240cm high x 195cm wide x 60cm deep

£150-200

Provenance: Solicitors office, Cheltenham. (1)

£400-600

679* A large modern stained pine three section bookcase, each section with four adjustable shelves, on solid base, approx. 148cm high x 340cm wide x 33cm deep (1)

Lot 576

234

£200-300

Lot 679

680* An oak revolving bookcase, c. 1920, with shaped top over divisional undertier each with barley twist columns, raised on an iron stand, 81cm high x 54cm square (1)

£80-120

681* An Edwardian mahogany three tier Globe Wernicke style bookcase, with brass handles inset with mother of pearl, approx. 124cm high x 87cm wide (1)

£200-300

682* A Victorian mahogany bookcase, the ogee cornice over two glazed doors, enclosing shelves, above two cupboard doors, enclosing shelves on a block plinth, 230cm high x 142cm wide x 49.5cm deep Provenance: Great Western Railway office (1)

235

£200-300

683* A French gesso-glazed cabinet, late 19th c., the caddy top with four flame and urn finials, arch detailed in relief ‘STE CONCORDE PRIEZ POUR NOUS’, over glazed front and side panels, each with classical vase moulding and sprigs of leaves, lined with crimson silk, door to the rear, on four paw feet, 65cm high (1)

£200-300

687* An Art Nouveau stained beech bedroom chair, with pierced organic top over padded and pierced splat, padded seat over cabriole supports, 97cm high together with a William IV mahogany dining chair, 85cm high (1)

£70-100

684* A Victorian mahogany Canterbury, with five compartments over single drawer on turned supports with brass casters, 60cm high x 49cm wide x 37cm deep (1)

£150-200

685* A Hungarian hand-made carpet for Liberty, c. 1994, featuring a design after Alphonse Mucha’s ‘Le Rubis’ (1900), 240 x 100cm (94.5 x 39.5ins) A unique trial carpet for Liberty (with label to verso) which never went into production. (1) £1500-2000

686* A hand-made Hungarian carpet, c. 1994, featuring a design from Alphonse Mucha’s ‘L’Amethyste’ (1900), 268 x 100cm (105 x 39.5ins) A unique one-off trial carpet produced for Liberty which was never put into production. (1) £1500-2000

688* A Victorian mahogany bow front chest of drawers, with two short and three long drawers, each with turned handles, shaped apron on four turned supports, 122cm high x 120cm wide x 53cm deep (1)

236

£150-200

Lot 685

Lot 686

237

691* An oak dome top chest, probably Continental, late 18th/early 19th c., the planked domed cover enclosing candle box, the tapering side panels with twin iron handles, on bracket supports, with iron key and lock with brass escutcheon, 77.5cm high x 128.5cm wide x 62cm deep (1)

£300-500

689* A Victorian mahogany straight front chest of drawers, with barley twist columns flanking two short and three long drawers, each with turned handles on block base, 119.5cm high x 130cm wide x 61cm deep (1)

£200-300

692* A Victorian walnut frame Chesterfield settee, with beaded and flower head show rails, over reeded supports with brass casters, 62cm high x 196cm wide x 90cm deep (1)

£400-600

690* A pine straight front chest of two short and three long drawers, 108cm high x 117cm wide x 48cm deep (1)

£80-120

693* A joint oak coffer, 18th century, of rectangular form with carved edges and plain side panels each with V groove supports, 48cm high x 81cm wide x 30cm deep (1)

238

£200-300

696* An Edwardian mahogany twin pedestal desk, the rectangular leather inset top over three frieze drawers each with brass ring turn handles, brass locks stamped ‘J. Tann Impr Lever, 30 Wallbrook, London’, central drawer bearing label for ‘Priests Furniture Warehouse 1 & 2 Tudor Street Blackfriars’, over twin pedestals each with three drawers, on ceramic casters, 75.5cm high x 150cm wide x 78cm deep (1)

£200-300

694* A late Victorian carved oak hanging corner cabinet, the single panelled door with heraldic knight within scrolls, enclosing shelves, 100cm high x 72cm wide x 41cm deep (1)

£70-100

697* A Victorian carved oak twin pedestal desk, with superstructure over rectangular base with rexene insert, three frieze drawers over three drawers on black base, 115cm high x 122cm wide x 64cm deep (1)

£100-150

698* A set of six Edwardian oak dining chairs, comprising two carvers and four side chairs, each with carved scroll back, velvet studded seat over tapered supports, 107cm high (6)

695* A Victorian rosewood piano-action Davenport, with fret cut gallery over leather inset fall, over foliate and scroll uprights and four drawers and four dummy drawers, 98cm high x 60cm wide x 65cm deep (1)

£300-500

239

£70-100

699* A George III-style mahogany twin pillar dining table and five chairs, the D-end table with rosewood and boxwood crossbanding over baluster pedestals supported by three splayed legs each with brass lion’s paw feet and brass casters, 201cm (fully extended) x 88cm wide, together with an Adam style carver and three side chairs plus an associated carver (6)

£150-200

Lot 701

700* An oak dining table circa 1900, the top with rounded corners, three additional leaves, over fluted baluster supports each with extending support on substantial lions paw feet with casters, approx. 76cm high x 210cm (fully extended) x 121cm deep Provenance: Solicitors office, Cheltenham (1)

702* Embroidered firescreen. An art nouveau embroidered firescreen, c.1910, embroidery silks on linen, worked in blues, greens, orange, pink, white, cream, and gold, mostly in satin and stem stitch, with some couching, 56 x 43cm (22 x 17ins), in glazed mahogany frame with stand on verso

£300-500

701* Easel. A hand-carved stained oak artist’s easel, possibly early 19th century, reeded supports, top of A-frame carved in the manner of Grinling Gibbons, with the face of a cherub, scallop shell, and rococo scrolls, carved lower section hinged, sl. worming to rear support, some discreet restoration, height 191cm (75ins), width 58.5cm (23ins) (1)

(1)

£100-150

703* An Edwardian mahogany & floral marquetry inlaid folding games table by W. Thornhill, London, the folding top with green beize, ivory whist scorers and cribbage boards, with line inlay and flower head spandrels with manufacturer’s brass plate for ‘SOLE MANUFACTURERS W. THORNHILL & Co, 144 NEW BOND STRT LONDON Rd D 52608’, 97cm high x 69cm square, on an Xshaped base

£700-1000

(1)

240

£400-600

704* A Victorian birch library table, the rectangular top over two drawers each with turned handle, over tapered uprights on bun feet, 73cm high x 106cm wide x 54cm deep (1)

£100-150

Lot 702

705* A George III mahogany lowboy, the rectangular top over central frieze drawer flanked by two deep drawers each with brass handles and pierced backplates, the kneehole with fretcut inserts, over four block supports, 72cm high x 80cm wide x 52cm deep (1)

£200-300

706* A Regency gesso overmantel mirror, the cornice moulded with acanthus leaves and floral swags over central oval bevel edged mirror flanked by two rectangular mirrors, with radial moulding to each side, 83cm high x 142cm wide (1)

Lot 703

241

£200-300

707* A George III mahogany night table, the rectangular top with shaped gallery over pot aperture and two dummy drawers, hinged to reveal cupboard for chamber pot, with line inlay on champhered supports, 74cm high x 47.5cm wide x 45.5cm deep, together with an Edwardian mahogany jardiniere stand with box-wood string inlay, over three cabriole supports each with acanthus carving on pad feet, 90cm high (2)

708* A late Victorian rosewood nursing chair, the arched top with foliate carving, spindle unrights and carved splat, with curved and reeded side rails, over floral upholstered seat, on turned supports with brass casters, 76cm high x 48cm wide (1)

ÂŁ100-150

Lot 710

242

ÂŁ100-150

709* A Victorian walnut revolving piano stool, with William Morris upholstered seat, acanthus carved column on three cabriole supports (one foot damaged), 49cm high (1)

£70-100

710* A good oak refectory table, of 18th century and later construction, the rectangular planked top over carved bulbous supports united by cross stretchers, 83cm high x 187cn wide x 71cm deep (1)

£700-1000

712* An Edwardian mahogany two-fold screen, the carved frame encompassing two French 18th century black and white genre prints, 122cm high x 94.5cm wide (1)

£80-120

713* A late Victorian carved oak settle, the carved back with three panels depicting farmhands and blacksmiths, with hinged seat over foliate carved base, the side rails with winged lion’s head terminals, 90cm high x 136cm wide x 43.5cm deep (1)

711* A Scottish Arts and Crafts three-fold screen, with leaded bottle glass and linen panels, within oak frame with recessed brass hinges, 178cm high (1)

£200-300

243

£200-300

714* An Arts and Crafts style walnut side table, with rectangular top over undertier shelf, supported by pierced uprights on stepped feet united by cross stretcher inlaid with ‘H’, 84cm high x 61.5cm wide x 30cm deep (1)

£70-100

716* A fruitwood spinning wheel, late 19th century, the large wheel with eleven turned spokes, supported by three turned uprights, on a painted base with four splayed supports, 107cm high (1)

715* A George III-style bow front sideboard, early-to-mid 20th c., with central frieze drawer flanked by dummy drawers each enclosing cabinets, on four tapered supports with spade feet, 86cm high x 105.5cm wide x 53.5cm deep (1)

£100-150

717* A large Victorian walnut stationery box, the sloping doors with Bramah lock, enclosing divisional interior, over long base drawer with brass handle, 42.5cm high x 41cm wide x 36cm deep (1)

£100-150

244

£200-300

720* A pine tool chest, 38cm high x 93cm wide x 39cm deep, containing early woodworking tools, including chisels by Thomas Turner, W. Gilpin, a Tenon saw by R. Groves Sheffield, 46cm long together with a smaller tool box containing planes by Record, Stanley and Salmens, plus other woodworking tools (-)

£100-150

718* A Victorian oak stick stand by Shoolbred & Co, inset with three pottery tiles, brass finials and rail, drip tray, bearing manufacturers plaque, 104cm high x 55cm wide (1)

£100-150

719* An oak tilt top pedestal table, early 19th century, the circular top with carved edge over baluster column supported by three carved cabriole legs

721* A stained pine tool chest, the hinged lid enclosing fitted drawers and lift out trays, containing woodworking tools including saws, chisels and planes, mostly early 20th century

(1)

(-)

£100-150

245

£200-300

724* A William IV rosewood work table, the rectangular top over single drawer with a basket beneath, on turned pedestal with quatrefoil base and bobbin feet, 71cm high x 63cm wide x 41cm deep (1)

£200-300

722* A George III mahogany washstand, with aperture for basin and pots, over undertier shelf, single drawer with brass handle, on four block supports, 76cm high x 32cm square (1)

£100-150

723* A mahogany and brass wine rack, early 20th century, with turned finials and handles over single drawer raised on bun feet, 46cm high x 49cm wide, together with an Art Nouveau walnut overmantle mirror, 70cm high x 103cm wide (2)

£80-120

725* A Victorian carved oak fall-front writing desk, the hinged fall enclosing divisional interior, on four block supports, 88cm high x 76cm wide x 50cm deep (1)

246

£100-150

INFORMATION FOR BUYERS AFTER THE AUCTION Online results If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after the sale has ended. Payment The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a percentage of the final hammer price) and vat where applicable. You will be issued with an invoice made out to the name and address provided on your registration form. Please note successful bids made via the-saleroom.com cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + vat will be added to your invoice.

METHODS OF PAYMENT Cheque Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear before purchases can be collected or posted. Cash Payments can be made at the Cashier’s Office, either during or after the sale. Debit Card There is no additional charge for purchases made with these cards. Debit cards drawn on an overseas bank, however, will be subject to a 2% surcharge. Credit Cards Visa and Mastercard are accepted, a 2% surcharge will apply. It is a good idea to let your card provider know in advance if you are intending to buy something. This can help cut down the time we need to seek authority when you come to pay. Bank Transfer All transfers must state the relevant invoice no. If transferring from a foreign currency, the amount we receive must be the total due after the currency conversion and the deduction of any bank charges. Collection/Postage/Delivery If you attend the auction in person and are successful in your bid, you are free to collect your item once payment has been made. Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice. Where it is not possible for our in-house packing department to send your item you will be required to make your own arrangements or to contact Mailboxes etc (tel: 01793 525009) who may be able to help. We provide a monthly delivery service to Central London, usually on Wednesday of the week following an auction. Payment must be received before this option can be requested. A charge will be added to your invoice for this service.

247

THE COUNTRY HOUSE SALE IMPORTANT DECORATIVE ANTIQUES & FINE ART Friday 7th March 2014

For further information please contact: Dominic Winter dominic@dominicwinter.co.uk and Henry Meadows henry@dominicwinter.co.uk

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

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

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

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

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

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

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

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

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

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

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

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

250

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

COMMISSION SLIP Please Bid on my behalf at the sale on 5/6 February 2014 up to the amount shown. I acknowledge that I will be required to pay a buyer's premium at the current rate.

Lot ÂŁ Brief Description ______________________________________________________________________________________

Name: Address

Telephone: Email:

Fax:

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

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

National Rail Enquiries:

08457 484950

Telephone advance train ticket booking:

08457 000125 (First Great Western)

Online train timetables and online ticket bookings:

www.nationalrail.co.uk

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

01285 655299 / 07980 579947 01285 650850 01285 642767

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

01793 701701

Cirencester Visitor Information Centre

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

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

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

Lot 584 • Back Cover: Lot 596