Fine Art & Antiques 5 OCTOBER 2017
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FINE ART & ANTIQUES ENGLISH CARICATURES 1750-2000 5 October 2017
Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ T: +44 (0) 1285 860006 F: +44 (0) 1285 862461 E: info@dominicwinter.co.uk www.dominicwinter.co.uk
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AUCTION DETAILS COMMENCING
10.00 am
VIEWING
Tuesday 3 October - 9.00am-7.00pm Wednesday 4 October - 9.00am-6.00pm Morning of sale from 9.00am
SPECIALIST STAFF
Furniture, Silver, Ceramics & Collectables Henry Meadows BA Hons, MRICS Paul Rasti Paintings, Watercolours & Prints Nathan Winter MA (History of Art) Susanna Winters MA (History of Art) Colin Meays BA Hons (Conservation) Caricatures & Cartoons John Trevers Tel: 01285 860006 info@dominicwinter.co.uk
All lots are offered subject to the Conditions of Sale and Business exhibited in the saleroom and printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyer’s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with an asterisk, in which case the buyer’s premium is 19.5%.
ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty 4.00% 3.00% 1.00% 0.50%
For the Portion of the Hammer Price (in Euros) up to 50,000 between 50,000.01 and 200,000 between 200,000.01 and 350,000 between 350,000.01 and 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Please refer to the DACS website www.dacs.org.uk and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details. For payment arrangements please refer to information for buyers at rear of this catalogue. We would kindly request that commission bids are submitted by 9.30am on the morning of sale.
Catalogue Produced by Jamm Design – 020 7424 7830 info@jammdesign.co.uk
Photography by Ben Cavanna – 07968 342013 - bencavanna@gmail.com Marc Tielemans - 07710 974000 - marc@tielemans.co.uk
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CONTENTS Day One Ceramics & Glass Oriental Works of Art
1-5 6-17
Silver & Jewellery
18-30
Collectables
31-62
Surgical & Scientific Instruments
63-74
Tribal Art
75-92
Textiles
93-108
Furniture
109-117
Fossils & Minerals
118-161
Taxidermy
162-163
Day Two Wildlife Art
164-168
19th Century British Watercolours
169-253
George Richmond Archive & Pre-Raphaelite Art
254-271
Original Illustrations
272-280
Marine Paintings & Watercolours
281-298
Oriental Art
299-308
17th-19th Century Paintings & Watercolours
309-327
Old Master Prints & Drawings
328-336
English Caricatures 1750-1850
337-476
20th Century Cartoons
477-482
Etchings, Lithographs & Woodcuts
483-501
Modern Prints
502-532
Modern Paintings & Watercolours
533-591
Anne Carlisle
592-608
Cover illustrations: Front cover: lot 262 Inside front cover: lot 162 Back cover: lot 382
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Circus Photographs. A rare archive of 150 photographs relating to the circus of ‘Lord’ George Sanger (1825-1911), late 19th / early 20th century. £700-1,000 : 4 October (Vintage Photography)
FORTHCOMING SALES IN 2017 Wednesday 4 October
Printed Books, Maps, Documents & Photography Travel, Atlases & Exploration Private Collections of African & Oriental Travel
Tuesday 7 November
Motoring, Cycling, Maritime & Railway History Motoring Collectables & Literature, Bicycles & Models in association with Transport Collector Auctions
Wednesday 8 November
Printed Books, Maps & Documents The David A. Smith Collection of British Bee Books 1600-1950 Art & Architecture including the Michael Jenner Collection
Thursday 9 November
Military, Aviation & Naval History Medals, Arms & Armour, Stamps & Coins
Wednesday 13 December
Printed Books, Maps & Documents Early Science & Geology
Thursday 14 December
The Library of Richard Adams, author of Watership Down
Friday 15 December
Children’s & Illustrated Books, Modern Literature & First Editions The David Lansley Collection of Lewis Carroll The George Fleming Collection of Victorian Greetings Cards
Entries are invited for the above sales: please contact one of our specialist staff for further advice
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CERAMICS & GLASS To commence at 10am 1* Glassware. A part suite of Edwardian glass, comprising a pair of globe and spire decanters, plus a smaller decanter, a claret jug, four port and sherry glasses, all beautifully etched with “wriggle” decoration, the decanters having facet cut necks, all with stoppers, 30cm high and smaller, together with four 18th century cut glass ice dishes each with mitre cut decoration, 14cm diameter (16)
£100-150
Lot 1
2* Meissen. A pair of late 19th century porcelain figures, modelled as a young man and maiden, each carrying a basket of flowers, blue crossed swords mark to base and impressed LP mark, 23.5cm high, some damage notably to the bases (2)
(1)
£70-100
3* Ravilious (Eric, 1903-1942). A part Wedgwood Persephone dinner service, comprising lidded tureen, dinner plate, 2 sandwich plates plus 2 tea cups and a saucer, in blue and black transfer print, plus 2 sandwich plates and 2 dinner plates in the same pattern but with yellow and black transfer print, together with a pair of Travel Pattern side plates, 17.5cm diameter (12)
4* Ravilious (Eric, 1903-1942). A 1953 Elizabeth II Coronation pottery mug designed by Eric Ravillious for Wedgwood, 10.5cm high, black printed marks to base
Lot 4
£100-150
£70-100
5* Whistler (Reginald John ‘Rex’, 1905-44). A Clovelly tea set, comprising teacup, saucer, sandwich plate, sugar bowl, milk jug and associated plate, with a black and white printed design together with a Wedgwood & Barleston pottery jug, tea cup and saucer specially made for the New Zealand Shipping Company plus other Orient Line ceramics including a dish designed by Edward Bawden and other items (12)
Lot 3
Lot 5 5
£100-150
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ORIENTAL WORKS OF ART 6* Bowl. A Chinese porcelain bowl, the exterior decorated with peaches and fruit in blue and red, the interior similarly decorated, with Qianlong seal mark (not mark and period), 18.5cm diameter (1)
£200-300
Lot 6 7* Buddha. A Chinese carved stone head of Buddha, with eyes cast downwards and long earlobes, 24cm high presented on wooden stand, 33cm high overall, together with a 20th century Chinese jade panel carved with Tao-Tien mask and bifad chilong, 9.5cm long (2)
Lot 7
8* Charger. A Japanese blue and white porcelain charger, decorated with pagodas and pine trees within mountainous landscape with calligraphy, 34.5cm diameter together with two further chargers (3)
£100-150
£200-300
9* Chinese Pot. An unusual Chinese blue and white vessel, of domed form with elongated neck and carrying handle, painted with mythical figure and geometric decoration and some calligraphy to the rear, 22.5cm high (1)
Lot 8
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
6
£100-150
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10* Jade. A Chinese jade carving of an elephant, probably early 20th century, carved in an archaic style with squat legs and curled trunk, the green stone with brown inclusions, presented on a carved hardwood base, 19cm long (1)
£800-1200
11* Mixed Oriental. A set of eight Japanese lacquered dishes, each finely decorated with baskets of flowers and boats, on a gold sprinkled ground, 19cm diameter, together with nine lacquered plates each with gold edge, 19.5cm diameter, a lacquered pot containing eight small dishes, the cover decorated with insects and flowers, 9.5cm diameter and other items (a small carton)
£100-150
12* Mixed Oriental. A collection of Korean ceramics, including an earthenware comport, decorated with pine needles and branches in green, gold and blue, 15cm high x 23cm diameter, a pair of small bottle vases with bamboo decoration in green and blue enamel, 16cm high, and other items (7)
Lot 10
£70-100
13* Mixed Oriental. A 19th century Chinese flambé glaze vase converted to a table lamp, with a mottled purple and turquoise glaze, 17cm high, together with a twelve place setting Chinese jade tea cups and saucer, the cups 5.5cm high (13)
£70-100
14* Mixed Oriental. A collection of Oriental items, including a Chinese blue and white lidded pot in the form of a junk, 13cm long, a 1920s Chinese dolls tea service with teapot, bowls and saucers, in original wooden box, five modern Japanese dishes plus similar bowl decorated with flowers and red mark to base plus other items (some damage) (a small carton)
£100-150
Lot 11
Lot 13
Lot 14 7
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Lot 15 Lot 17 15* Netsuke. A collection of five Japanese carved wood netsuke, comprising a rat standing on a bag, signed, 4.5cm high, a monkey, signed, two dogs, signed, plus a chick (5)
£100-150
16* Table Cabinet. A Japanese lacquered table cabinet, decorated with birds, pine trees, carts & boats, the two doors enclosing six drawers with a further drawer beneath, 32cm high x 31cm wide x 19cm deep (1)
£70-100
17* Tea Caddy. A 19th century Chinese tea bin, black and gold painted with hinged lid and brass thumbpiece, 69cm high (1)
£200-300
SILVER & JEWELLERY
18* Brooch. A Victorian 14ct gold brooch, formed as overlapping swirls set with garnets and semi-precious stones, 11.7g (1)
£100-150
19* Cufflinks. A pair of Art Deco 9ct gold cufflinks, stamped 375, 8.7g (1)
£50-80
20* Cutlery. A cased set of Victorian silver and mother of pearl dessert knives by Mappin & Webb, Sheffield 1896, comprising twelve knives and twelve forks, in a fitted walnut box (1)
£100-150
Lot 20 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
8
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Lot 21
Lot 22
21* Flatware. 6 George III silver serving spoons by George Day, London 1817, each engraved with a lion crest, together with 6 fiddle pattern table forks plus 6 further serving spoons, various makers and dates, total weight approximately 36oz (18)
£150-200
22* Knife Rests. A large collection of Victorian and later knife rests, comprising 33 pairs and 5 singles, including glass, silver plate and antler examples including a pair formed as a well, 7cm long, pair with hobnail cut glass and plated ends, 10.5cm long (38)
£100-150
23* Mixed Silver. An Edwardian silver and tortoishell trinket box by Adie Brothers, Birmingham 1928, with shaped edge on four cabriole supports, 10cm wide, together with a cased set of six silver rattail teaspoons plus sugar tongs by Goldsmiths & Silversmiths & Co, London 1909, a large bottle coaster, two smaller, vesta case, milk jug and other items, weighable silver approx. 11oz (10)
Lot 23
£100-150
24* Mug. A Victorian silver mug by Edward Charles Brown, London 1869, engraved with initials and dated, with foliate scroll decoration and scroll handle, 13.5cm high, 10.5oz, together with a small Victorian christening mug also by Edward Charles Brown, London 1878, engraved with an Aesthetic design, 8.5cm high, 4.5oz, total weight approx. 15oz (2)
£100-150
Lot 24
9
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25* Pedestal Bowl. A George III silver pedestal bowl by Robert Hennell, London 1788, plain with reeded rim and engraved with the crest of the Preston Family of Scotland Sold with receipt of sale from Walter H. Willson Ltd dated 1953. The family motto “Praesto ut praestem” translates “I undertake that I may perform”. (1) £300-500
27* Teapot. A George III silver drum shape teapot by Hester Bateman London 1787, with ivory finial and handle, engraved with foliate decoration and cartouches, 24cm long (1)
£300-500
28* Tray. An Edwardian silver plated two handle tray, of oblong form with acanthus and shell edge, 64cm long, together with a pair of Victorian silver plated bottle coasters, plus five cased cutlery sets including a canteen of Victorian knives and forks (8)
26* Sovereign. A George V gold sovereign, 1919, mounted in a 9ct gold pendant with box link chain, overall weight 27.3g (1)
£100-150
29* Tray. A substantial Victorian silver plated tray, with two handles and engraved with initials beneath crown, gradrooned edge on lions paw feet, 77cm wide Provenance: Countess Elizabeth Winterton (1) £100-200
£200-300
Lot 29 Lot 27
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
10
30* Vinaigrette. A Victorian silver vinaigrette by Edward Smith, Birmingham 1854, with gilded grille, 3cm long, 10.8g (1)
£100-150
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COLLECTABLES
31* Architectural Salvage. 19th century lead hopper, cast with a shell motif, acanthus leaves and stars, 80cm long (1)
£70-100
Lot 33
32* Tea Caddy. A 19th century tea caddy in the form of a cottage, painted finish and tin lining, 18cm high x 21.5 cm wide x 13.5 cm deep (1)
£300-500
33* Blue John. A 19th century Derbyshire Blue John bowl, with fine amethyst banding, 6.5cm diameter x 4.5cm high (1)
£200-300
34* Byzantine. A Pectoral Cross, 5-6th century, in gold with four hollow tapering bars and suspension loop, inset with a central garnet to each side and four pearls, 55mm x 45mm Provenance: Private Collection, Gloucestershire. Similar examples have been sold at Christie’s, notably in the following auctions; Ancient Jewelry, New York 13 December 2002 (Lot 664); Ancient Jewelry, New York 5 December 2001 (Lots 143 & 145): Antiquities, New York 5 June 1998 (Lot 319) and more recently Icons and Artefacts from the Orthodox World, London 26 November 2007 (Lot 42) hammer price £48,500 (Est. £15,000-20,000) (1) £15000-20000
Lot 34 11
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35* After Guillaume Coustou (1677-1746). Pair of Marly Horse groups, 19th century, a substantial pair of bronze figures of the Marly Horse, modelled in typical rearing pose with partially nude figure holding the reins, on a naturalistic base, 52cm high x 48cm wide (2)
£600-800
Lot 35
38* Garden Statuary. A 20th century lead planter in the 18th century style, with panels of courting couples on a pedestal base, 44cm high
36* Gadget Cane. A WWI period gadget cane, the “Tau” shape handle enclosing a cigarette lighter inset with French coin and coronet emblem, the ebonised haft with silver collar, 91.5cm long
(1)
£70-100
39* Glass panel. 19th century leaded glass panel, decorated with four heraldic family crests, 71 x 50cm, some damage
By repute, formerly the property of Dennis Main Wilson (1924-1997), BBC producer / director of sound and television. His shows included Hancock’s Half Hour, Till Death Us Do Part, Syke’s (Eric & Hattie) and the Rag Trade. (1) £200-300
(1)
37* Garden Statuary. A 20th century lead figure, modelled as a young girl with hands behind back, 70cm high (1)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
£100-150
12
£100-200
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Lot 42 40* Gourd. A 19th century French double gourd with scrimshaw decoration, the top section with portraits of Napoleon III, the lower section with a man o’war surrounded by six soldiers in different dress uniforms, with carved ivory bird stopper, 28.5cm high (1)
£150-200
42* Grand Tour. A 19th century bronze model of the Place Vendome columns in Paris, finely detailed with Napoleon surmounting the column, on a black marble base, 31cm high together with a pair of alabaster lions, each carved with paw resting on a ball, 13.5cm long
43* Grand Tour. A 19th century book form box, containing 138 classical plaster seals, Impronte Gemmarie 10, Dalla Collez, Cades, gilt leather spine, the plaques of animals all numbered with manuscript index, some loose, 35.5cm high x 22cm wide x 6cm deep
The Place Vendome is a monument which commemorates Napoleons victories. (3) £100-150
(1)
41* Gourd. A 19th century Italian double gourd with scrimshaw decoration, engraved ‘Martaggio delle Sorelle di Psiche’ (assembling sisters of psyche) ‘Il Pasto’, with classical figures amongst architectural and landscape decoration, 22cm high (1)
£100-150
Lot 43
13
£300-500
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Lot 44
Lot 45
44* Grand Tour. A collection of 19th century red wax seals, various types including popes, kings etc, bound in paper 40mm diameter, some with damage (37)
£100-150
45* Grand Tour. A collection of 25 oval plaster plaques, depicting kings, queens, diplomatic and classical figures, various sizes, largest 11cm, smallest 7cm, together with 2 framed groups of classical plaster plaques (27)
£200-300
46* Ivory. A Regency ivory salt and pepper shaker, of cylindrical form with two unscrewable compartments, 7.5cm high, top loose and some damage, together with pewter snuff boxes, and two silver pocket watches (11)
£100-150
47* Knife. A fine 19th century gaucho knife, the 16.5cm steel blade stamped ‘Joseph Rogers & Sons Cutlers to his Majesty’, with silver and gold coloured metal grip, beautifully cast with foliage and birds, 27.5cm long overall, in its conforming scabbard (1)
48* Mantel Clock. A 19th century Boulle work mantel clock, circa 1870, with inlaid gilt metal rococo mounts, the white enamel dial with blue and white roman numerals and musical trophies, the rear door enclosing brass movement stamped Cousens & Whiteside, Paris, 35cm high, with key, pendulum and gilt base (1)
£200-300
£500-800
Lot 47
Lot 48
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
14
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49* Papier Mâché. A late 19th century Persian papier-mache box, richly decorated with birds, flowers and leaves in red, gold and green with sliding compartment, 5cm high x 27.5cm wide x 6cm deep, together with an agate ball, George IV commemorative pottery mug a/f and other items (3)
£70-100
50* Pestle and Mortar. Three 18th century bronze mortars and two pestles, the mortars all plain with everted lip, largest 12cm diameter, smallest 11cm, the pestles, 17.5cm and 17cm long (5)
£120-150
51* Royal Army Medical Corps. A WWI period presentation piece, silvered metal modelled as a wounded man being attended to by four men all in civilian wear, mounted on a substantial ebonised base with four RAMC badges, 37cm high x 46cm wide (1)
£200-300
Lot 50 52* Scrimshaw Flask. A Corsican scrimshaw flask, probably 19th century, of circular form carved ‘Ajaccio’, with figure and sea serpent amongst foliate scrolls, two cord handles and cork stopper, 12cm diameter (1)
53* Scrimshaw Fruit. A Peruvian scrimshaw fruit, probably 19th century, finely carved with harvesting and landscapes with sun and moon amongst scrolls, seeds within, 8cm high (1)
£70-100
£80-120
54* Shooting Stick. An Edwardian shooting stick by Swaine & Adeney Ltd, the leather covered shaft with aluminium fittings and spike, 85.5cm long, together with another shooting stick, plus two early 20th century parasols, one carved with a Terrier dog the other with bird knop (4)
£100-150
55* Swordstick. An Edwardian swordstick, the ebonised shaft with silver collar and ivory ball knob, concealing 58.5cm straight steel blade, 95.5cm overall (1)
£200-300
Lot 52 Lot 53
Lot 55
Lot 51 15
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56 Table Cabinet. A late 19th century Austrian enamel and ebonised table cabinet, the top surmounted by a bronze elephant with panels of classical figures, the doors and side panels also inset with panels, with corner caryatids, enclosing three drawers each inset with enamel panel, on four griffin supports, 19cm high x 14.5cm wide x 12cm deep (1)
ÂŁ500-800
Lot 57
Lot 58
Lot 56 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
16
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57* Walking Stick. A walking cane handle, by Ben Cox London, 32cm long, in original leather box Provenance: Tankerville family. (1)
SURGICAL & SCIENTIFIC INSTRUMENTS
£70-100
58* Walking Stick. A 19th century walking stick, with carved ivory skull knop on ebony shaft with vertebrae and silver collar, 91cm long (1)
£150-200
59* Walking Stick. A rare Masonic walking stick, the metal shaft concealing a sword, the 74cm straight steel blade with leather grip bound in brass wire and brass finial, 86.5cm overall, in its red leather scabbard with brass mounts Provenance: Wallis & Wallis, 1970s. (1)
£200-300
60* Walking Stick. Early 20th century Bull’s pizzle walking stick, made from a full length bull’s penis, with brass ferrule, 90cm long Purchased by the current owner in America. (1)
£70-100
61* Wax Sculpture. A Victorian wax sculpture, modelled as a basket of fruit, under a glass dome with ebonised base, 41cm high (1)
£150-200
62* Whistles. A collection of vintage whistles, including a rosewood recorder stamped 'Tuju Bluck Flote', 48cm long (17)
£100-200
63* Apothecary Cabinet. A 19th century apothecary cabinet, the mahogany box with recessed brass handle, enclosing nine various sized bottles each with stopper plus measuring cup, the single drawer enclosing scales and weights, 18.5cm high x 17.5cm wide x 15.5cm deep, together with two Victorian brass inkwells plus a brass stag pen rest (4)
£200-300
Lot 59
Lot 60
64* Microscope. A Victorian lacquered brass binocular microscope by R.J Beck, 68 Cornhill, London, no.17725, in fitted mahogany case with accessories, 36cm high x 21.5cm wide x 16cm deep (1)
£300-500
17
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65* Microscope. A Victorian lacquered brass monocular students microscope, in rosewood box, 7.5cm high x 18.5cm wide x 10cm deep, together with a mixed collection of items including part stereoview cards of Palestine by Underwood & Underwood in book box, Victorian postal scales and other items (a carton)
£70-100
67* Surgical Instruments. A cased amputation set, circa 1860s, comprising bone saw with chromed handle, ebony and steel instruments, some stamped LAWLEY, a field tourniquet and other items, presented in a fitted mahogany box, 6cm high x 40cm wide x 12cm deep (lacking lock and key), together with 19th century mahogany surgeon’s box, brass bound with engraved brass escutcheon bearing initials ‘G.A.E.’, the hinged lid lift-out tray with divisions, ivorene makers plaque ‘MAYER & MELTZER, LONDON’, 8cm high x 33cm wide x 20cm deep, with key The surgeons box engraved with initials, G.A.E. is believed to be the former property of George Arthur Ewart FRCS (1886-1942), surgeon at St. George’s Hospital, London. (2) £200-300
66* Surgeon’s Cabinet. A Victorian mahogany surgeon’s cabinet, with 3 glass doors, the central door marked ‘sterilizer’, above a bank of 16 drawers, with a further 5 drawers and cupboard beneath, each with glass knobs, on brass and steel casters, 160cm high x 89.5cm wide x 42cm deep (1)
£700-1000
68* Surgical Instruments. A large collection of mid-20th century surgical instruments, including recto-anal equipment used for diagnosis and treatment of piles, etc., including ivory protected clamp, mouth, tonsil, mastoid, thyroid and larynx instrumentation abdominal instruments, especially many varieties of clamps for the stomach, small and large bowel, wound retractors and other items (2 cartons)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
18
£200-300
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69* Surgical Instruments. A large collection of Victorian and later surgical instruments, including cranial instruments, principally bone access, including a 19th century French drill stamped Collin & Cie, with carved treen handle, 30.5cm long, chest and thyroid instruments and other items (2 cartons)
£200-300
70* Surgical Instruments. A large collection of early to mid-20th century surgical instruments, including fracture traction hoops, circa 1930-65, knee prosthesis for arthritis fracture plates, screws, etc., gynaecological and obsteric instruments, etc., plus two leather doctors cases with various accessories (2 cartons)
£200-300
71* Surgical Instruments. A large collection of early to mid 20th century surgical instruments, including various artery forceps, a general practitioner’s obsteric steriliser, circa 1920, with folding legs and some original instruments, mouth gags, etc. (2 cartons)
£200-300
73* Surveyor’s Compass. 19th century surveyor’s compass, the silvered dial signed Stanley London 8505, two bubble levels and folding sights in a wooden box (probably later), together with a 19th century brass barometer by Short & Mason Ltd London with 11cm silvered dial and brass case (2)
74* Theodolite. A Victorian theodolite, brass and gunmetal steel with bubble level and adjusting dials, in mahogany box and leather case with original Negretti & Zambra retailers label, 26cm high x 41.5cm high x 37cm deep, with wooden tripod stand
72* Surgical Instruments. An Edwardian brass bound mahogany box by Arnold & Sons, London, enclosing miscellaneous instruments, together with a cased prostatic punch scope by G. Thompson, London, a cased cysto-urethroscope, circa 1940s, by McCarthy, New York, and other cased instruments, bladder rectractor and other loose instruments (a carton)
£150-200
(1)
£200-300
19
£100-200
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TRIBAL ART
78* North American Indian. An Iroquois/Haudenosaunee beadwork purse, decorated with floral sprays on a black velvet ground, 19cm long, together with another 16.6cm long, 19th century or later (2)
£120-180
75* Bronze. A substantial 20th century Benin bronze, modelled as a warrior on horseback, 59.5cm high x 46cm long (1)
£300-500
76 Morgan (Lewis H.). League of the Ho-De-No-Sau-Nee or Iroquois, Dodd, Mead and Company, 2 volumes, New York, 1901, numerous illustrations and pull out maps, hardbound publications, 4to Rare publication (2)
79* North American Indian. An Iroquois/Haudenosaunee beadwork purse, decorated with flowers on a brown ground, 15.5cm long, together with another, 16.5cm long, 19th century or later
£300-500
(2)
£120-180
80* North American Indian. An Iroquois/Haudenosaunee beadwork purse, decorated with flowers on a brown velvet ground, 15.5cm long, together with another 15cm long, 19th century or later (2)
77* North American Indian. An Iroquois/Haudenosaunee beadwork purse, decorated with flowers on a brown velvet ground, 20cm long, together with another 15.5cm long, 19th century or later (2)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
£120-180
20
£120-180
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84* North American Indian. A pair of Iroquois/Haudenosaunee beadwork cuffs, decorated with flowers on a brown velvet ground, 33.5cm long, 19th century or later (1)
£150-200
81* North American Indian. An Iroquois/Haudenosaunee beadwork purse, decorated with flowers on a brown velvet ground, 16cm long, together with another with fold over flap 19.5cm long, 19th century or later (2)
£120-180
85* North American Indian. An Obijay beaded waistcoat, finely decorated with flowers on a black velvet ground with brass buttons, 56cm long
82* North American Indian. An Iroquois/Haudenosaunee beadwork panel, decorated with floral panels on a brown velvet ground, 22cm diameter, 19th century or later (1)
Given to a Dr J.I. Morris in Montreal by Chief Clear Sky 1923 with supporting copied paperwork. (1) £400-600
£100-150
86* North American Indian. Four pieces of bead cache, various sizes and colours, largest 27cm long, smallest 11.5cm (4)
87* North American. An Iroquois/Haudenosaunee square beadwork purse, with geometric decoration, 13cm long, together with another with foliate decoration, 17.5cm long, 19th century or later
83* North American Indian. A pair of Woodland beaded straps, plus a purse, all decorated with flowers on a black velvet ground, the straps 116cm long, the purse 19.5cm long, 19th century or later (3)
£50-80
(2)
£300-500
21
£120-180
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Lot 90
Lot 92 89* Tribal. A string of 20 African graduated amber beads, the largest 35mm diameter the smallest 25mm, together with a string of red, blue and green stone beads, two African woven baskets plus an amphora shape pottery vase, 17cm high (5)
£70-100
90* Tribal. An African carved wood Dogon lock, with geometrical carving, 24cm long, together with two African carved hardstone figures, Ethiopian Coptic icon, naïvely carved with religious figures, 20cm long, plus a Pre Columbian style pottery vessel modelled with birds, 17cm long (restored) (5)
£100-150
91* Tribal. An African Kuba lidded box, with geometric cover, 32cm high, together with a carved wooden bowl and other items (6)
88* Peru. A hardwood table lamp carved as a traditional Peruvian figure, with red enamel eyes and white metal mounds, 36cm high, recently rewired and working (1)
£70-100
92* Zulu. 19th century Zulu stick, the wooden shaft bound in copper wire and bulbous knop, the silver ferrule hallmarked 1915, 89.5cm long (1)
£80-120
£100-150
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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TEXTILES
Lot 95
Lot 93
Lot 94
93* Dress. A black silk mourning dress, circa 1830s, hand-sewn black silk dress, with front opening boned bodice, fastened with metal hooks and eyes, closely gathered skirt, and wide sleeves, with cream scalloped cuffs of eyelet embroidery, lined with brown glazed cotton, green wool edging to hem (worn), some white marks and small holes, a little torn to underarms, length 142cm (56ins), bust 80cm (31.5ins), waist 60cm (23.5ins), sleeve length 45.5cm (18ins) (1)
95* Dress. A taffeta and net ball gown, early-mid 20th century, strapless pale peach gown, with boned bodice of ruched net and taffeta, and full skirt of frilled net, with four taffeta bows off-centre vertically to left of skirt, zip closure to left, length 103cm (40.5ins), bust 82cm (32ins), waist 64cm (25ins), together with A satin suit, 1940s, two-piece suit of deep peach satin, fitted peplum-style jacket with beaded collar (slight loss of beads in a few places), long sleeves with pointed turned back cuffs, five covered buttons, shoulder pads, length 50cm (19.75ins), bust 91cm (36ins), sleeves 44.5cm (17.5ins), matching skirt, with ruched detail off-centre, zip closure to left, length 81.5cm (32ins), waist 64cm (25ins), plus An embroidered organza evening dress, circa 1930s, cream organza dress with allover embroidery in a flower and lattice design, bodice with square neck at front, and slit at back secured with a button at nape, frilled cap sleeves, high waistband with matching sash with flower embellishment, long skirt with handkerchief hem, side fastening with press stud closures, rayon under-slip, length 138cm (54.5ins), chest 84cm (33ins), waist 70cm (28ins), sleeves 10.5cm (4ins), plus twenty-eight other 20th century garments, mostly dresses, including a beaded cream satin train, 1930s, a 1920s figured velvet dress with dropped waist and tasselled skirt, and a heavily beaded cream chiffon dress, 1920s, various sizes and condition
ÂŁ150-200
94 Dress. A Victorian tea gown, circa 1870s/80s, hand and machine-sewn dress, of blue and brown striped satin, front fastening with inserted gathered blue satin panel, bodice and sleeves lined with brown glazed cotton, both panel and lining with metal hook and eye fasteners (one hook missing), back of bodice pleated, wide blue satin ribbon forming bow just below nape, and matching waist sash, both with tails, wide puffed three-quarter length sleeves, skirt with wide frill to lower edge, forming a small train at the back, length 156cm (61.5ins), bust 102cm (40ins), waist 88cm (34.5ins), sleeve length 46cm (18ins) (1)
ÂŁ70-100
(31)
23
ÂŁ300-500
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Lot 97 98* Fabric samples. A collection of approximately fifty fabric samples, French & English, 19th/early 20th century, a variety of large and small fabric pieces, by Jean Eric Tournier, Thomas Clarkson, Swainson & Denny, and others, various sizes and condition, together with three quilts, two 19th century and the other 20th century, with varying degrees of wear From the archive of Ramm, Son & Crocker. (approx.50) £500-800
96* Dress. An Art Nouveau dress, circa 1910, hand and machine-sewn terracotta moiré silk dress, with fitted bodice, high waist, and flared panelled skirt, bodice appliqued front and back with handembroidered brown velvet maple leaves joined with stems and tendrils (apparently unfinished in a few places), bodice and elbow-length sleeves edged in brown velvet, metal press stud and hook and eye closures on back, bodice and sleeves lined with cotton, some marks and wear, length 112cm (44ins), bust 76cm (30ins), waist 72cm (28ins), sleeve length 37cm (14.5ins) (1)
£70-100
97* Embroidery. Three fragments of metallic thread embroidery, English, 17th century, forming an embroidered border on linen, elaborately worked with deer, stylised tulips and other floral motifs, leaves, and urns, in padded satin stitch using metal threads, and with connecting tendrils in cream silk stem stitch, incorporating metal threads in places, some light toning and discolouration, a few loose threads, larger piece 81 x 13cm (32 x 5.25ins), smaller pieces 14.5 x 13cm (5.75 x 5.25ins), sometime mounted together at head and top sides of a large old linen pillowcase, spotted in places, ties to lower edge, dimensions of pillowcase 72 x 80cm (28.5 x 31.5ins)
99* Fabric samples. A collection of nineteen fabric samples, Italian, 19th-mid 20th century, a variety of woven jacquard damasks, lampases, and brocades, 224 x 145cm (88 x 57ins) and smaller, together with a collection of nine large salesman samples, mid to later 20th century, by Ramm, Son & Crocker, hand-blocked linen or linen/cotton, most exclusively made for Hazleton House, Toronto (with copyright date 1987), some named, e.g. ‘Homage to Rose Cumming’, ‘Anne-Cienne’, Chinese Vase’, ‘Anne Dorothea’, 152 x 142cm (60 x 56ins) and smaller From the archive of Ramm, Son & Crocker. (19) £300-500
Some carefully preserved pieces of early embroidery, presumably from a larger piece, surviving in very good condition. (1) £300-500
Lot 98 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
Lot 99 24
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103* Printing blocks. A collection of large wooden printing blocks, circa 1895, together twenty-one sandalwood printing blocks, with floral motifs cut in wood, felt, and copper, some with name of colour incised on side or written on face of block, some with painted date 1895 on side, 51 x 34.5cm (20 x 13.5ins) and smaller
100 Fabric samples. An album of fabric samples, later 19th century, approximately sixty leaves, most rectos and versos with mounted fabric samples, between one and fifteen samples to a page, many samples monochrome, a few samples detached or missing, mounted in a blank ledger, paper watermarked 1830, one or two leaves detached (and some fraying to fore-edge), original reversed calf, lacking spine and covers detached
Made for Ramm, Son & Crocker. The company was founded in 1891 and specialises in the reproduction of 18th and 19th century furnishing fabrics, printed by hand using traditional methods. (21) £300-500
From the archive of Ramm, Son & Crocker. (1) £200-400
101* Hats. A collection of hats, early-mid 20th century, together forty-six hats, including headpieces, skull caps, bonnets, cloche hats, berets, pillbox hats, variously composed of fur, felt, velvet, feather, raffia, etc. many embellished with net, jewels, fabric flowers, feathers, ribbon, tassels, etc., various makers, including G. Fox & Co., La Rose Hats, Wm Silverman, Henriette Modes, Karli-Anne, Society Tailored Hats, Gladys & Belle, Vivi by Elite, Evelyn Varon, various sizes and condition (46)
102* Opera coat. A black velvet opera coat, B. Altman & Co., Paris, New York, 1930s, full-length black silk velvet coat, with gathered blouson back, large collar, sleeves gathered at shoulders and tapering to cuffs, and two button loops (one button missing and consequent small hole), a short split in one seam, lined with ivory satin, with matching interior tie, and B. Altman label, length 146cm (57.5ins), bust 82cm (32ins), sleeve length 58.5cm (23ins) Glamorous opera coat made for luxury New York department store B. Altman & Company, in very good wearable condition. (1) £70-100
£100-200
25
104* Sash. A Ceintures Flechees (L’Assomption sash / Arrow sash), finely finger woven in red, blue, green and yellow with tasselled fringe, approximately 165cm long A traditional piece of French-Canadian clothing worn in the 19th century. (1) £400-600
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FURNITURE 109* Bureau. George III mahogany bureau, the fall front enclosing divisional interior with classical columns, above four drawers each with elaborate rococo gilt metal handles on ogee bracket feet, 107.5cm high x 102cm wide x 54cm deep (1)
105* Shawl. A large Paisley shawl, mid to late 19th century, silk shawl, with allover Paisley pattern, in shades of red, green, blue, and yellow, some neat period darns, three sides with hand-knotted silk tassel border (slightly worn in places), 341 x 175cm (134.5 x 69ins) (1)
£100-150
£150-200
107* Top Hat. An Edwardian fur top hat by Tresso & Co, in brown leather hat box, together with a Christy & Co. London top hat for Austin Reed in card box, a collapsible top hat by A.J. White in card box, a riding crop with antler handle, a pair of WWI military field glasses by A. Kershaw & Son Ltd, Leeds 1918, in brown leather case, plus a horse measuring stick, cut down and lacking rule (6)
£200-300
110* Chair. An Orkney chair made by Robert H. Towers, 1988, finely crafted with rush canopy and pine show frame, 150cm high, with receipt and paperwork of original purchase 106* Theatrical costume. A heavily embellished black jacket, probably Continental, late 19th/early 20th century, fitted and flared black jacket, with neck frill, and wide sleeves, decorated overall with black soutache braid and beading, sleeve hems and lower edge with fringed edging, length 66cm (26ins), bust 86cm (34ins), sleeve length 54cm (21.25ins), together with five other garments, comprising: a large black cloak of guipure lace, with wide sleeves and tasselled neckline, lined and interlined, somewhat worn; a long cream satin train embroidered with fleur-de-lys and a dagger in gold metal thread and sequins; a red velvet cloak with “ermine” collar edged with gold metal fringe; and a satin waistcoat with applique detail, various sizes and condition (5)
(1)
£100-150
108* Top Hat. An Edwardian fur top hat by Austin Reed Ltd, London, “Gerrard Hats”, in original brown leather hat box with engraved brass plaque ‘Kossuth Robinson Compton nr Bristol’, with hat brush (2)
£70-100
111* Chandelier. A modern Venetian glass 8-branch chandelier, with lustre drops and swags, approximately 60cm diameter
£100-150
(1)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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£200-300
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112* Corner Cabinet. A George III oak and mahogany hanging corner cabinet, with single panel door inlaid with a conch shell enclosing shelves above three drawers, 110.5cm high x 84cm wide x 46cm deep (1)
Lot 114
£100-150
113* Library Steps. A Victorian style mahogany metamorphic library chair, 87cm high, together with a Victorian ebonised adjustable book stand, with gothic brass and ivory strap work decoration, 34.5cm long, plus a 1920s oak book trough, 35.5cm long (3)
£100-150
114* Mirrors. A large pair of Venetian style wall mirrors, each with scroll decoration and roundels, 145cm long (2)
£600-800
115* Screens. A Victorian three fold dressing screen, with foliate painted leather panels secured by a brass nailed edge, 182.5cm high, together with a Victorian four fold screen dressing screen with decoupage scrap panels, 185cm high (damage to both screens) (2)
£150-200
116* Welsh Dresser. An 18th century oak and mahogany Welsh dresser, with plate rack with two cupboards and drawer beneath above rectangular base with three drawers each with oval brass handles on reeded supports, 195.5cm high x 189cm wide x 49.5cm deep (1)
£700-1000
117* Window Seat. A William IV mahogany window seat, the rectangular seat on four turned supports, 49cm high x 99cm wide x 25.5cm deep, together with a Victorian mahogany dressing table mirror (2)
£100-150
Lot 116
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120* Spinosaurus Tooth. This is an exceptionally large tooth and must be amongst one of the largest ever found, it is from one of the largest predators to have walked on our planet, a beautiful example which is extremely large at 6ins
FOSSILS & MINERALS
(1)
£300-500
118* Cleoniceras. This ammonite has been cut through its centre and then polished to reveal the intricate chambers which have been preserved in calcite and limestone, a large and impressive display fossil at nearly 7.5 ins across (2)
Lot 122
£200-300
121* Carcharodon Megalodon Tooth, 4.25 ins, this is a very well preserved jet black tooth from the largest shark to have ever existed, it is approximately 10 million years old and was found in South Carolina, USA (1)
119* Tyrannorsaurus Tooth. A large and impressive tooth from the T-rex of North Africa, the specimen measures approximately 2.75 ins in length and has excellent enamelling and serrations The species is Caracharodontosaurus and would have been equally as ferocious as its North American counterpart. (1) £200-300
£150-200
122* Fossil Crinoid. This example is of the species Scyphocrinites and is from the Silurian of South Morocco and is dated to approximately 420 million years old, the specimen measures approximately 13.5 x 12 ins (1)
£200-300
123* Starfish Fossil. This exceptional starfish is in pristine condition and originates from Southern Morocco, it is Ordovicain in age at around 450 million years, the specimen measures approximately 22 x 21cm (1)
£100-150
Lot 120 Lot 124 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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Lot 123 124* Polychrome Jasper. 2 large polychrome jasper polished free forms on custom base, Polychrome Jasper is a Chalcedony or impure Silica with varities of Red, Yellow, Brown and Green colouration that was first discovered in Madagascar in 2006, this is a beautifully matched pair each weighing approximately 2kg each (2)
£200-300
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125* Agate. A large Agate polished free form on custom base, Agate is natural glass and this piece has concentric patterns throughout, the specimen weights 4kg (1)
Lot 128
£150-200
126* Nautilus Fossil. A large Nautilus Fossil, this calcite specimen comes from the Cretaceous of Madagascar and its chambers are beautifully preserved, it weights 1.78 kg and measures 6 inches across (1)
Lot 126
£200-300
129* UK Ammonite. A very large UK Ammonite on Matrix, this is a Sephanoceras from the Middle Jurassic of Somerset, the specimen weighs 18 kg with the ammonite measuring 10 inches across Dozens of hours have gone into revealing this specimen from the host rock. (1) £800-1000
127* Perisphinctes Ammonite. A large and fully shelled Perisphinctes Ammonite from Madagascar, this is a very well preserved example with full shell coverage, the specimen measures over 10 inches across and weighs over 4.5 kg (1)
£200-300
128* Large Ammonite. A substantial Ammonite 14 kg on custom stand, this is a gigantic specimen with exceptional detail and preservation It is a Perisphinctes Ammonite from the Jurassic of Madagascar. A real interiors piece. (1) £700-1000
Lot 127
29
Lot 129
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130* Fossil Wood Slice. An extremely large fossil wood slice, this example is 240 million years old and still has the growth rings preserved, it measures 14 inches across and weighs more than 4.5 kg (1)
£300-400
133* Tyranosaurus Vertebra - Carcharodontosaurus saharicus. This exceptional vertebra is from a fully mature adult dinosaur and is an exceptional find, it measures 9 inches tall x 14 inches across This kind of fossil is incredibly rare and this example is in excellent condition. A complete one-off piece. (1) £1500-2000
134* Axe Head. A Neolithic polished green stone axe head, 16cm long, together with a knapped flint axe hand axe, 12cm long (2)
131* Ammonite Mortality Block. This example comes from the mid Jurassic of Somerset and has 13 ammonites preserved and shows the sea floor in a moment in time, the specimen measures 20 x 18 inches and weighs 23 kg (1)
£100-150
£400-500
132* Neolithic Flint. A Neolithic Flint “Livre de beurre” from France, this is a Flint Core which was fashioned and used to make other smaller flint tools, the specimen measures 11.5 inches in length and weighs nearly 3.5 kg, from Barrous, Loire, France It is known in France as the Loaf of Bread and is a very impressive ancient tool. (1) £300-500
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
135* Amethyst Cathedral. Brazil, 44.5cm high (1)
30
£100-150
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136* English Ammonites. Various sizes (9)
£50-80
137* Mixed Ammonites. Various sizes (16)
£50-80
141* Fossil Crab. Harpactocacinus punctatus, Verona, Italy, Eocene period, 45 million years, neatly mounted on a rocky base, 18cm long (1)
£300-500
138* Yorkshire Coast Ammonites. Dark and heavy, various sizes (a small carton)
£100-150
139* Sauropod Dinosaur Bone. Isle of Wight, UK, 37cm long (1)
142* Goniotite. A very large freestanding Goniotite, Erfoud, Morocoo, Devonian period, 370 million years, 48cm high
£100-150
(1)
140* Agatised Fossils. A collection of agatised fossil wood logs with cut bases and polished tops, Madagascar, Triassic period, 240 million years, 21cm diameter and smaller (1)
£100-150
143* Minerals. A collection of minerals from Madan, Romania, containing quartz, Pyite, Sphalerite, calcite, manganocalcite and galena
£200-250
(a small carton)
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£100-150
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144* Botriodal Chrysocolla. Single specimen of botriodal chrysocolla on malacite from Zaire, 27cm high (1)
£150-200
145* Knightia alta fossil fish. Knightia alta fossil fish plaque from Wyoming, USA, Eocene period, 47 million years old, 20cm long (1)
£100-150
Lot 147
147* Fossil shark teeth. Fossil shark teeth from Morocco, 50 million years old in decorative frame, 56.5 x 48cm (1)
146* Carcaradon Megalodon Shark teeth. A collection of 6 large Carcaradon Megalodon Shark teeth, South Carolina, USA, 20 million years old, 14cm and smaller (6)
£300-500
£100-150
148* Keichosaur Marine Reptile. Exceptionally fine preservation and preparation, Triassic period, China, 240 million years, 22 x 34cm These small creatures were the ancestors of the Plesiosaurs. (1) £600-800
Lot 148 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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149* Coral. Two fossilized “brain” coral, approx. 30cm long (2)
£100-200
152* Permineralised fossil wood, Triasic 252-200 million years old, rare, Germany, 133cm high (1)
£200-300
153* Fossil Shells. 12 fossil shells, Flolida, around 5 million years old, Plocene 5.3 - 2.5 million years, largest 27cm long (12)
£400-600
150* Amphibian. Rare Amphibian, Discosauriscos Permian, 299252 million years old, 21 x 31cm (1)
£350-400
154* Ammonite Plaque. Irridescent, Cleoniceras cretaceous, 14565 million years old, 91 x 100cm
151* Desert Rose Crystal formation, approx. 32cm high (1)
£250-300
(1)
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£250-300
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Lot 155
155* Split Ammonites. A fine pair of split ammonites, Volga River Russia, speetonicerus, Jurassic, 203-146 million years old, approx. 34cm across (2)
£1000-1500
156* Moroccan Ammonite. A very large Moroccan ammonite, Atlas Mountains, 400 million years old, Devonian, approx. 57cm across (1)
£550-600
157* Hematite. A large Hematite specimen (Kidney Ore), approximately 20cm long (1)
Lot 156
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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£70-100
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158* Meteorite. A collection of four meteorite samples, comprising Henbury, Northern Territory, Australia, Group III AB Iron (4,700Y), 4.5cm long; Odessa, Texas, U.S.A., Group I, Iron 50,000Y, 5cm long with collection label; Nantan, China, Group III CD, Iron (1516), 6.5cm long, plus Tektites (Malaites) Natural “Meteoric” Glass, Malaya, 5.5cm, each presented in a Perspex case with information card including coordinates (4)
£200-300
160* Minerals. A large collection of minerals, including a Derbyshire Blue John polished slice, 14cm long, polished Septarian Nodule, 16cm long, Cornish Serpentine, Garrierite, Agate and other minerals (two cartons)
£200-300
159* Minerals & Shells. An old collection of minerals and shells, formed circa 1890-1910, including blue and green carbonate of copper sample, 4.5cm long, yellow Aragonite found on Alston Moor, Cumbria, both with old manuscript collection label, fool’s gold, agate, quartz and other examples, plus a small grouping of shells, some with collection labels including examples from the Sea of Galilee dated [18]93 Provenance: The collection of Major George (Paddy) Harrison, DSO, MC, Royal Engineers (1876-1939), who after leaving the army became a miner / prospector working in Papua New Guinea, the Ural’s, South Africa and other parts of the world. (a small carton) £70-100
161* Minerals. An extensive collection of mineral samples, many categorised with name and location for example Vesignieite, Newcastle Hill Quarry, Stanton-under-Bardon, Leicestershire; Opal-Hyalite (Wasseropal) Valee near Podborany CZ; Goshenite & Muscovite, Sichuan Province, China; Pyromorphite, Bwich Mine, Talybont, Wales etc (four cartons)
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£300-500
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Lot 162
TAXIDERMY 162* Taxidermy. A Tiger head by Van Ingen & Van Ingen, circa 1920s, beautifully preserved with glass eyes and ferocious teeth, mounted on a wooden shield stamped Van Ingen, Mysore and additional paper labels including one for conservation, 87 x 76.5cm Shot by Captain J.C.A. Simson, M.C., Royal Artillery (1887-1967), whose family were merchants and owned the firm of Coccanda in India. (1) £2000-3000
163* Taxidermy. A Tiger head by Van Ingen & Van Ingen, circa 1920s, beautifully preserved with glass eyes and ferocious teeth, mounted on a wooden shield stamped Van Ingen, Mysore and additional paper label for conservation, 75 x 60.5cm See lot 162 (1)
£2000-3000
Lot 163 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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Fine Art
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WILDLIFE ART
Lot 164 164AR* Cox (Neil, 1955-). Covey of English Partridges, watercolour on paper, signed lower left, 49 x 71cm (19.25 x 28ins), framed and glazed (1)
£300-500
165* Ennion (Eric Arnold Roberts, 1900-1981). Silver Pheasants, watercolour with pencil and bodycolour, 38 x 46cm (15 x 18.1ins) mount aperture, signed lower left, framed and glazed, with Sladmore Gallery label to verso Exhibited: Bird Artists of Today, Sladmore Gallery, 1st March-15th March 1972, catalogue number 20. (1) £200-300
Lot 165
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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166* Harrison (John Cyril, 1898-1985). South African Landscape, watercolour, 13 x 21.5cm (5 x 8.5ins), framed and glazed With handwritten note to verso, stating this work has been acknowledged as by the artist by his son R.C. Harrison. (1) £150-200
167* Lambert (Terence 1954 -). Bee-eater, circa 1980, pencil drawing, signed to lower left, 47 x 25cm (18.5 x 10ins), mounted, framed and glazed (1)
£100-150
168* Turner (Ken, 1926-). Shelducks on a winter pond, oil on board, signed lower right, 60 x 125cm (23.5 x 49.5ins, framed (1)
£200-300
Lot 168
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Lot 167
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19th CENTURY BRITISH WATERCOLOURS
Lot 169
Lot 170
169* Ackermann (Arthur Gerald, 1876-1960). Stiffkey, Blakeney Channel, Norfolk, watercolour on paper, 165 x 254mm (6.5 x 10ins), framed and glazed, with Fry Gallery label to verso Provenance: From the collection of Ethel Violet Scully (née Ackermann), sister of the artist (according to label). (1) £100-150
170* Album of Watercolours and Drawings, compiled by Eliza Mary Tugwell, Bath, circa 1830-50, containing 33 various watercolours, pencil drawings, some signed, and many initialled, including a pencil view of Widcombe Church by Clements Good, dated Bath 1833, a gouache illustration to Scott’s Heart of Midlothian, showing Jeanie Deans walking barefoot to London, watercolour still life of fruit, two pencil studies of a jaguar and lynx by W.C., a watercolour study of a large butterfly, initialled M.S., three Chinese rice paper watercolours (one damaged), pencil studies of Roman costume, Italian brigands, and a tarantella (in the manner of Pinelli), a watercolour with pen, ink and gold of birds of paradise with nest, a watercolour landscape illustrating The Pleasures of Memory, a good drawing of a boy in red chalk, probably late 18th century, on laid paper, a pencil study of the Temple of Minerva, Cape Suniam by W.S., several watercolour landscape and coastal scenes by G.O. Pare, two watercolours with pen & ink of horses in a steeplechase, initialled C.H.S., etc., several early salt print photographs, manuscript verses interspersed, album leaves watermarked Whatman 1830, all contained in contemporary album, all edges gilt, original straight-grained gilt-decorated plum full morocco, rubbed and scuffed, small 4to (24 x 19cm, 9.5 x 7.5ins) Eliza Mary Tugwell, the only daughter of George Tugwell of Crowe Hall, near Bath, was born in 1813 and married John Brymer in 1834. (1) £200-300
171* Arts & Crafts. Noli Me Tangere, circa 1880-1900, glazed enamel mosaic plaque, depicting Mary Magdalene kneeling before Christ within an architectural setting, and the two faces drawn in brown ink, possibly the work of an English stained glass artist, 280 x 190mm (11 x 7.5ins), arched ebonised wood frame, glazed (overall size 480 x 355mm, 19 x 14ins) (1)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
Lot 171
£150-200
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173* Circle of Jules Bastien-Lepage (1848-1884). Two men seated by a river bank (probably Emile Bastien-Lepage, and Sir George Henry Lewis behind), watercolour on grey paper, unsigned, laid down on card, 275 x 220mm (10.8 x 8.7ins), framed and glazed, with small 20th century handwritten note to verso ‘Bastien-Lepage Sir G.H. Lewis behind’ Brother of the artist Jules Bastien-Lepage, Emile Bastien-Lepage (18541938) was also an artist. An oil portrait of Emile by Jules Bastien-Lepage dated 1879 is in the collection of the Musée d’Orsay. Sir George Henry Lewis (1833-1911) was an eminent London lawyer, who represented many artists and writers, including Whistler and Oscar Wilde, famous names from the aristocracy, and cases involving the criminal underworld. He and his wife Elizabeth owned a country house at Walton-on-Thames (possibly the location of the present work), and the couple entertained artists and other figures there, and at their London home in Portland Place. Elizabeth’s portrait was painted by Burne-Jones. (1) £150-200
172* Barometer Seller. Watercolour portrait, circa 1840, watercolour of a (possibly Scottish) barometer seller, captioned in manuscript below image, 330 x 230mm, mounted The present work is similar to other watercolours of Glasgow trades and professions in the Murray Collection held by Glasgow University. A similar collection of Edinburgh street sellers is held by the City of Edinburgh Council. A large collection of watercolours of the same type was sold in these rooms, 10th June 2015, lot 129. (1) £100-150
174* Batt (Arthur, 1846-1911). Sleeping Jack Russell, 1885, oil on board, signed and dated lower left, minor surface marks towards upper left, 16.5 x 24cm (6.5 x 9.5ins), period gilt frame (1)
£300-500
175* Batt (Arthur, 1846-1911). Head of a Donkey, oil on canvas, signed, and dated indistinctly ‘75 lower left, small closed tear to canvas towards lower right under the donkey’s chin (without loss), 30.5 x 30.5cm (12 x 12ins), period gilt frame (some damage)
Lot 173
(1)
41
£200-300
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176* Becker (E., active 1780-1810). Near Cheltenham, monochrome watercolour on paper, titled in brown ink by the artist to lower edge, Heather Newman label to verso 'From an album of the artist's drawings all of Bath, Bristol and Cheltenham', 14 x 22.5cm (5.5 x 8.75ins), framed and glazed, together with another by the same hand, 'Charlton near Cheltenham Gloucestershire', 14.5 x 23.5cm (5.75 x 9.25ins), unframed, another watercolour plus Moorland scene with waggon, attributed to David Cox Junior (1809-1885), Heather Newman gallery label verso, 19.5 x 25.5cm (7.75 x 10ins), and one further 19th century watercolour, inscribed in pencil verso 'Distant View of Holyhead from Gwyndine Anglesea', 11 x 18cm (4.25 x 7ins), framed and glazed (4)
£150-200
Lot 176
177* Nelson (George, 1864-1921). Sunlight on an Alpine landscape, probably Davos, Switzerland, 1919, watercolour on paper, signed and dated lower right, 44.5 x 73.5cm (17.5 x 28.75ins), period gilt gesso frame (1)
178* Attributed to Robert Brandard (1805-1862). Houses in wooded landscape, 1857, artist’s monogram and date lower left, 19 x 17cm (7.5 x 6.75ins), framed and glazed, together with another watercolour on paper, signed O’ Neill lower right, showing cattle and a windmill, 17 x 24cm (6.75 x 9.5ins), framed and glazed, plus 2 other 20th century oil paintings, one being an early 20th century interior with vase of flowers on a table before a window, unsigned, some surface discolouration, 61 x 50.5cm (24 x 19.8ins), the other a later 20th century summer landscape, signed F. Richardson lower right, 46 x 66cm (18 x 26ins), framed
£500-800
(4)
Lot 177
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£150-250
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179* Brandoin (Michel-Vincent, 1733-1807 ). Near the Forest of Dean, circa 1770, pen and grey ink and watercolour on laid paper, showing three figures cutting timber in a landscape, with partial Strasbourg Lily watermark, contemporary inscription in brown ink to verso ‘near the Forest of Dean’ (probably by the artist), 202 x 293mm (8 x 11.5ins), inlaid to later mount with ruled border, framed and glzed, with Covent Garden Gallery label, 20 Russell Street, London, label to verso Michel-Vincent, or ‘Charles’ Brandoin was born in Vevey, Switzerland, but settled in Church Street, Chelsea, in 1762, and took lessons in watercolour from Paul Sandby (1730-1809). He also underook commissions for views and taught until he returned to Vevey in 1773. Like Sandby, he was as interested in figures as in landscape. See Kim Sloan, A Nobel Art, Amateur Artists and Drawing Masters, circa 1600-1800, British Museum (2000), page 185-86. (1) £300-500
180* Burrows (Robert, 1810-1883). Cottage by Day, & Cottage by Night, a pair of circular oil paintings on board, each signed, 145mm diameter, matching period gilt frames, glazed The Suffolk artist Robert Burrows, born in Ipswich in 1810, joined the newly-formed Ipswich Society of Professional & Amateur Artists in 1832. Following retirement, he exhibited regularly at the Ipswich Art Club from 1879, particularly moonlit and cottage scenes. (2) £150-200
181* Nelson (George, 1864-1921). Snowing in Davos, Switzerland, 1918, watercolour on paper, showing St Theodul Church and the Seehof Hotel, signed and dated lower right, 44.5 x 73.5cm (17.5 x 28.75ins), period gilt gesso frame, glazed (1)
£500-800
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182* Cavelli (Giulio, late 19th/early 20th century). View of Florence from Torre Bellosguardo, circa 1870s, watercolour on paper, signed lower right, inscribed with title in pencil to verso in a different hand, 17.5 x 25cm (6.9 x 9.8ins) (1)
184* Copley Fielding (Anthony Vandyke, 1787-1855). Salvaging a Wreck, watercolour, signed by artist to lower right, 29 x 43.5cms (11.5 x 17ins), mounted, framed and glazed (1)
£200-300
£200-300
185* Cox (David, 1783-1859). View from the artist’s home, Greenfield House, Harborne, Birmingham, black chalk on paper, inscribed ‘From Grenfield House Harbourne’, Walker’s Galleries label to verso, 18.5 x 26.5cm (7.5 x 10.25ins), framed and glazed Provenance: Sotheby’s, London 25 November 1999, lot 150, by descent from David Cox to his grand-daughter in 1904; bought at Walker Galleries, London between 1960 and 1967. According to Sotheby’s this drawing originates from an album used by the artist in 1841. Cox left London in the summer of 1841 and moved with his wife and servant, Ann Fowler, to Greenfield House, Harborne. (1) £300-500
186* Cox (David, 1783-1859). Travellers in the Vale of Dolwyddelan, North Wales, watercolour over pencil on paper, heightened with bodycolour, and stopping-out, 21.5 x 29.5cm (8.5 x 11.25ins), framed and glazed
183* Cooper (Richard, 1740-1814). Italian hill landscape, sepia and Indian ink on paper, Heather Newman Gallery label to verso, 12 x 8cm (4.75 x 3.75ins), framed and glazed
Provenance: Sotheby’s, London 25 November 1999, lot 70; Private Collection, West Midlands. (1) £2000-3000
Provenance: L.G. Duke; Dr. Frederick Farquharson; R.E.S. Willison Collection. (1) £150-200
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Lot 186 187* Cox (David, 1783-1859). Near Bettws-y-Coed, North Wales, 1852, watercolour over pencil on pale grey wove paper, signed and dated lower left, sheet size 20.5 x 29.5cm (8.1 x 11.6ins), mounted, with early ink title inscription, and label of Henry Graves & Company, 44 Cherry Street, Birmingham, retained One of the artist's favourite locations, Cox first visited 'dear old Bettws' in 1844 and returned almost every year until 1856. The Royal Oak Inn, where he regularly stayed, became a rendez-vous for visiting artists and followers of Cox: 'he sat on the sofa in the parlour of the Royal Oak inn... Here he took his cigar (he smoked no pipe) and his pint of ale, with one or two cronies by his side, willing to listen and willing to teach... it was an intelligent, rational, pleasant evening's amusement, and I have heard French, German, Hungarian, English, and Welsh flowing on like a polyglot stream at the same time in that same dingy parlour.' (Solly, Memoir of the Life of David Cox, page 172). (1) ÂŁ500-800
188* Cox (David Junior, 1809-1885). Mountainous landscape, watercolour on paper, unsigned, Abbot & Holder, gallery label to verso with pencil attribution, 23 x 31cm (9 x 12.25ins) mount aperture, framed and glazed, together with Attributed to George Nicholson (1787-1878), View near the High Tor, Matlock, Derbyshire, watercolour on paper, titled and attributed on mount, 20 x 29.5cm (8 x 11.5ins), contemporary gilt frame, glazed (2)
Lot 187
ÂŁ150-200
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191* De Wint (Peter, 1784-1849). Lincoln Cathedral from the river, watercolour on paper, unsigned, 22.5 x 37cm (8.5 x14.5ins), framed and glazed Peter de Wint is closely associated with Lincoln and its surrounding landscape, first visiting the area in 1806, and subsequently buying a house in the city in 1814. He returned to Lincoln annually until the end of his life. (1) £150-200
189* Daniel (Henry Wilkinson, early 20th century). Staithes, North Yorkshire, watercolour on paper, signed lower left, titled verso, 21.5 x 28.5cm (8.5 x 11.25ins), together with another by the same hand and subject, 21.5 x 37.5cm (8.5 x 14.75ins), both framed and glazed Henry Wilkinson Daniel exhibited from 1909-1936. A native of Carlisle, he originally worked as a surveyor before training at the Slade School of Art. (1) £150-200
192* English School. Goldfinch and Nest, oil on canvas, indistinctly signed lower left Elizabeth W..., 30.5 x 25.5cm (12 x 10ins) (1)
£200-300
193* Roomes (Ernest, late 19th century). Portrait Thomas Carlyle (1795-1881), circa 1870, watercolour on paper, size 35 x 25cm (13.75 x 10ins) mount aperture, framed and glazed, with period presentation plaque to lower edge reading “Thomas Carlyle by Ernest Roomes. Presented in memory, by his sister.” (1)
£150-200
190* Manner of Edward Dayes (1763-1804). Abbey ruins, circa 1810, watercolour on paper, showing two figures on path, 25.5 x 35cm (9.75 x 13.75ins), gilt gesso framed and glazed (1)
£100-150
Lot 191 194* English School. Portrait of a mother and child, circa 1900, watercolour on paper, unsigned, 24 x 21.5cm (9.5 x 8.5ins), mount aperture, framed and glazed (1)
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£100-150
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Lot 195
195* English School. Landscape with figures and cows resting below a ruin, & Landscape with figures and cows on a path, a pair of fine mid-19th century watercolours on paper, heightened with gouache, unsigned, 10.5 x 16cm (4.25 x 6.25ins), period arched mounts and gilt gesso frames, glazed (2) £150-200
196* Cornwall. Padstow Pier, 16 August, 1839, watercolour and pencil, titled and dated lower right, 23 x 29.5cm (9 x 11.5ins) mount aperture, together with another by the same hand, titled lower right Padstow 22 Aug '39, 23.5 x 31cm (9.25 x 12.25ins) mount aperture, matching frames, glazed, plus one other (3)
197* Attributed to Henri-Theodore Fantin-Latour (1836-1904). Still Life of Flowers, 1867, pencil and grey wash on paper, signed with initial F. and dated ‘67 lower centre, 22 x 28.5cm (8.7 x 11.25ins) mount aperture, later gilt frame, glazed, with printed label of Doig, Wilson & Wheatley, 90 George Street, Edinburgh, and old handwritten label ‘Sold for £29 in the sale of the Steriard Collection, Paris, 1904’ retained to verso
£150-200
(1)
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£300-500
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200* Ford (Francis J., 19th century). English beach with figures and bathing machines (possibly Hastings, Kent), 1887, watercolour on paper, showing figures by fishing boats, beach huts, and houses on a promontory, signed and dated lower right, 21.5 x 50cm (8.5 x 19.75ins), mount aperture, framed and glazed (1)
£200-300
198* Finnie (John, 1829-1907). Conwy Valley, Trefriw, 1863, watercolour on paper, showing cattle in the foreground, signed and dated lower left, 35 x 52cm (13.75 x 20.5ins), framed and glazed, together with Boddy (William James, 1832-1911). Criccieth Castle, North Wales, 1889, watercolour on paper, signed and dated lower right, 26.5 x 18.5cm (10.5 x 7.25ins) mount aperture, framed and glazed (2)
£150-200
201* Manner of Myles Birket Foster (1825-1899). On the River, watercolour, showing figures in a boat with landscape and castle, indistinctly signed lower left, 21.5 x 30.5cm (8.5 x 12ins), framed and glazed (1)
£100-150
199* Fitzgerald (John Anster, 1832-1906). Waking Dreams, watercolour and pencil heightened with bodycolour, signed lower left, 20.5 x 24cm (8 x 9.5ins), framed and glazed with old handwritten paper annotations pasted to verso, framed and glazed Drawn by J.A. Fitzgerald at a session of the Langham Sketching Club. (1) £1500-2000
202* Francia (Francois Louis Thomas Francia, 1772-1839). English landscape with cornfields and view of a town, watercolour on paper, Manning Galleries label to verso, 16.5 x 25cm (6.5 x 9.75ins), mount aperture, framed and glazed (1)
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£150-200
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203* Frénzeny (Paul 1840 - 1902). Still life with dead hare and fruit, oil on canvas, signed by artist to lower left, a few small holes to canvas, 45.5 x 35.5cms (18 x 14ins) (1)
£100-200
Lot 204 204* Watercolours. Italianate landscape, with figures in the distance, monochrome wash drawing on pale blue paper, early 19th century, 28 x 40.5cm (11 x 16ins) mount aperture, framed and glazed, together with a mid-19th century pen, ink and brown wash architectural study of a London church, with numerous figures and a carriage outside, unsigned, 38 x 50.5cm (15 x 20ins), black and gilt frame, glazed, plus other various 19th century landscape watercolours, mostly English landscapes, some mounted (14)
£200-400
205* Gastineau (Henry, 1791-1876). Mountainous landscape (probably Lake District), watercolour on paper,unsigned, 30.5 x 46cm (12 x 23ins) mount aperture, gesso moulded frame, glazed (1)
£200-300
Lot 205
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208* Goodwin (Edward, 18th/19th century). Looking into North Wales from Beeston Hill, near Liverpool 1838, watercolour on paper, titled, signed and dated verso, 15.5 x 22cm (6.25 x 8.75ins), framed and glazed Little is known of Edward Goodwin, who worked in the tradition of Thomas Girtin long after that painter’s death. He is represented by single works in the British Museum (a watercolour, Kew Palace, 1837) and the V&A (Bridge at Kippenross, near Dunblane). He lived at Manchester and Liverpool, and was among the founders of the Liverpool Academy in 1810. He also exhibited with the Old Water-Colour Society and the Royal Academy in London. (1) £100-150
206* Circle of Henry Gastineau (1791-1876). St. Maurice, Switzerland, watercolour on paper, showing a mountainous landscape with castle, bridge, river and figures, 36 x 28cm (14 x 11ins), mount aperture, titled and attributed on mount, framed and glazed (1)
£100-150
209* Hatherell (William, 1855-1928). Ruth and Boaz in the cornfield (Ruth, II, 8), watercolour on paper, Fine Art Society label to verso dated June 1965, 15 x 22cm (6 x 8.5ins), framed and glazed (1)
£200-300
210* Kent. Remains of Pier, near Hastings, by J.W. Haworth, circa 1880s, watercolour on paper, signed and titled (cut out and applied verso), 12 x 17cm (4.75 x 6.75ins), framed and glazed (1)
207* Goodwin (Albert, 1845-1932). Christchurch from St. Catherine’s Hill, Dorset, 1894, watercolour on paper, heightened with bodycolour, signed, dated and titled in ink to lower margin, and with single-line ink ruled border, 25 x 33.5cm (9.8 x 13.2ins) (1)
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£200-300
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£70-100
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211* Herdman (William Gawin, 1805-1882). James Street, Liverpool, 1854, watercolour on paper, signed and dated lower left, 17 x 14cm (6.75 x 5.5ins) mount aperture, framed and glazed
213* Herdman (William Gawin, 1805-1882). Canning Place, Liverpool, 1857, watercolour on paper, signed and dated lower right, 19 x 15cm (7.5 x 6ins), mount aperture, framed and glazed
(1)
(1)
£200-300
212* Herdman (William Gawin, 1805-1882). Manesty’s Lane, Liverpool, 1857, watercolour on paper, signed and dated lower right, 15.5 x 22cm (6.25 x 8.75ins) mount aperture, framed and glazed (1)
£200-300
214* Holworthy (James, 1781-). Landscape with lime kilns, early 19th century monochrome wash drawing, 226 x 303mm (8.9 x 12ins) mount aperture, framed and glazed
£200-300
(1)
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£80-120
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Lot 215
215* Attributed to John Calcott Horsley (1817-1903). By the Cottage Door, large-scale oil on canvas, old relining, 62 x 76cm (24.5 x 30ins), period gilt moulded frame (a little damaged) (1)
£1000-1500
216* Italian School. Naples, Palais de la Reine Jeanne, mid 19th century, watercolour on paper, unsigned, 14 x 20.5cm (5.5 x 8.25ins) mount aperture, titled below, framed and glazed (1)
£70-100
217* Italian School. Miniature view of an Italian lake scene, circa 1825, with musicians on some steps in the foreground, an island of buildings in the centre of the lake, and mountains beyond, watercolour on card, heightened with gum arabic, 103 x 135mm (4 x 5.3ins) (1)
£100-150
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218* Italian School. The Capitoline Doves, 19th century tempera on vellum, a copy or version of the famous floor mosaic discovered in Hadrian’s Villa in Tivoli in 1737, unsigned, 61 x 71cm (24 x 28ins), modern frame The Roman mosaic at Hadrian’s villa is thought to be derived from the Hellenistic Dove Mosaic by Sosus of Pergamon, cited by Pliny in his Natural History. (1) £150-200
220 Keen (Henry Weston, 1899-1935). Two sketchbooks of drawings, each with approximately fifty leaves, with pencil drawings to rectos, mostly figure and anatomical studies, including nudes, but also compositional drawings, drapery studies, and decorative motifs such as initial letters, including preparatory illustrations for The Twilight of the Gods by Richard Garnett, and Zadig and Other Romances by Voltaire, plus a few leaves of manuscript notes, mostly pertaining to artistic projects, one leaf detached, one book with artist’s pencilled name and address at front in his hand, original boards, 4to (approximately 25 x 20cm/10 x 8ins), together with a proof copy of The Twilght of the Gods and Other Tales, by Richard Garnett, The Bodley Head, with Henry Keen’s annotations and twenty-one rough pencil sketches by him throughout the text for additional illustrations and decorations, original buff upper wrapper, lower wrapper and half of spine renewed, 8vo
219* Curnock (James Jackson, 1839-1892). Peat Grasses, 1874, watercolour on paper, signed and dated lower left, 19.5 x 39.5cm (7.75 x 15.5ins), mount aperture, gilt gesso moulded frame and glazed, manuscript label verso with artist’s name and address James Jackson Curnock, 11 Hampton Park, Redland, Bristol. (1)
Henry Keen was a book illustrator and lithographer whose powerful symbolist style and decadent imagery is reminiscent of the work of Aubrey Beardsley and Sidney Sime. He exhibited lithographs at the Senefelder Club in London, and did a great deal of illustrative work for The Bodley Head, as well as for other publishers. After his death in 1935 a memorial exhibition of his work was held at the Twenty-One Gallery in London. (3) £200-300
£200-300
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223* Birch (Samuel John Lamorna, 1869-1955). The Way of the Brook, 1896, watercolour on board, titled lower left, signed and dated lower right, 19 x 26.5cm (7.5 x 10.5ins), framed and glazed (1)
£200-300
224* Linnell (John, 1792-1882). Wooded landscape (possibly the North Downs in Surrey), 1882, watercolour, showing two figures resting on a fallen tree with heavy grouping of trees to the right and hills in the background signed and dated lower right, 34 x 60cm (13.5 x 23.5ins), mount aperture, framed and glazed (1)
£300-500
221* Kemplen (Alfred R., active 1897-1907). River Scene, & Street Scene with church tower, circa 1900,a pair of oils on canvas, 21 x 31cm (8.25 x 12ins) and 28 x 16cm (11 x 6.25ins), together with 5 charcoal drawings by Kemplen (one signed) and 6 etchings by Kemplen (two signed in pencil by Kemplen to lower margin), mostly Paris river and town scenes, plus 10 related photographs, engravings, etc., various sizes (23)
£200-300
222* Knight (Adam, 1855-1931). Barton, watercolour on board, showing houses and a path, signed lower right, 17 x 25cm (6.75 x 9.75ins) mount aperture, gilt gesso moulded frame, glazed (1)
225* Lloyd (Thomas James, 1849-1910). Rural Landscape, 1879, watercolour on paper, heightened with bodycolour, showing a shepherd with sheep, signed and dated lower left, 17.5 x 36cm (6.75 x 14.25ins), gilt moulded frame, glazed
£100-150
(1)
£200-300
Lot 223 226* Lucas (C., active 1840s). Raglan Castle, Monmouthshire, 1841, watercolour on paper, signed and dated lower left, 42 x 64cm (16.5 x 25.25ins), mount aperture, framed and glazed (1)
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£150-200
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227* Monin (G., late 19th/early 20th century). Mrs Sarah Bernhardt, 1890, charcoal and chalk on paper, signed and dated upper right, titled lower left, 48 x 37cm (19 x 14.5ins), moulded frame and glazed
229* Mackay (James Millar, 1863-1936). High Street, Warwick, 1900, watercolour on paper, showing a horse and cart and figures standing by Lord Laycester Hospital, titled lower left, signed and dated lower right, 30 x 22cm (11.75 x 8.75ins), framed and glazed
(1)
(1)
£100-150
230* Mackay (James Millar, 1863-1936). Warwick Castle, 1896, watercolour on paper, signed and dated lower right, 15.5 x 26.5cm (6.25 x 10.5ins), framed and glazed
228* Mackay (James Millar, 1863-1936). Rural Village, 1897, watercolour on paper, showing a woman standing by a tavern, signed and dated lower right and additionally initialled J.M., 17 x 26cm (6.75 x 10.25ins), framed and glazed (1)
£150-200
(1)
£150-200
£150-200
231* Mackay (James Millar, 1863-1936). Cottage Garden, 1903, watercolour, showing a mother and child outside a cottage with well, signed and dated lower right, 17.5 x 27cm (6.75 x 10.5ins), mount aperture, framed and glazed (1)
£150-200
232* Mackay (James Millar, 1863-1936). Woman with geese, watercolour on paper, 26.5 x 20.5cm (10.25 x 8ins) mount aperture, framed and glazed, together with another by the sale artist showing a woman walking down a road, signed lower right 13.5 x 22.5cm (5.25 x 8.75ins), mount aperture, framed and glazed (2)
Lot 229
55
£200-300
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233* Muller (James William, 1812-1845). A study of the Propylaea on the Athenian Acropolis from the South, brown and blue watercolour on paper, inscribed ‘Propylae’ lower left, 26 x 44cm (10.25 x 17.25ins), framed and glazed Provenance: Sotheby’s, London 25 November 1999 (Lot 72). This watercolour dates from Muller’s tour of Greece in 1838. He spent six weeks there, mainly in Athens and sketched most of the important ancient monuments there. The watercolour depicts a Turkish arms dump at the back of the Acropolis. (1) £1500-2000
234* Neapolitan School. Four miniature views of Mount Vesuvius and Naples Bay, mid 19th century, four gouache paintings, mounted on later card, each approximately 7 x 11cms (2.75 x 4.25ins) (4)
£150-200
235* Nibbs (Richard Henry, 1816-1893). The Samuel Watts, pen and ink on brown paper, showing the Samuel Watts anchored at a quayside in Bristol, signed and dated Oct 10 lower left, collection blind stamp lower right, 29.5 x 48cm (11.5 x 18.75ins), framed and glazed Provenance: The C.H.L. Emanuel Collection (L.565a). Christie’s, 6 August 1974 (Lot 181). (1) £100-200
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Lot 236
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238* Jones (Millicent Helen, 1841-1928). Folio album containing 23 watercolour landscapes, including Tewkesbury from Forthampton Ferry, Mildenhall and Church Tower from the River near Barton Mills, Scarborough from Filey Brigg, Over Court, Glos., Manorbier Bay, Tenby, Moat at Hatherley, At Ruxley Lodge, Esher, St. Govan’s Head & Church, Caswell Bay, The Severn, Framilode, etc., 17.5 x 25cm (7 x 10ins) and similar, all mounted in contemporary album, large oblong folio, together with a group of four smaller unnamed 19th century albums of watercolours and drawings, mainly landscapes, unsigned, but variously dated 1860s & 1880s including Dublin Bay, Lympne, Swaledale, Morecambe Bay, Hove, Eskdale, etc., all captioned and dated, contained in four similar half-morocco albums, heavily worn, 4to (26.5 x 23cm, 10.5 x 9ins), plus four other large folio albums, of which 2 are empty
236* Persia. Futteh Ali Shah King of Persia, circa 1810-20, fine pencil and watercolour three-quarter length portrait of the second Shah of Iran, Fath-Ali Shah Quajar (1772-1834), some minor surface marks, margins slightly cropped, with contemporary ink inscription in English to verso giving some details of the royal dynasty (text cropped with some words lost), sheet size 29 x 21.7cm (11 x 8.5ins) Fath-Ali Shah Quajar (1772-1834) was famous for his long beard, and huge number of children. He was forced to concede substantial parts of his kingdom in the Caucasus (modern-day Georgia, Dagestan, Azerbaijan and Armenia) to Russia following the Russo-Persian wars of 1804-13 and 1826-28. He was visited by the British Diplomat Sir John Malcolm in 1799-1801, William Ouseley (1810), James Morier (1809 & 1811) and Robert Ker Porter (1817-20). (1) £100-200
(9)
£300-500
239* Saunders (Charles L., circa 1855-1915). Harvesting, watercolour on paper, signed lower left, 16 x 34.5cm (6.25 x 13.5ins) mount aperture, framed and glazed (1)
£70-100
237* Pyne (James Baker, 1800-1870). A Journey to the Lake District with Travelling Artists and Companions, circa 1850, watercolour on paper, signed on fence centre right, 22 x 34cm (8.5 x 13.5ins), framed and glazed This watercolour was most likely executed between 1848 and 1851 following Pyne’s commission from Agnew’s for views of the Lake District. (1) £100-150
240* Scott (John active 1844-1866). To the Victor, watercolour on board, signed lower right, 365 x 260mm (1)
£100-200
241* Shaw (John Byam Liston, 1872-1919). Mother and Children seeking Refuge, 1894, watercolour and pencil on paper, showing a young mother with a ragged boy and a sleeping baby slung on her back, leaning tearfully into the arms of an older woman in a doorway, an old man looking on from inside, signed and dated lower left and top left (in capitals), 37 x 20cm (14.5 x 8ins), mounted on card
Lot 238
(1)
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£100-150
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244* Boys (Thomas Shotter, 1803-1874). Ehrenbreitstein on the Rhine, watercolour on paper, showing a view over the river, with a walled town on the left, 14 x 28.5cm (5.5.x 11.25ins), framed and glazed Provenance: Sotheby's, 21 December 1966, lot 355 (printed extract from the catalogue attached verso). John Manning label to verso (identifying the location). (1) £100-150
242* Shelly (Arthur, 1841-1902). Farm cottage surrounded by trees, 1877, watercolour on paper, signed and dated lower right, 23 x 36cm (9 x 14.25ins), framed and glazed (1)
£200-300
245* Stannard (Henry John Sylvester, 1870-1951). Near Welford on Avon, Warwickshire, watercolour on paper, signed lower left, 37 x 54cm (14.5 x 21.25ins), framed (1)
£200-300
243* After Thomas Shotter Boys (1803-1874). St. Dunstan’s Fleet Street Temple Bar London, later 19th century watercolour on paper, 40.5 x 30.5cm (15.75 x 12ins), together with another view of the same street, by the same hand, 41.5 x 31cm (16.25 x 12.25ins), each in period gesso moulded frame, glazed (2)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
Lot 246
£200-300
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246* Stannard (Henry John Sylvester, 1870-1951). A Cottage in Hereford, watercolour on paper, showing a mother and her children outside a thatched cottage, signed lower left, titled verso 35 x 52cm (13.75 x 20.5ins) mount aperture, gilt gesso moulded frame, glazed, Barnes (Fine Art Dealers) Ltd label verso (1)
£300-500
249* Tyndale (Thomas Nicholson, 1860-1930). Cottage scene at Clifton Hampden, Oxfordshire, watercolour on paper, signed lower left, 19.5 x 29cm (7.75 x 11.5ins), period gilt frame, glazed, together with Noel (John Bates, 1870-1927), Ashow Church, near Leamington Spa, watercolour on paper, signed lower left, 25 x 35cm (10 x 14ins), period frame, glazed (2)
£150-200
247* Strachan (Arthur Claude, 1865-1938). Cottage garden, watercolour on board, signed lower right, 26 x 37cm (10.25 x 14.5ins), large gilt card mount, gesso moulded frame and glazed (1)
£150-200
248* Strachan (Arthur Claude, 1865-1938). Cottage scene with girl feeding chickens, watercolour on board, showing a girl feeding chickens outside a thatched cottage, 26 x 36cm (10.25 x 14.25ins) mount aperture, signed lower right, gilt gesso moulded frame and glazed (1)
£150-200
250* Circle of Eugenio Lucas y Villaamil, 1858-1918. La Ceremonia Nupcial, oil on wood, indistinctly signed lower left, small printed label with the name Eugenio Lucas Villamil to verso, 214 x 162mm (8.4 x 6.4ins), framed (1)
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£200-300
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Lot 251
251* Partridge (Frank H., late 19th/early 20th century). Brancaster Marsh, 1908, & Scald Head, Brancaster, 1908, a pair of panoramic watercolours on paper, each signed, dated and titled in pencil lower right, 26 x 72.5cm (10.25 x 28.5ins) mount aperture, matching gilt frames, glazed (2)
253* West (John Henry, 1856-1938). Cornish Landscape with stone arched bridge near Falmouth, oil on canvas (with faint artist’s suppliers stamp to verso), signed with scratched signature lower right, 19 x 24cm (7.5 x 9.5ins), framed and glazed J.H. West was a Falmouth boatman and artist who first exhibited at the Royal Cornwall Polytechnic Society in Falmouth in 1902. (1) £100-150
£300-500
252* West (Joseph, 1882-1958). The Ferry, Coldham Hall, Norfolk, watercolour on paper, showing a mother and child waiting on a jetty, signed lower left, 36 x 26.5cm (14 x 10.5ins), framed and glazed (1)
£100-150
Lot 252
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
Lot 253
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GEORGE RICHMOND ARCHIVE & PRE-RAPHAELITE ART
254* Richmond (Thomas, 1771-1837). Portrait of William, Duke of Gloucester, 1820, miniature watercolour and gouache on ivory, showing the Duke of Gloucester half-length in garter and robes, signed and dated to verso, 8.3 x 6.7cm (3.3 x 2.7ins), period black and gilt frame
255* Richmond (George, 1809-1896). Portrait of Charles Heathcote Tatham (1772-1842), after the portrait by Thomas Kearsley exhibited at the Royal Academy in 1799, circa 1830, miniature watercolour and gouache on ivory, 87 x 69mm (3.5 x 2.75ins), framed and glazed
Provenance: Estate of the artist George Richmond (1809-1896). Additionally inscribed by George Richmond to verso with the sitter’s identity, and with presentation inscription ‘To Mary Farrer from her loving father GR 1888’. See A.M.W. Sterling, The Richmond Papers, 1926,page 116. (1) £300-500
Provenance: George Richmond (1809-1896) thence by descent. The architect and designer Charles Heathcote Tatham (1772-1842), whose daughter Julia married George Richmond, was supported in his early career by the architect to the Prince of Wales, Henry Holland, by whom he was sent on a grand tour of Italy (1794-96) where he enjoyed the companionship and company of Joseph Michael Gandy, Antonio Canova, Sir William and Lady Hamilton, Angelica Kauffmann, Frederick Howard, 5th Earl of Carlisle, and Antonio Asprucci. The present work is a miniature copy of the portrait painting by Thomas Kearsley (1773-circa 1802), exhibited at the Royal Academy in 1799 as number 161, which was owned by George Richmond until sold at Christie’s in 1897. Richmond’s large oil on canvas version of the portrait, dating from 1874, was sold at Sotheby’s London on July 4th 2001, lot 134. George Richmond eloped with Charles Tatham’s daugther Julia to Gretna Green, and was married on January 24th 1831, having been lent £40 by Samuel Palmer. (1) £500-700
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256* Richmond (George, 1809-1896). Portrait of the artist’s wife Julia Richmond (1811-1881), circa 1830, miniature oval watercolour and gouache on ivory, 38 x 32mm (1.5 x 1.25ins), set in an oval metal brooch, with thin gold frame and outer border of seed pearls Provenance: Estate of George Richmond; thence by descent. A fine small-scale portrait of Julia Tatham, daughter of Charles Heathcote Tatham (1772-1842), and sister of Frederick Tatham (1805-1878). George Richmond and Frederick Tatham were both members of the circle of artists formed around Samuel Palmer in Shoreham, who were influenced by William Blake in his final years. Around 1825, Julia’s father appointed George Richmond as a drawing tutor to his daughter, the beautiful 14 year old Julia. The relationship was initially encouraged, but when a wealthy older suitor appeared, Charles Tatham changed his mind, forcing the young couple to elope to Gretna Green, where they were married on 24th January 1831. Samuel Palmer loaned George Richmond the substantial sum of £40 to aid their elopement. The father forgave the couple after he was reassured by the artist John Linnell that his daughter’s new husband had a promising future in the art world. (1) £700-1000
257* English School. Portrait of Julia Richmond (1811-1881), oval watercolour and gouache miniature on ivory, painted from a photograph taken in 1868, 48 x 38 mm (1.9 x 1.5 ins), set in a thin gold metal frame, glazed, and with maroon morocco backing and label of J. & W. Vokins, Miniature Frame Makers to H.R.H. The Prince of Wales & The Royal Family, 14 & 16 Gt. Portland St. W., housed in original maroon velvet-lined oval black leather case with clasp Provenance: Estate of George Richmond (1809-1893). Illustrated: A.M.W. Stirling, The Richmond Papers, 1926, page 88 (illustrated opposite). This work is likely to have been made following the death of Julia Richmond on 6th January 1881 (at the age of 69). An annotated copy of The Richmond Papers, by A.M.W. Stirling is enclosed with this lot. (1) £700-1000
Lot 256
258* Richmond (George, 1809-1896). Landscape Studies, two watercolours with pencil on paper, unsigned, 20 x 31.5cm (8 x 12.5ins) and 19.5 x 36.5cm (7.75 x 14.5ins), mounted (2)
Lot 257
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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£200-400
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259* Palmer (Samuel, 1805-1881). A group of five autograph letters signed, ‘Samuel Palmer’ or ‘S. Palmer’, Furze Hill House, Redhill, Surrey, 1867/1881, all to his friend the artist George Richmond (1809-1896), the first dated 25 June 1867 giving his congratulations on Richmond’s Oxford diploma, ‘may you live long to enjoy this and other distinctions, past and to come. Dr Acland most kindly asked me to come there and witness the ceremony but we were engaged and unable to do so...’, the second dated 28 May 1880, referring to the death of John Giles, beginning ‘I should have flown to see my dear Cousin ere it was too late, but am not allowed even to go outside the doors of my house into the garden, much less to travel:- an infirmity which is bitter indeed on such an occasion as this’, continuing later, ‘I shall perhaps remember things which I should have liked to have said. I could have wished to have sent dear John my last love in this world, and for him to know that I should ere this, have been by his bed-side had my own health rendered it possible...’, the third letter dated 30 May 1880, thanking Richmond for his consolations, ‘... while unable in person to bid farewell after almost a brotherhood of 60 years, and I do hope you will see travelling was impossible, after having been confined since last autumn to the present moment, literally to two rooms, having not ventured even into the garden...’, the fourth dated 1 June 1880 continuing with the same theme of loss of their friend John, the last letter dated 27 January 1881 thanking Richmond for the precious relics ‘sacred to love and friendship!’, referring to Bishop Andrew and Bishop Utterton, and Pascal, commenting that John’s photograph is the best version he ever saw, ending ‘Thus is touched a train of early associations, but at present it will be enough to hope that you do not lean away from any alleviations which may present themselves under this great sorrow, and as in no small measure a fellow sufferer, again to assure you of the sympathy of, yours ever affectionately, Samuel Palmer’, a total of 17 pages, a little spotting and soiling, 8vo The John referred to in the letters is John Giles (1810-1880), a stockbroker and George Richmond’s closest friend. He was a deeply religious man and had a great admiration for what he termed ‘the grandeur and the superior wisdom of the Ancients’. It was this constant reference to the ‘Ancients’ which resulted in the clique of friends - including George Richmond and Samuel Palmer - being referred to by that name. The only letter published from this group is the last one, in Raymond Lister, The Letters of Samuel Palmer, volume 2 (1974), p. 1055. Provenance: By descent in the Richmond family. (5) £1000-1500
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Lot 260
260* Richmond (George, 1809-1896). A group of approximately 20 letters from and concerning various members of the Richmond family, including an autograph letter signed from John Richmond (1854-1918) to Joan Severn (wife of Arthur Severn, cousin and heir of John Ruskin) with copy of John Ruskin's letter written to final page, two letters from Robert Lowe, First Viscount Sherbrooke, to George Richmond, a letter from Walter Coleridge Richmond to his mother, 1878, 20th-century letters from Anthony Walter Richmond to Walter Coleridge Richmond, Ernest Tasham Richmond to John Sebastian Richmond and Mary, talking affectionately of his brother, a letter from Mary Richmond concerning George Richmond's character, plus other letters from S. Oram (x 3), G.E. Cokayne, Salisbury, Maria Thomas, etc., plus related ephemera including a manuscript titled 'The History of Little Fanny', three photographs (two not from life), news cuttings, and various artefacts including two desk seals with turned ivory handles, a snuff box (with George Richmond's initials), 5 scrap albums relating to William Blake Richmond, and an associated photograph album, three quill sharpeners (two ivory) and a bone letter opener, most with the crest of the Richmond family (2 file boxes)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
261 Richmond (George, 1809-1896). A group of nine books with George Richmond's family associations, including The Book of Common Prayer, published Samuel Bagster, circa 1860, inscribed 'John Richmond, the gift of his Godfather, John Giles, May 1864' and beneath 'Robert Richmond with his Father's love, 1st May 1955', all edges gilt, original gilt-decorated morocco with one clasp present, heavily rubbed, 8vo; Gray's Poems, 1768, with George Richmond's signature to half-title, dated 1837; The New Testament, printed by Mark Baskett, Oxford, 1763, engraved plates, some repairs, presentation inscription to John Richmond initialled from John Giles, Christmas 1860, contemporary giltdecorated red morocco, worn and covers detached; A Manual of Prayers for the Use of the Scholars of Winchester College, 1725, engraved portrait frontispiece, pencil inscription to Walter Coleridge Richmond from John Giles, June 1870, also 'To Anthony, July 1925', contemporary calf gilt, some wear, plus other various antiquarian with similar inscriptions, generally worn, plus Blake's edition of Blair's Grave, 1813, and a reprint of the Book of Job, various sizes (11)
£400-600
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£300-400
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262* Rossetti (Dante Gabriel, 1828-1882). William Bell Scott, October 1852, pencil, black chalk and grey wash on paper, dated October 1852 to upper right, 296 x 240mm (11.75 x 9.4ins), framed and glazed, with remains of label for the Rossetti exhibition at the Royal Academy of Arts, 1973, and photocopy of the catalogue raisonné entry for this work in Virginia Surtees, Paintings and Drawings of Dante Gabriel Rossetti, to verso Provenance: Rossetti sale (1882), lot 1, £6 6s, bought by Fawcett; Alice Boyd, Penkill Castle; Evelyn M. Courtney-Boyd; purchased 1967 by M. Clayton-Stamm; thence by descent to the present owner. Exhibited: Royal Academy of Arts, Dante Gabriel Rossetti, painter and poet, 13 January to 11 March 1973, 244. References: Marillier 314. Virginia Surtees, Paintings and Drawings of Dante Gabriel Rossetti, 456. Reproduced in Holman Hunt, Pre-Raphaelitism, volume 1, facing page 160. This striking drawing was probably made on 23 October 1852 when William Bell Scott was at John Everett Millais’s house in Gower Street, Bloomsbury, with other members of the Pre-Raphaelite Brotherhood, including Rossetti (see Rossetti’s letter to Ford Madox Ford, in William Fredeman, Correspondence of Dante Gabriel Rossetti, 52. 14). The present work (dating from the early 1850’s, the decade in which the artist was at his most imaginative and original), with its intimate, compressed focus and downward tilt of the head, vividly conveys the psychology of the sitter as a fellow artist and poet, and expresses Rossetti’s dictum ‘Conception, my boy, fundamental brain-work, that is what makes the difference in all art’. William Bell Scott (1811-1890) was associated with the Pre-Raphaelite movement from its beginning through his friendship with Rossetti. Born in Edinburgh, he moved to London in 1837 where he associated with the genre painters of the Clique, including Augustus Egg, Richard Dadd, John Phillip, and William Powell Frith. He exhibited at the British Institution from 1841 and the Royal Academy from 1842. In 1847 Rossetti wrote to Scott to express his admiration for Scott’s new poem The Year of the World, initiating their friendship, and shortly thereafter elicited contributions from Scott to the short-lived Pre-Raphaelite magazine The Germ. (1) £10,000-15,000
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263* Rossetti (Dante Gabriel, 1828-1882). Alice Boyd, December 20, 1862, pencil on paper, signed DGR and dated 20 Decr. 1862 to lower left, sheet size 254 x 178mm (10 x 7ins), framed and glazed, with remains of label for the Rossetti exhibition at the Royal Academy of Arts, 1973, and photocopy of the catalogue raisonné entry for this work from Virginia Surtees, Paintings and Drawings of Dante Gabriel Rossetti, to verso Provenance: Alice Boyd, Penkill Castle; Evelyn M. Courtney-Boyd; purchased 1967 by M. Clayton-Stamm; thence by descent to the present owner. Exhibited: Royal Academy of Arts, Dante Gabriel Rossetti, painter and poet, 13 January to 11 March 1973, 243. References:Virginia Surtees, Paintings and Drawings of Dante Gabriel Rossetti,268. Maria Teresa Benedetti, Dante Gabriel Rossetti (1998) 237. Executed on the 20th December 1862 at the home of William Bell Scott in Newcastle upon Tyne, where Rossetti was staying for the Christmas holiday, following the death of his wife Elizabeth Siddal on 11th February that year. Already married to Letitia Norquoy, Scott met Alice Boyd (1824-1897) in 1859 and quickly formed a close attachment to the unconventional and unmarried laird of Penkill Castle in Ayrshire. From that time, Scott, his wife, and Alice Boyd together divided their time between extended summer and Christmas stays in Scotland with Alice, and at the Scott’s London home in Cheyne Walk (Rossetti also moved to Cheyne Walk in October 1862). Alice Boyd and William Bell Scott invited members of the Pre-Raphaelite circle to Penkill, including Dante Gabriel and William Michael Rossetti, as well as their sister Christina, and Arthur Hughes. It was during his long stays there in 1868 and 1869 that Rossetti prepared for publication the 1870 edition of his poems. The present work is Rossetti’s only known drawing of Miss Boyd. (1) £10,000-15,000
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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265* Boyce (George Price, 1826-1897). View of the Ticino Valley from Giornico, Switzerland, at sunset, 18 July 1856, watercolour on paper, with traces of pencil, signed with monogram and dated lower left 18.7.’56 in red ink, inscribed in pencil in Boyce’s hand to verso of the backing paper ‘From Giornico, looking S.W. up & across Ticino Valley, distant peaks those of Della Peccora, or Forna G.P. Boyce’, and repeated without the artist’s name at foot of the backing paper below the image in a small hand (presumably by the artist also), 138 x 270mm (5.4 x 10.6ins), old card mount, inscribed in ink lower left ‘From A.A. Boyce August 1897’ Provenance: Private collection, Berkshire. This work was painted during the artist's Italian trip in the summer of 1856, when he stayed at Airola and Giornico from July until November. He returned to London on 7th January 1857. In his diary for 26th May 1857, the artist relates that his sister's fiancé Henry Tanworth Wells had taken William Michael Rossetti to Boyce's studio in Buckingham Street in search of works for Rossetti's Pre-Raphaelite exhibition at 4 Russell Place, Fitzroy Square: 'Letter from Wells saying he and Rossetti had been to my studio and walked off with that sunset sketch, and the crypt of St. Niccolo at Giornico, to exhibit with the collection of Pre-Raphaelite Painters' work at 4 Russell Place, Fitzroy Square.' Later that same year, John Ruskin visited Boyce at his studio, and saw the results of the artist's Italian trips which he had been advised to undertake by Ruskin himself: ‘Ruskin came and stayed an hour. He seemed a good deal taken with several of my Giornico drawings...' (1) £500-800
264* Rossetti (Dante Gabriel and others). ‘Shadows on the Wall’, 1862, pencil studies in profile on paper to recto and verso, each image initialled, captioned at foot in ink: “Shadows on the Wall. Ellison Place. Newcastle. 20 December 1862.”, a few closed tears with toning, 48 x 51cm (18.75 x 20ins), framed and glazed Provenance: Alice Boyd, Penkill Castle; Evelyn M. Courtney-Boyd; purchased 1967 by M. Clayton-Stamm; thence by descent to the present owner. With old label identifying the subjects from the initials as Dante Gabriel Rossetti, Alice Boyd, Algernon Charles Swinburne, William Bell Scott, Captain Weatherly (Mayor of Newcastle and Chairman of the School of Design) and James Allen?. (1) £500-800
Lot 265
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266* De Morgan (Evelyn, 1855-1919). Study of a female nude, probably for St. Christina Giving her Father’s Jewels to the Poor, black & white chalks on brown paper, depicting a standing female nude in profile facing right, with torso bent forward and arms outstretched, pin holes in corners, sheet size 48 x 28.5cm (19 x 11.25ins) The present work is probably a study for the female figure in the extreme top right of Evelyn de Morgan’s impressive oil painting ‘Saint Christina Giving her Father’s Jewels to the Poor’. The work was painted in Italy, and brought over from Florence shortly before the outbreak of war in 1914. In 1919 it was purchased by her sister and biographer, Mrs. Stirling, from a sale of Evelyn’s paintings held in aid of St. Dunstan’s charity for blinded war veterans. Tragically it was destroyed in October 1991 when a fire raged through Bourlet’s art storage unit in London where some of the De Morgan Foundation’s art collection was being held. The St. Christina oil is the largest work which Evelyn produced, measuring 77.75 x 120ins, and consequently a large number of studies for it exist. Each detailed life study produced by the artist preceded a drapery study for the same figure, enabling her to portray accurately the form of the human body. (‘Evelyn De Morgan, oil paintings’, DMF, 1996, plate 73). (1) £500-800
267* De Morgan (Evelyn, 1855-1919). Study of a female nude for The Hour Glass, pencil on card, full-length study of a female nude figure playing double pipes, sheet size 25 x 17.5cm (10 x 6.75ins) Jane Morris was the sitter for the main figure in ‘The Hour Glass’, which was painted in 1905 (‘Evelyn De Morgan, oil paintings’, DMF, plate 65). The oil painting is now in the collection of the De Morgan Foundation, which also has the associated drapery study for this figure. (1) £300-500
268* De Morgan (Evelyn, 1855-1919). Study of a female head, pencil on card, profile head and shoulders portrait of a young girl turned to the left, with pensive gaze, and her hair partially braided, with the artist’s pencilled notes to lower left and upper right corners, dusty, sheet size 25 x 35cm (10 x 14ins) One of the pencil annotations reads ‘Cephalus & P’, although we have been unable to trace a work by Evelyn de Morgan on the subject of Cephalus and Procris. The other manuscript notes appear mostly to relate to details of composition and pigment, e.g. ‘sky more brilliant’, ‘boughs less heavy’, ‘flowers in tufts of grass’, ‘red more vermilion’. (1) £700-1000
Lot 266
Lot 268
Lot 267 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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269* De Morgan (Evelyn, 1855-1919). Study of drapery for The Love Potion, black and white chalks on brown paper, depicting a fulllength seated female figure half turned to the right, 1.25” closed tear in right-hand margin, sheet size 55 x 36cm (21.5 x 14.25ins) ‘The Love Potion’ is housed in the De Morgan Foundation (‘Evelyn De Morgan, oil paintings’, DMF, 1996, plate 42). It was painted in 1903 and Jane Morris was the model for the central figure of the sorceress. This carefully finished and detailed study of drapery shows how meticulously Evelyn De Morgan prepared for her full-scale works and how little she deviated from her preparatory drawings. (1) £1000-1500
Lot 270
270 De Morgan (Evelyn, 1855-1919). A study of drapery, black chalk highlighted with white chalk on brown paper, depicting the lower half of a standing figure, sheet size 42 x 20cm (16.5 x 8ins), mounted on an album leaf, together with A drapery study for a Mother & Child, black chalk highlighted with white chalk on brown paper, depicting a fulllength standing female figure, half profile to left, holding a baby, sheet size 34 x 20cm (13.25 x 7.75ins), mounted on an album leaf (2)
£500-800
271* De Morgan (Evelyn, 1855-1919). Evil Pursueth Sinners, black chalk on brown paper, depicting a female figure with a scaly tail wrapped around a male figure, the two flying through the air, signed ‘E. Pickering’ lower right, sheet size 31 x 46cm (12.25 x 18.25ins), mounted on an album leaf, with pencilled title in the artist’s hand on mount below image ‘Evil pursueth sinners - Proverbs 13.21. Sin and Death amain following his track. Milton’s Paradise Lost, book 2’. (1)
Lot 271
£700-1000
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ORIGINAL ILLUSTRATIONS 273 Greenaway (Kate, 1846-1901). Young Woman Standing, seen in profile, pencil study on paper as contained in Kate Greenaway, by M.H. Spielmann and G.S. Layard, published by Adam and Charles Black, 1905, 52 colour plates, numerous monochrome plates and illustrations to text, top edge gilt, original blind-decorated cream cloth gilt, some minor marks, bookplate of Mary Diana Eve Chetwynd to verso of frontispiece, the original pencil drawing counter-signed by John Greenaway, limited edition deluxe 446/500 copies, signed by John Greenaway, 4to (275 x 210mm, 11 x 8.25ins)
272* Follower of William Heath Robinson (1872-1944). Modern Brickmaking - The Quarry, by F.D.G., early 20th century, pen and ink on paper, showing a cartoon construction site, with caption ‘It’s all done by machinery and kindness’, 39.5 x 26.5cm (15.5 x 10.5ins), framed and glazed, together with Heron (Leon, 20th century). At the Bar, circa 1930s, watercolour and gouache on paper showing three men standing at the bar the shorter man sniffing a glass, signed lower left, 50 x 40cm (19.75 x 15.75ins), framed and glazed (2)
£200-300
(1)
£200-300
274* Hallward (Reginald Francis, 1858-1948). Oh Come and Play, 1904, pen & black ink on pale brown paper, heightened with white bodycolour, signed lower left, 237 x 180mm (9.6 x 7.1ins) mount aperture, framed and glazed Illustrated: Books and Book-Plates: A Quarterly for Collectors, edited by James J. Guthrie, volume 4, number 3, 1903-04, page 119 (a copy of the published journal accompanies this lot). (1) £300-500
Lot 273
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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275* Moore-Park (Carton, 1877-1956). The Donkey, grisaille watercolour on Goodall’s Bristol Board card, with grey and white bodycolour, titled in pencil to top margin, and dated to lower margin January 1, 1900, image size 337 x 320mm (13.25 x 12.5ins), sheet size 477 x 370mm (18.75 x 14.5ins) (1)
277* Moore-Park (Carton, 1877-1956). The Wavy-coated Retriever, grisaille watercolour on Goodall’s Bristol Board card, signed and dated 1900 lower right, image size 335 x 320mm (13.2 x 12.5ins), sheet size 477 x 370mm (18.75 x 14.5ins) (1)
£200-300
£200-300
276* Moore-Park (Carton, 1877-1956). The Cart-horse, grisaille watercolour on Goodall’s Bristol Board card, with white bodycolour, signed and dated ‘99 lower right, image size 360 x 346mm (14.2 x 13.6ins), sheet size 477 x 370mm (18.75 x 14.5ins)
278* Moore-Park (Carton, 1877-1956). Pigs, grisaille watercolour on Goodall’s Bristol Board card, signed and dated ‘99 lower left, image size 365 x 345mm (14.3 x 13.5ins), sheet size 477 x 370mm (18.75 x 14.5ins)
(1)
(1)
£200-300
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£200-300
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MARINE PAINTINGS & WATERCOLOURS 281* Atkins (Samuel, 1760-1810). Marine Landscapes, two watercolours on paper, both signed, mounted (2)
£200-300
279* Moore-Park (Carton, 1877-1956). The Cow, grisaille watercolour on Goodall’s Bristol Board card, heightened with white/grey bodycolour, signed and dated ‘99 lower right, image size 365 x 345mm (14.3 x 13.5ins), sheet size 477 x 370mm (18.75 x 14.5ins) (1)
£200-300
282* Atkins (Samuel, 1760-1810). Shipping off the coast, & Shipping in rough seas by a promontory near Dover, a pair of watercolours on paper, both signed lower left and lower right respectively, each 11 x 16cm (4.25 x 6.25ins), matching gilt gesso frames with verre eglomisé glass £300-400 (2) 283* Fry (J., late 18th century). The Needle-Rocks, Isle of Wight & Allum-Bay, near the Needle-Rocks, Isle of Wight, 1792, two watercolour views on paper, each laid on backing paper with wash mount, with manuscript title and signed lower left: J.Fry Delt. 1792, 25.5 x 37 cm (10 x 14.5 ins), and smaller, together with other 19th century English landscapes, including three picturesque scenes (two of which in monochrome wash), a view of the castle and port of Granville (by Colman), a study of a fishing boat, inscribed Plymouth Sep 1807, and initialled E.R., an early 19th century watercolour with pen and ink view titled in ink 'Near Bath', etc., mostly loose, various sizes
280* Moore-Park (Carton, 1877-1956). The Brown Bear, grisaille watercolour on Goodall’s Bristol Board card, heightened with white and grey bodycolour, signed and dated 1900 lower left, image size 335 x 320mm (13.2 x 12.5ins), sheet size 477 x 370mm (18.75 x 14.5ins)
(12)
Canadian-born British artist and illustrator Carton Moore-Park is best known for his illustrations of animals, portraits and genre subjects. He studied at the Glasgow School of Art and by the age of 25 had published two children’s books: The Alphabet of Animals (1898) and The Book of Birds (1900). (1) £200-300
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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£200-400
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Lot 286
284* Atkins (Samuel, 1760-1810). British naval vessels off the coast, oval watercolour, unsigned, some pale discolouration, trimmed to image, 29 x 43cm (11.5 x 17ins), framed and glazed, together with another smaller watercolour by Atkins of shipping off a harbour in rough seas, watercolour on paper, signed lower left, some light discolouration, 16 x 22.5cm (6.25 x 8.75ins), framed and glazed (2)
£200-300
287* Brett (Bernard, 20th century). The Victory, HM Dockyard Portsmouth 1932, pen and ink on linen fibre unbleached paper dated 1929, signed and dated lower right, 53 x 66cm (20.75 x 26ins), some surface marks and spotting, framed and glazed (1)
285* Atkins (Samuel, 1760-1810). British Man of War in a storm, watercolour on paper, signed, 39 x 51.5cm (15.25 x 20.25ins), together with another by the same hand, British shipwreck, 38 x 50cm (15 x 19.75ins), both framed and glazed Butterfields, Thoresby Park, Nottinghamshire. (1)
£100-150
£300-500
286* Birchall (William Minshall, 1884-1941). A Trader of the Eighties, 1929, watercolour and gouache on paper, showing a clipper in full sail, signed, dated and titled lower left, 25 x 37cm (9.75 x 14.5ins) mount aperture, framed and glazed (1)
£100-150
288* English School. Ships off the coast in a storm, circa 1910, oil on board, showing British and French ships in stormy waters, 28 x 58cm (11 x 22.75ins), gesso moulded frame (1)
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£100-150
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289* French (E.C., 20th century). Iyruna under full sail, watercolour heightened with bodycolour, signed lower left, 50.8 x 38cm (20 x 15ins), framed and glazed The 12 metre class yacht Iyruna was designed by Charles E. Nicholson and built by Camper & Nicholson Ltd. for Sir William P. Burton in 1927 at a cost of £4,800. In the same year Sir William (1864-1942) was President of YRA, and named this yacht with an acronym to commemorate the formation of the North American Yacht Racing Union (NAYRU) under the Aegys of the International Yacht Racing Union (IYRU). In the 1929 Cowes Week she was fourth overall with one first, behind Mouette, Moyana and Rhona. She continued to race until 1934. After a succession of owners Iyruna disappeared from the Lloyd’s Register in 1966. (1) £200-300
290* Krause (H. Max, 19th century). Shipping on the Mersey, Liverpool, at sunset, 1891, watercolour on paper, heightened with bodycolour, showing steam and sailing vessels in the shipping lane, signed and dated lower left, 46 x 68.5cm (18 x 27ins) mount aperture, gilt moulded frame, glazed (1)
Lot 289
Lot 290
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£300-500
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291* Lewsey (Tom, 1910 - 1965) . The Roaring Forties, oil on canvas, signed to lower right, 44 x 59cms (17.25 x 23. 25ins), framed (1)
£150-200
Lot 293
292 Marine School. Portrait of a British merchantman, circa 1850, watercolour three masted square rigged merchantman in full sail, 38.5 x 59cms (15.25 x 23.25ins), mounted, framed and glazed (1)
£100-200
293* Markes (Albert Ernest, 1865-1901). Man-o-war firing, watercolour on paper, signed lower left, 14.5 x 11.5 (5.75 x 4.5ins), framed and glazed (1)
£70-100
294* Oakes (S., 20th century). Sails and Steam, watercolour on paper, showing a three mast ship in open water with war ship on the horizon, 18.5 x 30cm, framed and glazed (1)
295* Perry (Roy, 1935-1993 ). A Coastal Trader, oil on board, signed lower right, 32.5 x 55cm (12.75 x 21.5ins), framed & glazed (1)
£70-100
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£150-200
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296* Pocock (Nicholas, 1740-1821). H.M.S. Victory sailing down the English Channel, 1813, watercolour on paper, signed and dated lower left, some overall toning and discolouration, 41 x 58cm (16 x 23ins) mount aperture, old gilt frame, some damage, glazed Provenance: Formerly in the collection of Lieutenant Colonel John Luard (1790-1875), author of Views in India, St. Helena and Car Niobar (1835), and History of the Dress of the British Soldier (1852); his son, Lieutenant General Richard Luard, and Edward Bourryau Luard (1870-1916), with label to verso of the backboard ‘Luard, South Bank, Hereford’, dated June 1917. (1) £400-600
297* Williamson (William Harry, 1820-1883). Stormy Waters, oil on board, showing a sailing boat in distress and a shipwreck by rocks, artist’s initials lower left, 20.5 x 38.5cm (8 x 15.25ins), gilt frame and glazed, together with another by the same artist (2)
298* Wyllie (Harold, 1880-1973). Battle of Quiberon Bay, 1759, & Battle of the Nile, 1798, two hand coloured aquatints, published by Arthur Ackermann & Son, May 1st 1929, each signed in pencil lower left, 255 x 405mm (10 x 16ins) mount aperture, matching period frames, glazed, with Joseph Wilson framer’s label, 38 South Molton Street, London, to verso of each
£300-500
(2)
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£100-150
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ORIENTAL ART 299* Chinese School. Musicians in a Garden & Couple on Horseback, circa 1980s, watercolours with gold leaf highlighting on a pink ground, various inscriptions and seals of Zhang Yong, 45 x 46cm (17.75 x 18ins), framed and glazed (2)
£100-150
301* Indian School. Red Male Philue, gouache on mica, together with two similar gouaches on mica of Indian birds: Accipator Besera and Female Red Sparrow, 15 x 10.5cm (6 x 4ins), all framed and glazed From a set of 12 Indian export pictures sent to England from Trichinopoly, in Madras, India. (3) £100-150
300* Indian School. Woman with goats and peacocks, 19th century, pen, ink and watercolour, gold heightening to jama, some discolouration, 19 x 12cm (7.5 x 4.75ins), framed and glazed (1)
£100-150
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303* Kunisada (Utagawa, 1786-1865). Winter, with Prince Genji and attendants in a snow-covered palace garden, circa 1849-50, oban tate-e colour woodblock triptych, from the set of prints depicting the seasons, published by Enshuya Hikobei, some minor marks and pale toning, trimmed to image, overall size 35 x 71cm, 13.75 x 28 ins, framed and double glazed, together with two other colour woodblock prints by Kunisada depicting samurai, some marks and marginal discolouration, laid down on paper, and trimmed to image, 25 x 26.5cm (9.75 x 14.25ins) and similar, both framed and double glazed (3)
£100-150
302* Kosolawat (Kid, 1917-1988). Wat Pho Temple, Bangkok, watercolour, signed lower left, 54.5 x 37cm (21.5 x 14.5ins), mount aperture, Wah Cheong Gallery, Hong Kong label to verso, together with Coastal and river scenes with boats and huts, three watercolours, each signed lower right, 37 x 54cm (14.5 x 21.25ins), mount aperture, Wah Cheong Gallery, Hong Kong label to verso, all framed and glazed (4)
£700-1000
304* Persian School. Two horses in mirror image, 18th century, pen and ink on paper, a little rubbed with light soiling, within polychrome surround with arabesques at head and calligraphy below, decorative gold border of animals, birds, trees and flowers, occasional small abrasions and losses, sheet size 34 x 23.5cm (13.25 x 9.25ins) (1)
Lot 303
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£200-300
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307* Persian School. Hunting scene with nobleman archer on camel and wounded deer, early 20th century, pen, ink and watercolour, heightened in gold, mounted within earlier calligraphic border, image 16 x 12.5cm (6.25 x 4.75ins), framed and glazed, together with four examples of Persian calligraphy, later 19th/early 20th century, framed and glazed (5)
£100-150
305* Persian School. Seated nobleman and wife, 20th century, pen, ink and watercolour, image 17.5 x 12cm (6.75 x 4.75ins), framed and glazed (1)
£100-150
306* Persian School. Copulating couple, 19th century, pen, ink and watercolour on paper, heightened in gold, slight marginal soiling, image 15 x 10cm (6 x 4ins), framed and glazed, together with Two men with skipping ropes, late 19th century, pen, ink and gouache, some light soiling, foliate border, image 9 x 13.2cm (3.5 x 5.25ins), framed and glazed, together with three Indian miniatures, two of noblemen (one mounted), and one female
308* Yoshida (Hiroshi, 1876-1950). Arashiyama, & Hirasaki Castle, two colour woodblock prints, each signed and titled to lower blank margin, in very good condition, 38 x 24cm (15 x 9.5ins) mount aperture, matching frames, glazed
(5)
(2)
£150-200
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£200-300
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17th-19th CENTURY PAINTINGS & WATERCOLOURS
309* Colonial School. The Last Judgment, circa 1750, oil on three conjoined wood panels, depicting an angel dividing the saved from the damned below which are three angels at a mill, with numerous figures arriving in procession in various costumes, each carrying a white sack as a form of gift, with a graveyard of souls rising from their graves, at the top the figure of Christ with supporting angels, and flanked by the Virgin Mary and Saint John the Baptist, image size 85 x 69.5cm (33.5 x 27.3ins) An unusual example of religious folk art. (1)
311* English School. Rustic landscape with figures on a path, circa 1880s, oil on panel, showing a mother and child with in a wooded landscape with cottage, unsigned, 30 x 21.5cm (11.7 x 8.5ins), gesso moulded frame with C. Rowlands trade label verso, some losses to the plaster (1)
312* English School. Castle Combe, Wiltshire, oil on canvas laid on board, showing figures on a bridge, indistinctly signed lower left, 43.5 x 69.5cm (17.25 x 27.25ins), period faux rosewood frame
310* Eastwood (Walter, 1867-1943). Harvesting landscape, oil on canvas, signed lower left, 25 x 36cm (10.75 x 14.25ins), relined, gilt frame and glazed (1)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
£100-150
£400-600
(1)
£100-150
80
£100-150
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314* Graham (George, 1881-1949). Building the Stack, oil on canvas, showing a harvest scene, signed lower right, titled verso, 31 x 41cm (12.25 x 16ins), gilt moulded frame and glazed (1)
£200-300
315* Italian School. Combat of Angels and Soldiers, circa 16801720, oil on canvas, some surface marks and wear, with overall craquelure, and minor losses to margins, 33.5 x 53cm (13.2 x 20.8ins) (1)
313* English School. The Fish Seller, 19th century, oil on wooden panel, showing a woman with catch in basket, 22.5 x 16cm (8.75 x 6.25ins), period gesso frame, glazed (1)
£100-200
Lot 315 81
£400-600
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316* Follower of Philips Wouwerman (1619-1668). Soldiers before Sutler's Tents, late 17th century, oil on wood panel, showing a cloudy landscape at dusk with two horses, one with rider dismounted and conversing with merchants outside a tent, with a dog in the foreground, 38.5 x 32.5cm (15.25 x 12.75ins), 19th century black and gilt frame This painting has been appraised by Dr. Birgit Schumacher, leading authority on the work of Philips Wouwerman. She believes the work to be 'a contemporary partial copy of a hitherto unknown work by Philips Wouwerman from his late period around 1665'. She was unable to trace the work from which the main group has been copied, but says that the painting 'shows considerable resemblances with Wouwerman's interpretation of the genre "Soldiers before Sutler's Tents"'. Schumacher dates the panel to the last decades of the 17th century, adding, 'the unknown artist was a skilled painter and he indeed was proficient in copying Wouwerman's specific artistic style.' (1) £800-1200
317* Lara (Georgina, active 1862-1871). Rustic scenes, 1871, a pair of oils on canvas, showing milkmaids and cows and horses by a barn, signed and dated lower right, 30.5 x 23cm (12 x 9ins), the other showing two figures and horses by a stable, signed and dated lower right, 30.5 x 23cm (12 x 9ins), both relined, in period gesso moulded frames Georgina (or Edwina) Lara painted farmyard and village scenes, exhibited once at the British Institution, and had sixteen works shown at Suffolk Street. (2) £800-1200
Lot 316
Lot 317 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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Lot 318
318* Naive School. View of the Red Lion with fair beyond, circa 1850, oil on canvas, 52 x 30cm (20.5 x 11.75ins), gilt gesso moulded frame Believed to depict the Red Lion in St John Street, Clerkenwell, one of the oldest pubs in London. In the background is a canopy for a travelling fair bearing the name ‘RICHARDSONS’. John Richardson’s theatrical troupe operated in the London area from 1798 to 1853 and are known to have performed at St Bartholomew’s Fair, last held in 1855, just down the road from the Red Lion. (1) £1000-1500
319* Rembrandt (Harmensz. van Rijn, 1606-1669). Self Portrait, 19th century oil on wood panel, small chip to top edge, inscribed Rembrandt to verso, period gilt frame (1)
£200-300
Lot 319
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320* Slater (John Falconar, 1857-1937). Farmyard scene, oil on board, signed lower right, 57 x 81cm (22.5 x 32ins), in elaborate frame (1)
£300-500
322* Dutch School. Portrait of a member of the Alewijn family (possibly Frederick Alewijn, 1603-1665, or Martinus Alewijn, 16341684), circa 1650-1660, oil on canvas, half-length portrait of a gentleman dressed in black with white collar and cuffs, small area of surface loss to background, relined, 93 x 77.5cm (36.5 x 30.5ins), framed, stretcher with remains of 19th century manuscript label identifying the family name of the sitter ‘Alewijn’, old hand-painted number ‘1756’, and modern chalk auction reference number ‘YG452/1’ Alewijn is the name of an important Dutch noble family. (1)
321* Smith (Edwin J., early 20th century). Mountainous landscape, 1920, oil on canvas, signed and dated lower right, 30.5 x 40.5cm (12 x 15.75ins), gilt moulded frame, glazed (1)
£300-500
323* Dutch School. Portrait of an Old Man, 17th century, oil on canvas, half-length portrait of a gentleman with curled shoulderlength hair, beard, and moustache, wearing a brown coat and white collar, and a black skull cap, with clasped hands, one hand gloved, and the other holding a glove, within a painted oval frame, manuscript label on verso with ownership name of Colonel Rowland Farrer dated 1885, 76 x 63.5cm (30 x 25ins), old stencilled Christie’s number on stretcher, gilt moulded frame
£200-300
Provenance: Christie’s, 2nd June 1961, lot 164. The present work may perhaps be associated with the circle of Bartholomeus van der Helst (Haarlem 1613-1670 Amsterdam). (1) £700-1000
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Lot 323
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324* English School. Portrait of a young girl, circa 1830, circular oil on canvas, head and shoulders portrait of a young girl wearing a white shift, her short dark curls crowned with a red-ribboned wreath of Morning Glory flowers, and her cheek resting on her hands clasped atop a column, against a ground of blue sky and two fluttering peacock butterflies, sometime relined, diameter 43cm (17ins), stretcher 46 x 46cm (18 x 18ins), stretcher with impressed stamp ‘W. Morrill Liner’, gilt moulded frame, with remains of label ‘Aitken Dott, Carver and Gilder, 26 South Castle Street [Edinburgh]’ The sitter bears a marked resemblance to Lady Gertrude Fitzpatrick (daughter of John FitzPatrick, 2nd Earl of Upper Ossory), who was the subject of Sir Joshua Reynolds’s 1779 painting entitled ‘Collina’, (Columbus Museum of Art). The present work however is more likely to be a fancy picture than a conventional portrait. The column and butterflies suggest the Greek goddess Psyche, although the girl may also represent a month or season, or is simply a fairy figure. The picture restorer William Morrill (1838-1910) took over his father’s business in 1866, working extensively for the National Gallery, National Portrait Gallery, Royal Collections and other prominent collectors. Dante Gabriel Rossetti described him as ‘skilfull and careful’ and Burne-Jones and Whistler also employed him. (1) £2000-3000
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Lot 326 325* Lincoln (Abraham, 1809-1865). Life mask of the beardless Abraham Lincoln, reproduced from the mould by Leonard Wells Volk (1828-1895), late 19th century, cast plaster, with open head, weathered with overall dark grey patina, identified in ink to interior, ‘Life mask of Abraham Lincoln, taken in Chicago USA in 1860 by Leonard W. Volk’, hanging loop, 25 x 21cm Two life masks were made of Abraham Lincoln, this first one in the spring of 1860 just before he received the Republican nomination for President; the second completed in February 1865 by Clark Mills, and featuring the President with his trademark beard. (1) £400-600
326* Ludovici (Albert Johann, 1820-1894). Portrait of two children (thought to be Prince Leopold and Princess Beatrice, Queen Victoria’s youngest children), 1862, oil on canvas, signed with monogram and dated lower right, relined, 76 x 63cm (30 x 25ins), modern gilt frame (1)
£400-600
327* Miniature. Portrait of a young man in blue coat and black cravat, circa 1830, oval miniature watercolour and gouache on ivory, 50 x 40mm, period framed, glazed Acquired by the present owner in North America. (1)
£100-200
Lot 327
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OLD MASTER PRINTS & DRAWINGS
Lot 329 328* Baron (Bernard, 1696-1762). The Acts of Mercy, after Frans Francken II (1581-1642), circa 1748, the complete set of seven copper engravings on laid paper, with printed caption to each in French and English, plate size 54 x 39cm, old Hogarth-style black and gilt frames, glazed Hollstein 1-7. The titles are: Feed the Hungry, Give Drink to the Thirsty, Welcome the Stranger, Clothe the Naked, Visit the Sick, Visit the Prisoner, and Bury the Dead. (7) £200-400
329* Beham (Hans Sebald, 1500-1550). The Holy Family under a tree, 1521, woodcut on laid paper, the second and final state (of 2), trimmed to black border line, with occasional encroachment, upper right corner missing, some surface marks, sheet size 167 x 108mm Bartsch 123. (1)
£200-300
330* Della Bella (Stefano, 1610-1664). The Medici Vase, 1656, etching on laid paper, some marks and light discolouration, with margins, slight loss to extreme upper right blank corner, plate size 31 x 28cm (12.2 x 11ins), sheet size 36.9 x 33.5cm (14.5 x 13.2ins) De Vesme 832, ii/ii. (1)
£300-500
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332* Italian School. Landscape with figures descending a wooded path, possibly by a follower of Claude Lorrain (1604/05-1682), mid to late 17th century, pen, brown ink and brown wash on laid paper, with further studies of overgrown ruins in pen, brown ink and wash to verso, some marks and discolouration, with showing through from the reverse side, sheet size 200 x 270mm (7.9 x 10.6ins) (1)
331* Bartolozzi (Francesco, 1727-1815). Cupid Disarmed by Venus, after Correggio, together with Affection, after Vierra, published by J. Deeley, March 1, 1809, both stipple engravings, plus other similar stipple engravings by Bartolozzi, including Saint Cecilia, published by A. Poggi, June 1st 1784, Ceres, and Pomona, after Cipriani, published by Jane White, January 1787, Tancred and Erminia, A Naiad, published October 4th 1779, The Nymph of Immortality, September 1, 1784, all after Cipriani, etc., some marks and soiling, mostly in old frames, some glazed (20)
£200-300
333* Ostade (Adriaen van, 1610-1685). The Quacksalver, 1648, etching on laid paper, a good impression of the fifth state of nine, trimmed just outside the margins to left, right and bottom edge, plate size 148 x 222 mm (5.8 x 4.8 ins), sheet size 152 x 124 mm (6 x 4.9 ins), hinge- mounted on old card, together with Flemish School. Landscape with village amongst trees, late 16th century, engraving on laid paper, possibly by the Master of the Small Landscapes, first issued in Antwerp by Hieronymus Cock in 1559, unwatermarked, trimmed to plate margins, plate size 137 x 199 mm (5.39 x 7.83 ins), mounted, plus Sadeler (Egidius II, 15701629). The Good Samaritan, copper engraving on laid paper, after Jan Breughel (1568/69-1625), published by Jan van Londerseel, plate size 137 x 199 mm (5.39 x 7.83 ins), and another similar by Sadeler after Breughel the Elder, showing a riverscape with the Good Samaritan by a tree, tending to the victim's wounds, published by Jan van Londerseel, plate size 216 x 270 mm (8.5 x 10.6 ins), sheet size 255 x 340 mm (10 x 13.4 ins) (the latter two prints both early copies in reverse, see Hollstein 212)
£200-300
(4)
Lot 332
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£300-500
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335 Rossigliani (Giuseppe Nicola, circa 1510-). The Adoration of the Shepherds, after Parmigianino, 1605, chiaroscuro woodcut on laid paper, printed in pale red, with monogram and date of the publisher Andrea Andreani, plate size 175 x 257mm (6.9 x 10.1ins), sheet size 202 x 285mm (8 x 11.25 ins), mounted on 19th century backing paper, with detailed handwritten inscription in ink in French, referring to Bartsch XII p.12 and Oberhuber 98-99, stating that this item was in the collection of Gustave Lebel (small collector's mark to verso of the print), together with other various Old Master prints, including Jean Valdor the elder (circa 15801632), Portrait of Archbishop Ferdinand, Elector of Cologne, 1619, Giovanni Battista Galestruzzi, 1615/18-circa 1669, engraved title page to Trofei di Polidoro, Rome, 1658, Jan van Troyen, Saint Margaret, after Raphael, Jan de Bisschop, Saint Gerome, after Zuccaro, etc., various later portraits and 18th century French book illustrations, all loose, various sizes (approx. 150)
£200-400
334* Nixon (John, 1750-1818). At Bermondsey Spa, pen and black ink with grey wash on wove paper, inscribed with title in ink lower left, and numbered 104 upper right, 10 x 7.7cm (4 x 3ins), laid down on old blue paper, mounted (1)
£150-200
336* Vliet (Jan, circa 1610-1637). Sail Mending, circa 1635, etching on laid paper, plate size 21.5 x 16.5cm (8.5 x 6.5ins), sheet size 23.5 x 18cm (9.25 x 7.2ins), mounted, together with other 17th and 18th century Old Master prints and engravings, including six plates from Jacques Callot's Grandes Miseres de la Guerre, circa 1633 (plates 4, 6, 7, 9, 11 & 12, including La Pendaison), Gerhard de Jode (1509-1591) after Maarten de Vos, The Sixth Vision of Esdras, Harmen Jansz Muller (circa 1540-1617), after Marten van Heemskerck, The Stoning of Saint Stephen (from the Eight Beatitudes), a river landscape by Anthonie Waterloo, an etching by Joshua Haynes after John Hamilton Mortimer, published January 25 1780, Jan Sadeler, Saint Theodorus (from the Lives of the Hermits) after Maarten de Vos, 3 engraved plates from the Cries of London, by Pierce Tempest, 3 engravings after George Smith of Chichester, published by Boydell in 1770, etc, all mounted
Lot 335
(24)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
90
£300-500
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ENGLISH CARICATURES 1750-1850
Lot 337
337 Album. Caricatures by Cruikshank, Rowlandson, Woodward etc. 1799 - 1822, title on upper cover, forty-three engraved caricatures by Rowlandson, Woodward, Heath, Gillray, Cruikshank and Williams, all window-mounted, text-block detached and broken, bookplate of Sir Charles Nall-Cain Bt., all edges gilt, modern half morocco gilt by Henderson and Bissett, folio Sold as a collection of plates, not subject to return. (43)
ÂŁ5000-7000
338 Album. A scrap album of caricatures, 19th century, containing etched, lithographic and engraved caricatures, most with contemporary hand colouring, including examples by Woodward, Rowlandson, Marks, William Heath (Paul Pry) and Tregear, a few leaves excised but largely intact, late 19th century half morocco gilt, large 4to (1)
ÂŁ100-200
Lot 338
91
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Lot 339
339 Album. Caricatures. Drawn & Etched by those celebrated artists Gillray, Rowlandson, Cruikshanks (sic) &c., circa 1830, decorative title, 186 uncoloured etchings and engravings on eightytwo sheets, with between one and five images per sheet, printed on recto only, after or by Gillray, Rowlandson, Cruikshank, Bunbury, Hunt, Wilkinson and others, slight spotting, gutta percha perished with text block detached and loose, contemporary quarter morocco with gilt title to upper board, worn and frayed, large folio
340 Cruikshank (George, 1792-1878), Cruikshankiana, being a collection of the most Celebrated Works of George Cruikshank, published Reeves & Turner, circa 1850, eighty-three (complete) uncoloured etchings and engravings, contents list, title page and first caricature with library stamps, remainder with library stamps to verso, library label to front pastedown, later cloth gilt, folio, together with Heath (Henry), Omnium Gatherum, The Caricaturist’s Scrap Book, published Charles Tilt, circa 1840, two title pages, fifty-six sheets of caricatures, slight spotting, upper hinge broken, upper board near detached, later cloth gilt, oblong folio
Scarce. Only one auction record found in the last thirty years (1988 Swann Galleries). (1) £1500-2000
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(2)
92
£100-200
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Lot 341
341 Cruikshank (George, 1792-1878), The Dandies of George Cruikshank being a series of twelve original Caricatures, 1816 - 1822, [late 1820s], title on a label to upper board, eight caricatures with contemporary hand colouring, all window mounted, the second plate is annotated on the verso in pencil, ‘I think this is a copy from one by me, G C’ and the third caricature is signed in ink on the recto ‘G C K’, and the seventh caricature is signed in ink on the recto ‘not by me G C K’, we believe this initials to be genuine, there are two additional caricatures loosely inserted, later endpapers, bookplate and ink annotated library reference label of A. M. Cohn to front pastedown, later cloth with a near contemporary morocco gilt label to upper board and spine, frayed at extremities, slim folio Rare. This copy auctioned at Swanns, New York, November 4th 2004. (1) £700-1000
342* Anonymous. Billy in the Dumps or how to manage affairs on the next meeting of Parliment (sic), published S. Aitken, Jany. 10th 1794, Suspension, published S. Aitken, August 21st 1794 [and] Low Comedians amusing the Wise men of the East, published W. Hixon, Feby. 9th 1800, togther three etchings with contemporary hand colouring, each approximately 255 x 355mm (3)
Lot 342
£150-200
93
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343* Bickham (George, circa 1684-1758). The Butcher [and] Don Tonsorio, Chiverere Scrapere, Trimerado, Cove of the Sniveling Chive, Vulgarly call’d a Barber..., circa 1740, two uncoloured engraved satirical broadsides, showing a representative of each profession displayed as a composite figure made up of the implements used in that particular profession, some spotting and staining, some marginal repaired closed tears, laid on later backing card, each approximately 265 x 195mm BM 2469 & 2470. The barber is made of a shaving basin, scissors, razors, strops and pinching irons. The butcher is composed of an axe, a cleaver, apron, knife steel and is shown with cloven feet and the head of a calf. Scarce. (2) £200-300
Lot 345
344 Bobbin (Tim, really John Collier). Human Passions Delineated in above 120 Figures, Drolls, Satyrical and Humourous, 2nd edition, published Robert Collier, 1809, portrait frontispiece, decorative title, forty-three uncoloured engravings (including the four dentistry prints), notice to subscribers and explanatory text bound at rear, some water staining largely confined to endpapers, publisher’s blue printed limp wrappers, stained and frayed, lacking spine, folio, together with another copy, but the later John Heywood edition, circa 1858, text block near detached, library label to front pastedown and a library stamp to verso of portrait frontispiece, contemporary blue cloth gilt, title in white ink to spine, boards a little spotted and frayed, folio (2)
£100-200
345* Boilly (Louis-Léopold, 1761-1845). Steel Balsam, Spectacles [and] The Mask, published D.Alexander, circa 1825, three English lithographs after Boilly, contemporary hand colouring, each approximately 270 x 210mm, mounted, together with Reading the Will, published E. & C. McLean, circa 1825, English lithograph after Boilly, contemporary hand colouring, 295 x 230mm, mounted, with Consultation de Médecins, 1823, lithograph with contemporary hand colouring, laid on card, 290 x 220mm, mounted (5)
£100-150
346* Boilly (Louis-Léopold after, 1761-1845). Grimaces Pl: 1 - 5, published E. & C. Mclean, circa 1823, Grimaces [and] Mustachios, published D. Alexander, 1824, together seven lithographs with contemporary hand colouring, each approximately 285 x 225mm Louis-Léopold Boilly (1761 - 1845), was a French painter and draftsman and a gifted portrait painter. He received particular renown with the production of the popular series of lithographs ‘Recueil de Grimaces’, which was published between 1823 and 1828. These are the English versions of his work, published in ‘Humorous Designs’ by Mclean and Alexander. The interest in expressive heads and physiognomy - or the art of reading inner character by means of facial expressions - was popular in France and elsewhere and for a while was accepted as fact. (7) £200-300
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
Lot 346
94
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347* Bowles (Carington, publisher). The Review, published Carington Bowles, 69 St. Pauls Church yard, [1765 or later], hand coloured engraving trimmed and laid on later paper, fourteen lines of verse below image, 220 x 305mm A satire on the use of hoop petticoats. A lady in the foreground lifts her skirts to show the crowd her hoops. In the distance a lady is lowered through the roof of a sedan chair (the door being impassable in her huge dress). Erroneously listed as circa 1733 in the British Museum catalogue. Carington Bowles did not trade from 69 St. Pauls Churchyard until 1764. BM 1991. (1) £100-150
348* Broadside. Jarvis J. (publisher), The Poor Blind Pig Man, circa 1760, hand coloured etching with sixteen lines of verse below image, stained, 310 x 195mm A scarce portrait of a street hawker. A portly man with a cane has a basket around his neck containing model pigs, probably made of clay and designed for children. The seller has his hand on the shoulder of a young boy who acts as his guide. The image is not in the digital collection of the British Museum, but they do have a copy - acquired in 1851 - numbered 1851.0308.527. (1) £150-200
Lot 348
349* Bunbury (Henry William, 1750-1811). A collection of twentynine caricatures, uncoloured etchings, including, Conversazione, The Country Club, The Battle of the Cataplasm, Courier Francois, The Kitchen of a French Post House and others, many trimmed with loss, closed tears, staining and soiling, various sizes Sold not subject to return. (29)
£150-250
Lot 349
95
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Lot 350 350* Bunbury (Henry William, 1750-1811). A Long Minuet as Danced at Bath, Longa Tysonum Minuit Quid velit & possit rerum concordia discors. Horace, [1787], very large hand coloured stipple engraving on four conjoined sheets, toned overall, slight spotting, some repaired closed tears affecting image, trimmed on vertical margins, 260 x 2115mm, mounted, framed and glazed Bunbury s most successful design. Recent research has revealed that the figures are based on actual personages prominent in Bath at the time, including the Master of Ceremonies (Richard Tyson); the ex-Prime Minister Lord North, his wife and daughter; the Mayor and Mayoress of Bath; some French Financiers; Bunbury s wife Catherine (ne Horneck, a lady in waiting to the Queen) and the artist himself bowing to his audience. (1) £300-500
351* Bunbury (Henry William, 1750-1811). A religous debate, circa 1800, watercolour on card, some water staining, 245 x 360mm (1)
353* Bunbury (Henry William, 1750-1811). Eight sheets of caricatures, circa 1815, eight sheets, with four etched caricatures with contemporary hand colouring to each sheet, mostly depicting equestrian mishaps, each caricature approximately 155 x 115mm
£100-200
A slightly later series of etchings originally published in ‘Horsemanship - An Academy for Grown Horsemen’ by Geoffrey Gambado on 1787. (8) £100-150
352* Bunbury (Henry William, 1750-1811). The Little Cottager, published W. Dickinson, 1791, stipple engraving by J. Baldrey, printed in sepia, 430 x 325mm, mounted, framed and glazed, together with Coversazione, published W. Dickinson, 1782, hand coloured mixed method engraving by W. Dickinson, 430 x 550mm, mounted, framed and glazed (2)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
£70-100
96
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356* Caricatures. A mixed collection of approximately seventyfive cartoons and caricatures, 19th century, engravings, etchings and prints, many with hand colouring, including examples by Cruikshank, Leech, Rowlandson, Bunbury, Woodward, Doyle, Hogarth and Punch, mostly small format, but various sizes and condition (approx.75)
£200-300
357* Caricatures. A mixed collection of approximately 100 cartoons & caricatures, mostly 19th century, engravings and etchings, many with hand colouring, including examples by Cruikshank, Rowlandson, Punch, Leech, Bunbury, Heath and Wilkinson, occasional duplicates, mostly small format, but various sizes and condition (approx.100)
£150-200
354* Caricatures. A mixed collection of approximately seventy caricatures and cartoons, mostly 19th century, including examples by Heath, G. Cruikshank, Theodore Lane, Woodward, Hunt and Gillray, various sizes, editions and condition (approx.70)
£200-300
355* Caricatures. A mixed collection of approximately fifty cartoons and caricatures, 19th century, etchings, engravings and lithographs, many with contemporary hand colouring, including examples by Spooner, Lisle, Dubuisson, Tregear, Cruickshank, Tegg and Heath, various sizes and condition
358* Caricatures. A mixed collection of twenty caricatures, 19th century, engravings and etchings, many with contemporary hand colouring, including examples by Williams, Wilkinson, Heath, Bunbury, Cruikshank, Rowlandon and ‘Vanity Fair’, some closed tears and occasional loss, various sizes and condition
(approx.50)
Sold not subject to return. (20)
£300-500
97
£150-200
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359* Bowles (Carington, publisher). Out of Place (Hors d’Emploi) & In Place (En Emploi), circa 1785, pair of mezzotint drolls with early hand colouring, vertical margins strengthened on verso, each approximately 360 x 250mm, mounted
360* Bowles (Carington, publisher). The Manchester Hero, or Arts yield to Arms, published 20th April, 1778, uncoloured mezzotint droll, 360 x 255mm, together with Iris Peg in a Rage. Make good the damage you dog, or I’ll cut away your Parsnip, circa 1780, uncoloured mezzotint droll, slight spotting to margins, 360 x 260mm, mounted, with Sayer (Robert, publisher), The Frenchman in London, published Novr. 10th 1770, hand coloured caricature by C. White after Collet, title repeated in French, 360 x 260mm, mounted, plus Fairburn (John, publisher), Spring [and] Autumn published June 1st. 1796, two uncoloured mezzotints, slight spotting, each approximately 355 x 250mm, and Bowles (J. & C. publishers), Rene’s Aukward Declaration of Love, circa 1780, uncoloured mezzotint, five lines of verse below image in English and French, 355 x 255mm, mounted
Pair of satirical prints. The first two politicians out of office, shivering in a squalid room, one writing a paper entitled ‘Abusing Administration’, with other similar papers scattered at their feet, while their landlady presents a unpaid bill for their lodging; a tattered print pinned to the wall behind, depicting an anchor inscribed ‘Hope’. The second - a satire on corruption - shows the interior of a fine room in which two men are seated at a table, one a cleric, the other a politician. They are sharing a drink with the Devil, who stands behind them. A picture on the wall shows the loaves and fishes. Bags of gold lie on the floor suitably labelled to show that they were generated by bribes and the sale of titles and votes. (2) £100-150
(6)
£200-300
361 Combe (William). The Tour of Doctor Syntax in Search of the Picturesque, 8th edition, circa 1820, [and] The Second Tour of Doctor Syntax in Search of Consolation, 1820, first volume with decorative title and advertisement, frontispiece and twenty-nine (complete as list) aquatint plates by Thomas Rowlandson, contemporary hand colouring, some marginal staining and spotting throughout, index bound at rear, second volume with title page near detached, frontispiece and twenty-three (complete as list) aquatint plates by Thomas Rowlandson, contemporay hand colouring, some spotting and staining throughout, contemporary uniform half calf with gilt decorated spines, rubbed and worn at extremities, 8vo Abbey Life 265 & 266. Tooley 427 & 428. (2)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
98
£100-150
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363* Cruikshank (Robert, 1789-1856). A Nice Lady or an Incomparable!!!! published S. W. Fores, 1813, etching with contemporary hand colouring, trimmed to image, 345 x 220mm BM 13057. (1)
£70-100
362* Cruikshank (George, 1792-1878). Conceit Can Kill & Conceit Can Cure, original copper plate for the engraving published by J. Robins, Albion Press, January 1st, 1819, 14 x 9cm (5.5 x 3.5ins), mounted in later green cloth book-form portfolio with the printed version mounted opposite
364* Cruikshank (Robert, 1789-1856). Burning by Contract or the Fate of the Loves of Frederick and Mary Ann, published Walker, 1809, The Protestants Champion!!, published G. Humphrey, 1795, The Commons versus the Crown of Martyrdom or King Abraham’s Coronation Deferred, published G.Humphrey, 1823 [and] The Broom sold!!, published T. McLean 1827, together four etchings with contemporary hand colouring, ‘The Commons...,’ trimmed to image, various sizes and condition
(1)
(4)
£200-300
99
£150-200
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366 Cruikshank (George, 1792-1878). London characters..., , issued in The Gentleman’s Pocket Magazine, 1827 - 1829, the rare complete set of fifteen coloured etchings (of which three are proofs before letters) accompanied by nine uncoloured proofs before letters, in all twenty-four etchings of great rarity, twelve on india paper and window mounted, nine uncoloured proofs, grey chalk endpapers, all edges gilt, bookplates of W.A.Foyle and Alexander McGregor, gilt decorated turn-ins, upper hinge a little cracked, red crushed morocco with gilt decorated spine by Riviere & Co., slight wear at extremities, 8vo (1)
365* Cruikshank (Isaac Robert, 1764-1811). The Messanger of Peace, published S. W. Fores, 1796, etching with contemporary hand colouring, trimmed to neatline, 310 x 420mm, mounted, [BM 8829], together with A Long Headed Minuet!!, published T. Tegg circa 1807, etching after George Moutard Woodward, contemporary hand colouring, 245 x 345mm, mounted, with The Grand Review on Sydenham Common, published S. W. Fores, 1792, etching with contemporary hand colouring, trimmed to image and laid on later paper, 290 x 445mm, mounted, [BM8110] plus, Sweet Fruits of the Third Honey Moon!, published S. W. Fores, 1800, etching with contemporary hand colouring, 320 x 410mm, mounted [BM 9576] (4)
£200-300
367* Cruikshank (George, 1792-1878). A Bazaar, published in ‘The Scourge’, June 1st 1816, etching with contemporary hand colouring, old folds, 210 x 480mm [BM 12837], together with Princely Piety or the Worshippers at Wanstead, published in ‘The Scourge’, December 1st 1811, etching with contemporary hand colouring, old folds, 190 x 400mm, mounted, with A Sepulchrul Enquiry into English History, published in ‘The Scourge’, June 1st 1813, etching with contemporary hand colouring, old folds, 200 x 505mm, mounted, plus [Preparing for War] published in ‘The Scourge’ June 1st 1815, etching with contemporary hand colouring, old folds, title partially lost, 200 x 490mm, mounted
£200-300
(4)
£200-300
368* Cruikshank (George, 1792-1878). The Pall Mall Apollo or R ty in a Blaze!!!, published in ‘The Scourge’, March 1st 1816, aquatint with contemporary hand colouring, old folds, 205 x 485mm, mounted [BM 12746], together with Odds & Ends for Febuary (sic) 1816, engraving with contemporary hand colouring, margins torn with slight loss and repaired, old folds, 215 x 490mm, mounted [BM 12714], with John Bull in the Council Chamber, published July 1st 1813, etching with contemporary hand colouring, old folds, 200 x 490mm, mounted [ BM 12066] (3)
369 Cruikshank (George, 1792-1878). Scraps and Sketches, published by the artist, 1828, six pages of caricatures with contemporary hand colouring, some spotting throughout, retaining publisher’s printed paper wrappers, later endpapers, 20th century calf gilt by J, Van West, a little rubbed at extremities, oblong 4to
Lot 366
(1)
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£150-250
100
£70-100
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Lot 372 370* Cruikshank (George, 1792-1878). Monstrosities of 1821, Monstrosities of 1783 & 1823, Monstrosities of 1824, Monstrosities of 1816 scene in Hyde Park, Monstrisites of 1818 [and] Monstrosities of 1819, published G.Humphrey, 1816 - 1824, together six etchings with contemporary hand colouring, all with thread margins and window mounted on later paper, each approximately 240 x 340mm (6)
£300-500
371* Cruikshank (George, 1792-1878). A study leg, circa 1850, four pencil drawings on one sheet, titled and signed by artist to lower centre of image, 90 x 105mm, mounted, framed and glazed (1)
£100-200
372* Cruikshank (Isaac, 1746-1811). An Irish Epitaph, A Long headed Minuet!! [and] Long Heads upon Change or the return of Ld. Lauderdale, all published Thomas Tegg, circa 1808, three etchings after Woodward, contemporary hand colouring, slight chipping to the margins of ‘An Irish Epitaph’, each approximately 240 x 340mm (3)
373* Cruikshank (Isaac 1764 - 1811). A Panic on Both Sides or Great Men in the Horrors, pencil with grey wash and ink captions on wove, marginal repairs, some dust soiling and slight spotting, 260 x 380mm, mounted, the subsequent print (BM 8689), published by S, W. Fores in 1795 is included with this lot, 270 x 395mm, mounted The caricature relates to the bill against ‘Seditous Meetings’ which was moved by Pitt on November 10th 1795. From Pitt’s pocket protrudes the ‘Convention Bill’ and from Fox’s ‘Copenhagen Meeting’. This was a mass meeting on the field behind Copenhagen House where radicals demanded universal suffrage and annual parliaments. A scarce original drawing by I. Cruickshank of the two leading politicians of the day. (2) £500-800
£150-200
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374* Cruikshank (Isaac 1764 - 1811). The Graces of 1794, published S. W. Fores, July 21st. 1794, etching with contemporary hand colouring, one small ink stain to upper left of image, slight creasing, 390 x 330mm, framed and glazed A rather extreme version of the popular conceit of lampooning the fashions of the day with the central figure being completely bare-breasted. A description and comment from M.Dorothy George, ‘Catalogue of Political and Personal Satires in the British Museum’, VII, 1942, noted that: According to the ‘Sporting Magazine’, iv. 228, July 1794, ‘feminine dress of the present fashion is, perhaps, the most indecent ever worn in this country. The breast is altogether displayed; and the whole drapery, by the wanton management of the wearer in throwing it behind her, is made to cling so to the figure, that nothing can be said to be completely concealed. Well may it be necessary to veil the face’. BM no. 8571. (1) £150-200
Lot 375
375* Dighton (Richard, 1752-1814). A collection of thirty-six caricatures, mostly early 19th century, engravings with contemporary hand colouring, occasional duplicates, some mount staining and toning, various sizes and condition (36)
£300-500
376* Dighton (Richard, 1752-1814). A collection of twenty caricatures circa 1795 - 1825, engraved caricatures with contemporary hand colouring, some toning and mount staining, various sizes and condition (20)
378* Ekoorb (W. H. pseud. William Henry Brooke, 1772-1860). The Imperial Shaving Shop, The Imperial Tiger Hunt [and] A Congress for Peace (2 copies), published The Satirist, 1813, together four etchings with contemporary hand colouring, old folds, ‘Imperial Tiger Hunt’ stained along old fold, each approximately 195 x 365mm, mounted
£200-300
377 Doyle (John, 1797-1868). Political Sketches &c by H.B., 7 volumes, published by Thomas McLean, 1833-41, numerous uncoloured lithographs, all window-mounted to album leaves, some pages loose, contemporary uniform maroon half morocco gilt, worn, with dampstaining and some covers detached (one volume lacking spine), large folio, together with two other related albums of John Doyle lithographs, similar (9)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
(4)
£300-500
102
£200-300
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379* Gillray (James, 1757-1815). The King of Brobdingnag and Gulliver, published H.Humphrey, 1803, etching with aquatint on wove, bright contemporary hand colouring, 315 x 255mm, mounted, framed and glazed George III holds a spy glass to his eye to examine a Lilliputian Napoleon whom he holds in the palm of his hand. The King pronounces that ‘...you be one of the most pernicious little odious reptiles ever suffered to crawl upon the surface of the earth’. A fine example of Georgian jingoism and anti-French propoganda. (1) £700-1000
380* Gillray (James, 1757-1815). The Orangerie; - or - the Dutch cupid reposing after the fatigues of planting - vide - The Visions in Hampton Bower, published H.Humphrey 1796, [but H. Bohn edition, 1849], hand coloured etching, 255 x 355mm, mounted, with another six hand coloured Gillray caricatures all from the Bohn edition, the others comprising:Maniac Ravings - or - Little Boney in a strong fit...,’ The Seige of Blenheim - or a new system of Gunning discovered, Ci devant occupations or - Madame Talian and the Empress Josephione dancing naked before Barras in the winter of 1797, The Minister endeavouring to eke out Dr. Pr*ty***n’s Bisho-prick, The Devil to Pay; -The wife metamorphos’d, or Neptune reposing after fording the Jordan [and] Ars - musica, various sizes all mounted (7)
£100-150
381* Gillray (James, 1757-1815). Morning promenade upon the Cliff, Brighton, published H. Humphrey, 1806, etching with contemporary hand colouring, old watercolour somewhat toned, the image credited to ‘Capt. J. Morse’, trimmed to plate mark, 355 x 555mm, mounted BM 10638 (1)
£500-800
Lot 379
Lot 380
Lot 381
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Lot 383
382* Gillray (James, 1757-1815). A Democrat - or - Reason & Philosophy, published H.Humphrey, 1793, etching with bright contemporary hand colouring, 340 x 235mm, mounted, framed and glazed BM 901.647.A brutal caricature of Charles James Fox. Fox is portrayed as a sans-culotte revolutionist; bleary-eyed, unshaven, with a bloody dagger in his belt and an artisan’s unpowdered wig and tri-colored cockade askew on his head. He sings, farts, and dances to Ca ira (All will be well!), but he does so literally with blood on his hands. As an image of revolutionary excess, it could hardly be equalled, and it is no suprise that Fox is said to have been deeply offended by it. The date of the caricature is significant because a few weeks earlier om January 21, 1793, Louis the XVI of France had been guillotined. Not examined out of frame. (1) £500-800
383 Gillray (James, 1757-1815). The Works of James Gillray from the original Plates with the addition of many subjects not before collected, published Henry G. Bohn, circa 1850, the volume of ‘suppressed plates’ only, title page and forty-five uncoloured etched and engraved plates, slight spotting and finger soiling largely confined to margins, endpapers torn and frayed, publisher’s half morocco gilt, worn and frayed, upper siding stained and faded, slim folio (1)
384* Gillray (James, 1757-1815). The Union Club, published H. Humphrey, 1801, engraving with contemporary hand colouring, a litle toned and faded, one repaired small tear affecting image, slight worming to margins, 305 x 445mm
£600-900
BM satires 9699. A debauched and drunken scene showing the principal politicians of the day including Sheridan, Fox, Moira and the Prince of Wales variously drinking, fighting, vomiting and passed out. (1) £400-600
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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385* Gillray (James, 1757-1815). Posting in Ireland [and] Posting in Scotland, published H. Humphreys, 1805, pair of etchings after C. Loraine Smith with contemporary hand colouring, humorous text below each caricature reads respectively, “Forward immediately your Honour; But sure a’nt I waiting for the Girl with the Poker, just to give this Mare a burn your Honour, tis just to make her start your Honour!” and “Hald your Haund Mun, hald your haund! en troth mun: e’n gin you na mind yoursel youl just make the Muckle Laird coupeing his creels”, trimmed with thread margins and laid on later paper, each approximately 305 x 395mm A somewhat xenophobic and patronising English view of the perils of travelling in the ‘backward’ realms of Scotland and Ireland. BM 10478 & 10479. (2) £150-250
Lot 386
386* Gillray (James, 1757-1815). Le Baiser a la Wirtembourg, published H. Humphrey, 1797, etching with contemporary hand colouring, slight mount staining, 365 x 270mm, BM 9006. A very matronly Charlotte (eldest daughter of George III) kisses her future husband, the corpulent Friedrich I. The vulgar rhyming couplet under the title hints at the difficulty this portly couple may have when it comes to the consumation of their union. (1) £150-200
387* Gillray (James, 1757-1815). Progress of the Toilet. The Stays, The Wig [and] Dress Completed, [published H. Humphrey, 1810], the set of three etchings, all with contemporary hand colouring, trimmed to neat line with loss of publishing and date line, each approximately 270 x 215mm A trio of prints satirising the fashions of the period which dictated how the shapes of women should be accentuated to imitate artistic depictions of femininity. A theme Gillray and his contemporaries returned to time and again. (3) £100-200
Lot 387
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388* Gillray (James, 1757-1815). Tiddy-Doll, The great French Gingerbread-Baker drawing out a new batch of Kings - his Man Hopping Talley mixing up the Dough, published H. Humphrey, 1806, etching with contemporary hand colouring, trimmed to neat line, 255 x 380mm
390* Gillray (James, 1757-1815). Farmer Giles & his wife shewing off their daughter Betty to their neighbours, on her return from school, published H. Humphrey, 1809, etching with contemporary hand colouring, one repaired marginal closed tear, some dust and finger soiling to margins, a little toned, 315 x 470mm
BM 10518. The three kings being taken out of the oven reflect the provisions of the Treaty of Pressburg (26 November 1805) where Austria renounced rights over Bavaria, Wurttemberg and Baden. The little dough viceroys, although untitled, represent the Whig politicians Sheridan, Fox, Moira and Derby, and are a vicious sideswipe at their policy of Appeasement. Gillray defends the English audience against the threat of Napoleon by making him look decidedly unthreatening. Standing in an apron and dwarfed by his enormous hat, Napoleon is made into a laughable figure. The caricature of Talleyrand in the background cruelly depicts his surgical shoe, wrongly placed on his left foot. (1) £400-600
A plump and distinctly bovine young girl sits at a square piano whilst her parents stand in rapt admiration of her newly aquired social graces. A satire on the agricultural classes who attempt to ape the manners of the gentry. (1) £100-200
391* Gillray (James, 1757-1815). Patriotic Regeneration - viz Parliament Reform’d a la Francoise - that is - Honest Men (ie opposition) in the seat of Justice, published H. Humphrey, 1795, mixed method engraving with contemporary hand colouring, trimmed to plate mark, later (possibly 19th century) small blue manuscript numbers to image and the words ‘see back’ in title, explanation code on verso, 310 x 420mm
389* Gillray (James, 1757-1815). The Graces in a high wind, - a Scene taken from Nature, in Kensington Gardens, published H. Humphrey, 1810, etching and aquatint with contemporary hand colouring, thread margins, 255 x 355mm
(1)
A satire on the regency/empire style gowns made of fine muslin which in a strong breeze clung and outlined the body, leaving little to the imagination. (1) £150-200
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
106
£300-500
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392* Gillray (James, 1757-1815). Tirailleur Francais et Chevau leger de l’Armée di Pacha de Rhodes - Evolutions of French mounted Riflemen, published H. Humphrey 1799, etching with contemporary hand colouring, large margins, faint staining, some adhesion marks on verso, 260 x 360mm
394* Gillray (James, 1757-1815). Political Mathematicians shaking the Broad bottom’d Hemispheres..., published H. Humphrey, 1807, uncoloured engraving, mount stained, some faint pencil marginalia, good margins, 325 x 425mm
The Turk is on a magnificent horse, whilst the French rifleman is about to be thrown off by his mount which is a donkey. B M 9359. (1) £300-500
BM10697 (1)
£500-800
395* Gillray (James, 1757-1815). Jove in his chair, published Elizabeth D’Achery, Sept. 11th 1782, uncoloured etching, thread margins, tipped on to later backing paper, 250 x 350mm, BM 6032, together with Tinney (J., publisher), The Fall of Spencer, 1741, hand coloured engraving, some creasing, a fifteen verse poem below image, 315 x 320mm, with Rowlandson (Thomas), Master Billy’s procession to Grocers hall, published W.Humphrey, 1784, hand coloured etching, trimmed within plate mark, slight scuffing to lower margin, old folds, 230 x 340mm, and New Morality; - or The promis’d Installment of the High Priest of the Theophilanthropes, with the Homage of Leviathan and his suite, published J. Wright, August 1st. 1798, hand coloured etching, two long repaired tears affecting image, old folds, some creasing, trimmed to image, laid on later card, 275 x 620mm, mounted
393* Gillray (James, 1757-1815). Mamlouk et Hussard Republican - General result of Buonaparte’s attack upon Ibrahim Bey’s rear guard, published H. Humphrey, 1799, etching with contemporary hand colouring, large margins, adhesion marks on verso, slight creasing to upper border, 265 x 375mm This is one of the six images that relate to the Expedition to Egypt, all published with the same date. Here a French hussar on a worn out horse flees from a well-mounted Mameluke. This print probably satirizes a passage from a letter on the retreat of Ibrahim Bey from Cairo to Syria. BM 9360. (1) £300-500
(4)
107
£150-200
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396* Gillray (James, 1757-1815). A collection of approximately 122 caricatures on sixty-seven sheets published H. G. Bohn, circa 1850, engravings and etchings, a few with later hand colouring, some duplicates, various sizes and condition (approx. 67)
£300-500
397* Gillray (James, 1757-1815). A collection of nineteen caricatures, published John Miller, Edinburgh, circa 1820, nineteen engraved caricatures, nine with hand colouring, occasional duplicates, various sizes and condition (19)
£300-500
Lot 396
398* Gillray (James, 1757-1815). Hollandia Regenerata, after David Hess, [1796], twenty (complete) numbered caricatures, printed in sanguine, disbound with contemporary leaves of text in Dutch, French and English tipped on to the versos, each 265 x 210mm, contained in a later cloth solander box. BM satires nos. 8846-8865. (20)
Lot 397
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
108
£200-300
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401* Gillray (James, 1757-1815). Company shocked at a Lady getting up to Ring the Bell, published H. Humphrey, 1804, etching with contemporary hand colouring, slight worming to margins, a few worm pinholes affecting image, old adhesion scars on verso, 255 x 380mm
399 Gillray (James, 1757-1815). A Squall, published H. Humphrey, 1810, etching with contemporary hand colouring, good margins, 265 x 370mm (1)
(1)
£150-200
£150-250
400* Gillray (James, 1757-1815). Playing in parts, published H. Humphrey, 1801, Ars-musica, published H. Humphrey, 1800 [and] A little Music - or - the Delights of Harmony, published H.Humphrey, 1810, three caricatures with a musical theme, ‘A little Music...’ trimmed to image, each approximately 255 x 360mm (3)
£300-500
109
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402* Gillray (James, 1757-1815). The Pigs possessed - or - the Broad bottom’d litter running headlong into ye Sea of Perdition, published H.Humphrey, 1807, etching with contemporary hand colouring, thread margins, 410 x 300mm (1)
£200-300
403* Gillray (James, 1757-1815). The Gordon-Knot - or - The Bonny Duchess hunting the Bedfordshire Bull, published H. Humphrey, 1797, etching with contemporary hand colouring, central fold, good margins, 260 x 360mm (1)
404* Gillray (James, 1757-1815). The Funeral-Procession of Broad-Bottom, published H. Humphrey, 1807, etching with contemporary hand colouring, old fold strengthened on verso, repaired closed tear just affecting image, manuscript inscriptions below image identifying various charcters, 235 x 625mm, mounted
Lot 402
BM 10713. (1)
Lot 404
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
£200-300
110
£200-400
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405* Gillray (James, 1757-1815). Patriotic Regeneration - viz Parliament Reform’d a la Francoise - that is - Honest men (i.e. Oppostion) in the Seat of Justice [published H. Humphrey, 1795], engraving with contemporay hand colouring, trimmed to image with slight loss, 260 x 400mm, mounted, framed and glazed BM 8624. (1)
£150-200
Lot 407
406* Gillray (James, 1757-1815). An old English Gentleman pester’d by Servants wanting places, published H. Humphrey May 16th. 1809, etching with contemporary hand colouring, good margins, 260 x 365mm BM 11330. (1)
£300-500
407* Gillray (James, 1757-1815). Maecenas in pursuit of the Fine Arts, published H. Humphrey May 9th. 1808, The Arch-Duke, published H. Humphrey Novr. 15th. 1796, Billy the Gamekeeper W. S., [proof before publication line, 1810] and A Great Man on the Turf or - Sir Solomon in all his Glory, published H. Humphrey July 7th. 1803, together four mixed method engravings and etchings, with contemporary hand colouring, each approximately 350 x 250mm BM nos. 11076, 8835, 11592 & not listed. (4)
£200-300
408* Gillray (James, 1757-1815). A Pair of Polished Gentlemen, published H. Humphrey, March 10th 1801, mixed method engraving with contemporary hand colouring, trimmed to image, window mounted on later paper, 335 x 235mm, mounted
Lot 408
BM 9755. Portraits of Skeffington and Montagu Mathew who had a mania for strolling up and down St. James’s street in highly polished boots. (1) £150-200
111
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409* Gillray (James, 1757-1815). [John Bull Roasted], circa 1807, a preparatory drawing for an unrealised print, executed in dark and light brown pen & ink and heightened with red chalk, extensively annotated on Ruse and Turner 1805 watermarked wove paper, signed J. Gillray to lower right, 265 x 430mm, mounted framed and glazed A scene in a kitchen. Grenville with his huge bottom pours dripping over a bull roasting on a spit, the juices being collected in a ‘Broad Bottom dripping pan’. Lord Henry Petty would appear to be the ‘spit dog’ whilst the figure washing dishes on the right resembles Henry Addington 1st. Viscount of Sidmouth. Towards the end of his career, Gillray resorted to making more and more compositional drawings, often executed with a remarkable freedom and intensity. Not all of these designs resulted in a published print and in this instance the design was abandoned. There are similar sketches of this subject in the New York Public Library (which was lent to the Gillray exhibition at the Tate, although a large section is missing) and in the Coutauld Collection. This drawing was in the Philips ‘Draper Hill sale’ of 26th June 2001 and was lot 119. (1) £3000-5000
410* Gillray (James, 1757-1815). The Union Club, published H. Humphrey, Jany. 21st 1801, engraving with contemporary hand colouring, a litle toned, thread margins. chipping with slight loss to upper margin, 305 x 445mm, framed and glazed, together with Patriotic Regeneration - viz - Parliament Reform’d a la Francoise that is - Honest men (i.e. Oppostion) in the Seat of Justice, published H. Humphrey, 1795, engraving with contemporary hand colouring, trimmed to image. crude repair to lower right corner, 310 x 410mm, mounted, framed and glazed The first print described: BM satires 9699. A debauched and drunken scene showing the principal politicians of the day including Sheridan, Fox, Moira and the Prince of Wales variously drinking, fighting, vomiting and passed out. The second print. BM satires 8624. (2) £200-300
Lot 410
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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411 Gillray (James, 1757-1815). The Genuine Works of James Gillray engraved by himself, 3 volumes, published Thomas McLean, 1830, portrait frontispiece, title pages with wood engraved vignette, 569 uncoloured mixed method engravings and etchings, mostly printed back to back, some creasing to endpapers, front blank on volume one detached, hinges and joints cracked and weak, all edges gilt, contemporary half morocco gilt, scuffed and worn, folio, with Illustrative Description of the Genuine Works of Mr. James Gillray, published Thomas Mclean, 1830, additional half title, errata slip tipped in before title, list of political caricatures published by Thomas McLean at rear, library blindstamp to front endpaper, book plate of Yerger Hunt Clifton Trinity College Dublin to front pastedown, hinges weak, all edges gilt, contemporary half calf with gilt decorated spine, rubbed and worn at extremities, 4to A very scarce example of the McLean issue of Gillray’s caricatures, together with the 4to volume of descriptive and explanatory text. (3) £7000-10000
113
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414* Heath (William, 1795-1840). A Sketch of the Row in Parliament street [and] Termination of the Row in Parliament street, Plate 2nd., published Thomas McLean, [1829], pair of etchings with contemporary hand colouring, each approximately 240 x 350mm, mounted, framed and glazed
412* Gillray (James, 1757-1815). [Two Penny Wist, published H.Humphrey, 1796], engraving with contemporary hand colouring, cut to the outline of the figures and laid on near contemporary black paper, 210 x 280mm, framed and glazed, together with Tregear (G. publisher), Satisfaction. Don’t you think I’m a dapper little chap when I’m well dress’d, circa 1860, lithograph with contemporary hand colouring, trimmed to outline of the figure and laid on near contemporary black paper, 265 x 220mm, framed and glazed (2)
BM 15721 & 15723. Not examined out of frames. (2)
£70-100
413* Gillray (James, 1757-1815). Breathing a vein [and] Gentle Emetic, [published Le Petite, Dublin, circa 1820], two hand coloured engravings, both trimmed to printed borders and laid on later card, each approximately 285 x 220mm, mounted, together with Dreadful Hot-weather, published T. Sidebotham, circa 1820, uncoloured engraving, one marginal repaired closed tear, trimmed to platemark, 245 x 200mm, mounted, with The Cole Heavers, Two virtuous Elves taking care of themselves, circa 1820, hand coloured etching, adhesion marks to margins, 170 x 220mm, mounted, plus Wey Mouth, circa 1820, hand coloured etching, trimmed to image and laid on later paper, 235 x 305mm, mounted (5)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
£100-200
415* Heath (William, 1795-1840). Retirement. Minerva’s favourite Bird!!!, published T. McLean, 1829, Looking Grave on the New Appointment, published T. McLean, 1830, Another mistake!!! Poor Billy, punlished T. Mclean circa 1830, Does the Harp of Rosa Slumber, published T. McLean, circa 1830, Thomas Leatherbreeches the Somersetshire Grimaldi receiving an answer to his letter, published T. McLean, circa 1830 [and] The most uncomfortalest I vos hever hin six hinsides..., published T. Mclean circa 1830, together six etched caricatures, with bright contemporary hand colouring, each approximately 360 x 255mm (6)
£100-150
114
£300-500
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416* Heath (William, 1795-1840). A sketch of the Row in Parliament Street [and] Termination of the Row in Parliament Street plate 2d, published T. MacLean, circa 1828, pair of etchings with bright contemporary hand colouring, each approximately 250 x 370mm (2)
418* Heath (William, 1795-1840). On Guard. Off Guard. Guarded, The Glorious 18th June, A Buck and A Doe, La Poule, The Slap up Swell wot drives when ever he likes, Old Nic the Covey wot drives the Bexley van [and] Nothing Extenuate nor aught set down in malice, all published Thos. McLean, circa 1830, together seven etched caricatures with contemporary hand colouring, five with thread margins and window mounted, each approximately 250 x 365mm, two mounted
£100-150
(7)
419* Heath (William, 1795-1840). A Quartet in Character, May 1820, The Promenade or a Sketch for Windsor - plate 1st. [December 1828], [and] Playing at Soldiers at Home!!! (Morning), published February 20th 1834, together three etchings with contemporary hand colouring, ‘Playing at Soldiers...,’ with repaired closed tears, all with thread margins, each approximately 240 x 340mm, framed and glazed, together with Williams (Charles), A Rustic Retort or a Wit Outwited, published Thomas Tegg, circa 1820, etching with contemporary hand colouring, slight overall toning, 225 x 315mm, mounted, framed and glazed, with Williams (Charles), Heroic exploits of the Tenth with Nobody, published John Fairburn, circa 1824, five etched caricatures with contemporary hand colouring, printed on one sheet (as published), thread margins, 235 x 335mm, mounted, framed and glazed, with two lithographic caricatures published by T.Dawson, and four others similar, all framed and glazed
417* Heath (William, 1795-1840). Ganging the Kirk, published T. McLean circa 1830, A Political Reflection, published T. McLean, circa 1830, Druming out. Or making an example of a mutineer, published T. McLean, circa 1830, [and] John Bull in Perplexity or Ascendancy versus union, published T.McLean, circa 1830, together four etchings with contemporary hand colouring, ‘John Bull in Perplexity...,’ with slight fraying to one vertical margin, each approximately 270 x 370mm (4)
£200-300
(11)
£200-300
115
£200-300
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420* Heath (Henry). Delightful task to rear the tender thought The Nursery..., published S. W. Fores, June 28th. 1826, A Long Pull. A Strong Pull and a Pull together !!!, published Tregear, 1829, Out of Court, published S.W.Fores, April 1st. 1827, Paying their Footing!! or the Public Judgement John Bull on the Bench, published S.W. Fores Jany. 12th 1825 [and] When two ride upon one Horse one must ride behind, published S. W. Fores,1830, together five etchings with contemporary hand colouring, each approximately 235 x 330mm (5)
£150-200
421* Heath (William, 1795-1840). The Guard wot looks arter the Sovereign, The Slap up Swell wot drives when hever he likes [and] Take care of your pockets. A hint of the orthodox, published T. McLean, 1829, together three engravings with contemporary hand colouring, good margins, mounted, framed and glazed (3)
£150-200
Lot 420
Lot 421
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
Lot 422
116
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422* Heath (William, 1795-1840). Love at first sight or a pair of Hottentots, with an addition to the Broad Bottom family, published S. W. Fores, circa 1810, etching with contemporary hand colouring, 330 x 210mm, mounted A nude Hottentot woman, with enormously heavy posterior and a painted device over her nose, and Grenville (left), also nude, and coffee-coloured except for face and hands, face each other in profile. A satire based on Sara Baartman, a Khoikhoi women who, due to her large buttocks, was exhibited as a freak show attraction in 19th-century, under the name Hottentot Venus. “Hottentot” was the then current name for the Khoi people but is now considered offensive. Sara was born in the Gamtoos valley in the eastern part of the Cape Colony. In 1810, she went to England with her employer, a free black man (a Cape designation for someone of slave descent) called Hendrik Cesars, and William Dunlop, an English doctor who worked at the Cape slave lodge. Sara spent four years on stage in England and Ireland. Her treatment on the stage caught the attention of British abolitionists, who argued that her performance was indecent and that she was being forced to perform against her will. After being sold to a man called Henry Taylor in 1814, Sara Baartman was exhibited around France. and was briefly owned by an animal trainer, S. Réaux, who exhibited her for fifteen months at the Palais Royal. Sara died aged only twenty-six but she became a symbol of the abuse and mistreatment of the black nations of Africa and after protracted negotiations Sara’s remains were repatriated to her homeland on the 6th May 2002 and she was buried at Vergaderingskop, a hill in the town of Hankey over 200 years after her birth. Baartman became an icon in South Africa as a representative of the many aspects of the nation’s history. The Saartjie Baartman Centre for Women and Children, a refuge for survivors of domestic violence, opened in Cape Town in 1999 and South Africa’s first offshore environmental protection vessel, the Sarah Baartman, is also named after her. (1) £200-300
424* Hunt (George). ‘A Merry Christmas & A Happy New Year in London [and] ‘The same to you Sir & many of ‘em, published Pyall & Hunt, [1827], a pair of aquatint engravings with bright contemporary hand colouring both after M. Egerton, trimmed within image and laid on backing paper, each approx. 270 x 205mm, mounted, framed and glazed in modern uniform burl elm frames (2)
£100-150
423* Hunt (Charles, 1803-1877). Two caricatures from Lewis’s Black Jokes, no. 13 ‘Blackberrying’ and no. 6 ‘The Route’, published T. C. Lewis, circa 1830, two aquatints after W. Summers, contemporary hand colouring, each approximately 225 x 300mm, together with two aquatints from the ‘Life in Philadelphia’ series, with Duval (P. S., publisher), Conquering Prejudice or Fulfilling a Constitutional duty with alacrity, published Philadelphia, circa 1860, uncoloured lithograph, occasional marginal closed tears, 290 x 330mm, plus Ingrey (C., publisher), Revd. Mr. Sambo’s Sarmont, circa 1850, hand coloured etched broadside, repaired tears, 430 x 260mm, with another eight caricatures relating to black people, slavery and abolition, various sizes and condition
425* Kingsbury (Henry, active 1770-1800. The Farm yard, published S. W. Fores, 1786, So! So! The Race was for a new Husband, published S. W. Fores, 1788 [and] from the Original at Windsor. L- - C- -town’s [Lord Courtown’s] dream, published Jacob Dowse, 1791, together three caricatures with contemporary hand colouring, ‘From the original at Winsor...,’ with lower corners trimmed, each approximately 290 x 395mm
(14)
(3)
£100-150
117
£200-300
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428* Lane (Theodore, 1800-1828). The Crown in Retreat, circa 1825, watercolour, window mounted, 110 x 210mm, mounted (1)
£150-200
429* Lane (Theodore, 1800-1828). Leaving the room, circa 1825, watercolour, window mounted, 115 x 195mm 426* Knight (Charles, 1743-1826). Comic Readings [and] Tragic Readings, published C. Knight, 1791, hand coloured stipple engravings after R. Boyne, some repaired marginal closed tears, some dust and finger soiling largely confined to margins, old folds, each approximately 440 x 530mm BM nos. 8278 & 8279 (2)
(1)
£150-200
£150-200
430* Lewis (Frederick Christian, 1779-1856). Changing Horse near Clermont, published William Holland, Novr. 1st. 1802, aquatint after Frederick George Byron, contemporary hand colouring, 430 x 600mm, mounted Unusually large etching from the six plate series ‘Travelling in France’, published 1801 - 1803. (1) £200-300
427* Lane (Theodore, 1800-1828). The Chosen Candidate [and] the Rejected Candidate, circa 1825, pair of watercolours, captioned to lower right, small hole affecting image to lower right on each, window mounted, each 285 x 210mm (2)
£400-600
Lot 428 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
Lot 431 118
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431 London und Paris. Two volumes, published 1798 and 1807, containing sixteen engraved folding English, French and German caricatures, the majority English and after James Gillray, all with contemporary hand colouring, also thirteen uncoloured plates and caricatures, one bound in half calf gilt, the other later half cloth, 8vo The caricatures are in good condition with bright hand colouring. (2) £300-500
432 McLean (Thomas, publisher). The Looking Glass or Caricature Annual, 1830, volume 1, parts 1 - 12, 1831, uncoloured lithographic title page with ownership signature, twenty-four pages printed back to back of caricatures and illustrations by William Heath and R. Seymour, occasional light spotting and marginal finger soiling and staining, occasional marginal closed tears, one page detached, contemporary half morocco with decorative lithographic title to upper siding, rubbed and worn, folio, together with Doyle (Richard), Bird’s Eye Views of Society, published Smith Elder and Co., 1864, additional decorative title, numerous etched illustrations throughout, later half morocco, rebacked but preserving original spine, upper siding with ornate printed title, rear board stained and marked, oblong 4to (2)
434* Newton (Richard, active 1777-1798). The Ins and outs or the Jesuits treatment of his friends, published S. W. Fores, March 25th 1797, etching on laid with contemporary hand colouring, some marginal fraying and closed tears, 250 x 435mm The Prince Regent races to Windsor as Fox and Sheridan fall beneath the wheels of his carriage. Pitt is leaving the castle whilst King George III calls from an upper window. (1) £200-300
£150-200
433 McLean (Thomas, publisher). The Looking Glass or Caricture Annual, volume 3, parts 25 - 36, January 1st 1832 - December 1st 1832, ornate hand coloured lithographic title and thirteen (lacking April) hand coloured lithographic caricatures by William Heath, bound in two parts with later tape spines, together with another four parts from ‘McLean’s Monthly Sheet of Caricatures’, containing twenty-five hand coloured lithographic caricatures, bound in four parts with later tape spines, folio, contained in a purpose built modern solander box with marbled boards and a cloth spine, preserving a contemporary morocco title label, box measures 420 x 300mm (6)
£150-200
435* Newton (Richard, active 1777-1798). The General Sentiment, published S. W. Fores, 1797, etching with contemporary hand colouring, adhesion marks to corners on verso, 350 x 240mm Pitt is shown strung up on the gallows. BM 8999. (1)
119
£200-300
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436* Newton (Richard). Retort Courteous or the Disloyal Address returned without Ceremony, published S.W.Fores March 27th 1797, etching with contemporary hand colouring, 250 x 350mm
437* Newton (Richard). Babes in the Wood, published William Holland, March 1st, 1794, etching with contemporary hand colouring, 245 x 320mm
The Duke of Portland kicks two sheriffs down a short flight of stone steps. (1) £200-300
A wry look at rural justice. (1)
£200-300
438* Nolpe (Pieter, circa 1613-circa 1652). Floraes Gecks-Kap of Afbeeldinge vant wonderlijcke Iaer van 1637 doen deene Geck dander uytbroeyde,/ de Luy Rijck sonder goet, en Wijs sonder verstant waeren. [Flors Jesters Hood or a Picture of the strange year of 1637, when a Fool would out-do another, the Rich would be without goods, and the Wise without brain], published Amsterdam, circa 1720, uncoloured engraving, old folds, very slight overall toning. 415 x 525mm, togther with Doyle (John), Auction Extraordinary, published T. McLean, 1838, uncoloured lithograph, trimmed to neatline, some adhesion and abrasion to one margin, 370 x 275mm The first described item is a rare satirical print on Tulipmania, which was one of the biggest financial bubbles of the 17th century. Tulip bulbs were bought and sold for more than the annual income of some workers, and financial ruin became a reality for many traders and investors. In a tent in the shape of a fools cap, some traders are weighing up gold while, in the background, people are standing in line to buy the bulbs whilst Flora departs on a donkey. On the left side of the print, a winged devil with an hour glass, is holding a rod with an attached fools cap over the heads of some investors who watch on as a grower/seller is throwing away tulip bulbs. Some peasants are carrying away soil and bulbs. On the right side, three peasants with a basket full of bulbs have just arrived to offer their goods. A full description in Dutch is at the bottom of the print. (2) £300-500
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
120
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439* Pyall (Henry, 1795-1833). Two O’Clock in the Morning. Rat Tat - Tat! Tingle - Tingle - Tingle!! Who are you? (Damm the cats!) What d’ye want young woman hey? Oh Sir - Master begs you’ll step over directly as Missus - if you please Sir, is taken bad in a - a - a -!!!, published Thomas McLean, circa 1830, aquatint with contemporary hand colouring, after ‘Ego’, trimmed to plate mark, slight dust soiling, 330 x 205mm, together with Bunbury (William), Mutual Accusation, published James Bretherton, 1774, uncoloured etching, thread margins, 235 x 300mm Two caricatures relating to doctors. The first a satire on the agony of a being dragged out of bed in the middle of the night. The second shows two quack doctors having a heated argument in front of their opposing premises. Behind them their wives set about each other and the dispute is echoed by fights between two dogs and a pair of cats. (2) £150-200
440* Roberts (P.). Characters. A By-the-By Hint to a pretended friend at court, published P.Roberts, circa 1805, broadside with a hand coloured engraving after Woodward with twelve lines of text below image, 410 x 260mm A satire on William Pitt. Not in the British Museum catalogue. A copy is listed in the Walpole collection at Yale University. (1) £100-150
Lot 439
441* Rowlandson (Thomas, 1756-1827). The Comforts of Matrimony. A good toast [and] Miseries of Wedlock. The tables turned, published Reeve & Jones, 1809, pair of aquatint engravings with contemporary hand colouring, trimmed to image, each approximately 285 x 345mm, mounted (2)
Lot 440
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£100-150
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442* Attributed to Thomas Rowlandson (1756-1827). Cheltenham..., or the Waters drunken in motion, a wind in the rear, circa 1805, pen and ink drawing with title in manuscript black ink with three manuscript captions in brown ink, laid on later card, 265 x 355mm A typically bawdy Georgian cartoon lampooning the flatulence inducing qualities of the mineral waters available at Cheltenham Spa. The drawing is unsigned and although the style of drawing is reminiscent and there are caricatures of Cheltenham by Rowlandson, it has not been possible to authenticate the image with any authority.The image shows signs of earlier mounting and framing, and the old backboard of the frame survives with a Fores Ltd gallery label on its verso. Also on the verso of the board is a 20th century manuscript inscription stating that the paper is ‘J.Whatman 1804’. This is impossible to authenticate because the drawing is stuck by its margins to later straw board. The retained backboard also attributes the cartoon to James Gillray but there is no evidence to support this. (1) £150-200
Lot 444
443 Rowlandson (Thomas, 1756-1827). The English Dance of Death from the designs of Thomas Rowlandson with metrical illustrations by the author of Doctor Syntax..., volume 2 only) published Ackermanns, 1816, twenty-one (only) aquatint plates with contemporary hand colouring, one plate with repaired closed tear, hinges strengthened with tape, joints cracked, contemporary calf with gilt diced calf panels to sidings, rubbed and worn, 8vo, together with Political Sketches of Scarborough: Illustrated by twenty-one engravings..., published R. Ackermann, 1813, aquatint frontispiece and nine (only) aquatint plates with contemporary hand colouring, some dust soiling and slight spotting, contemporary half calf, spine partially lacking, worn and frayed, 8vo, with History of Quae Genus..., [1822], lacking title, twenty-three (of 24) aquatint plates with contemporary hand colouring, four plates heavily stained, later endpapers, modern half morocco gilt, 8vo Sold as a collection of plates, not subject to return. (3)
£100-200
445* Rowlandson (Thomas, 1756-1827). A Lamentable case of a Jury-man, published Thomas Tegg, [1815], etching with contemporary hand colouring, 235 x 325mm, mounted, framed and glazed
444* Rowlandson (Thomas, 1756-1827). Hungarian & Highland Broad Sword. Twenty Four Plates..., under the direction of Mess.rs H.Angelo and Son, Fencing Masters to the Light Horse Volunteers of London and Westminster, dedicated to Colonel Herries, 1st. edition, published H. Angelo, 1799, pictorial architectural title in aquatint with contemporary hand colouring, seven (only of 23) aquatint plates, all with contemporary hand colouring, some marginal dust and finger soiling, disbound, each print approximately 270 x 335mm Sold as a collection of prints, not subject to return. (8)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
A judge waits too long before allowing an incontinent jury man to withdraw. The results are evident as his fellow jurers hold their noses. (1) £200-300
£200-300
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446* Rowlandson (Thomas, 1756-1827). Admiration (2), Joy with Tranquility, Acute pain, Simple Bodily pain, Weeping (2), Compassion, Horror, Terrour or fright, Anger [and] Hatred or Jealousy, published R.Ackermann, 1800, twelve (of twenty), etchings with contemporary hand colouring, designed by Woodward, two duplicates, couplets of verso below each image, each approximately 270 x 215mm Numbers 3, 8, 10, 11, 13, 14, 16, 17, 18 and 19 from the series of twenty ‘Le Brun Travested’ showing human emotions. (12) £300-500
447* Rowlandson (Thomas, 1756-1827). Progress of Gallantry or Stolen Kisses Sweetest, published Thomas Tegg, [1814], etching with contemporary hand colouring, trimmed to platemark, slight abrasion and dust soiling to margins, 330 x 240mm BM 12402. A bawdy scene on a blustery fortified sea-front. A large, suggestively positioned cannon points out to sea. An elderly and obese sailor, gazes through a telescope. A pretty young woman standing beside him, turns to kiss a handsome young man whilst farther off, an elderly gaitered parson, reminiscent of Dr Syntax, stands with his hands in his pockets and with his hat tied firmly to is head. (1) £100-150
Lot 446
448* Rowlandson (Thomas, 1756-1827). Sutton [and] Cuckfield, published Messrs. Robinson, 1790, two uncoloured aquatints tinted by Samuel Alken after Thomas Rowlandson, each approximately 275 x 350mm Originally published in ‘An Excursion to Brighthelmstone made in the Year 1789.’ (2) £100-200
Lot 447
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Lot 449
449* Rowlandson (Thomas, 1756-1827). A French dentist shewing a specimen of his artificial teeth and false palates, published Thomas Tegg, 1811, etching with contemporary hand colouring, thread margins, 225 x 325mm, together with The Tooth-ache or, Torment & Torture, published John Fairburn, 1823, hand coloured etching, toned overall, 265 x 210mm Two scarce caricatures on dentistry. The first described shows the French dentist Dubois de Chemant (who introduced porcelain teeth into England) showing a potential customer a set of dentures fitted into the mouth of an extremely obese and ugly female patient. BM 11798. (2) £300-500
450* Rowlandson (Thomas, 1756-1827). Easter Monday or the Cockney Hunt, published July 14th, 1811, etching with contemporary hand colouring, 345 x 245mm, BM 10813, together with A Mistake at New-Market, or Sport and Piety, published Thos, Tegg, 1807, etching with contemporary hand colouring, some mount staining, 245 x 335mm, BM 10920 Two sporting caricatures. The first shows an elderly gentleman about to part company from his horse with a hunting ‘Diana’ boldly clearing the jump and laughing at her companions predicament. The second shows an elderly Methodist woman talking at cross-purposes with a jockey outside a pub in Newmarket. (2) £150-200
Lot 450
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451* Rowlandson (Thomas, 1756-1827). Nap in the Country [and] Nap in Town, published Samuel Alken, 1785 [but early 19th century impressions], pair of hand coloured engravings [BM numbers 6868 & 6869], ‘Nap in Town’ trimmed to image, each approximately 170 x 220mm, together with Mosley (Charles), The old soldier remarkable for constant attendance at St. Pauls..., circa 1750, uncoloured etching, 215 x 215mm, with Collier (John, pseud. Tom Bobbin), The Disappointment, 1773, etching with crude hand colouring, originally published in ‘Human Passions’, trimmed to plate mark, some soiling and one closed tear, 225 x 325mm, plus Williams (Charles), The new Military Road to York by way of Frome, published S. W. Fores, 1807, hand coloured etching, trimmed with slight loss to image, 245 x 330mm, and Cruickshank (George), A Thing! That Drinks and Smokes. A Man! who Thinks and Acts, published William Tweedie circa 1855, hand coloured wood engraving of a drunk and a teetotaller standing in front of the Crystal Palace, trimmed and laid on modern card, 400 x 280mm (6)
452* Rowlandson (Thomas, 1756-1827). The Tooth-ache or, Torment & Torture, published John Fairburn, August 1st. 1823, hand coloured etching, slight mount staining, occasional marginal closed tears, 260 x 215mm (1)
£100-150
453* Rowlandson (Thomas, 1756-1827). In the Churchyard, circa 1810, watercolour on wove, small area of abrasion to lower right, 135 x 220mm, mounted, framed and glazed
£150-200
(1)
Lot 453
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£300-500
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Lot 455
Lot 454
454* Rowlandson (Thomas, 1756-1827). Portrait of a rotund man, circa 1810, watercolour, some marginal staining, 235 x 179mm, mounted, framed and glazed (1)
£150-200
455* Rowlandson (Thomas, 1756-1827). The Harmonic Society, 1811, A Table D’Hote or French Ordinary in Paris, published Thomas Tegg, 1810 [and] Doctor Drainbarrel conveyed home in order to take his trial for neglect of family duty, published Thomas Tegg, 1810, together three etchings with contemporary hand colouring, each approximately 240 x 340mm, mounted, framed and glazed (3)
£300-500
456* Rowlandson (Thomas, 1756-1827). None but the brave deserve the fair, [published T.Tegg], 1819, She stoops to conquer, published Thos. Tegg, 1811 [and] After sweet meat comes sour sauce or Corporal Casey got into the wrong box, published T. Tegg, circa 1818, together three etchings with contemporary hand colouring, all relating to seduction, later issues of Rowlandsons caricatures, ‘She stoops to conquer with repaired marginal closed tear, each approximately 330 x 240mm (3)
£200-300
457 The Satirist or Monthly Meteor, volumes 3 (2 copies), 4 and volume 2 (New series), 1808, 1809 & 1813, containing seventeen (only) etched caricatures, one with contemporary hand colouring, later endpapers, mixed bindings, 8vo Sold as a collection of plates, not subject to return. (4)
Lot 456
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£100-150
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458* Sayer (Robert & Smith John, publishers). An Holland Smock to be run for, by any Woman born in this County: The best Woman in three heats. N.B. The Runners all to be enter’d by the Clerk of the Course before starting and after the race; Cocking as usual, 1770, uncoloured engraving after John Collett, thread margins, 255 x 365mm BM 4598. (1)
£100-200
459* Sayers (James, 1748-1823). Patriotic Burghers attacking the House of Orange, published Thos. Cornell, 4th August, 1787, etching with contemporary hand colouring, trimmed to image on horizontal margins, 305 x 400mm, mounted, together with Razor’s Levée, or ye heads of a new Wig Ad.....n on a Broad Bottom, published Thomas Cornell, 21st. April 1783, uncoloured etching, 280 x 405mm, mounted, with, Such was the love of office of the Noble Lord, that finding he would not be permitted to mount the Box, He had been content to get up behind, published Thomas Tegg, 5th May 1783, uncoloured etching, 305 x 435mm, mounted
Lot 458
BM nos:- 7172, 6217 & 6226. (3)
£150-200
460* Schutz (H.). Views of London:- Entrance of Tottenham Court Road Turnpike..., Entrance of Oxford Street or Tyburn Turnpike..., Entrance from Mile End or White Chaple Turnpike [and] Entrance from Hackney or Cambridge Heath Turnpike, numbers 3, 4, 5, & 6, circa 1810, four aquatints after Thomas Rowlandson, contemporary hand colouring, each approximately 330 x 420mm, mounted, framed and glazed Four from the series of six. The first two were by and after Dagaty. (4)
£700-1000
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461* After Thomas Strong Seccombe (active 1865-1885). A series of 10 pen and ink and watercolour illustrations with accompanying manuscript text facing, circa 1870s, being illustrations from Seccombe’s book Army and Navy Drolleries [first published Frederick Warne, 1874], off-white paper, vertical central folds, some scattered minor marks, sheet sizes 21.5 x 34cm (8.5 x 13.5ins), framed and glazed All unsigned, these appear to be contemporary very well executed copies after the illustrations that appeared in Major Seccombe’s well-received and still admired book. The text in the books is printed while here appearing in manuscript with decorative initial letter. The hand of the artist shows considerable skill and may be different to that of the writer. The book contains 24 colour plates, alphabetically arranged. The collection here contains representations for the letters A, H, I, J, L, P, Q, U, V and Y, this last (Young Sub-Lieutenant) being used for the pictorial cover of the published book. (10) £700-1000
462* Strack (Anton Wilhelm, 1758-1829). La Nouvelle Coalition ou les Russes en marche depuis Sept ans, circa 1799, etching with contemporary hand colouring, old folds, laid on later card, 365 x 500mm, mounted A scatalogical caricature relating to the Second Congress of Rastatt, which began its deliberations in November 1797, The congress was intended to negotiate a general peace between the French Republic and the Holy Roman Empire, and to draw up a compensation plan to compensate those princes whose lands on the left bank of the Rhine had been seized by France in the War of the First Coalition. The congress was interrupted when Austria and Russia resumed war against France in March 1799 at the start of the War of the Second Coalition, thus rendering the proceedings moot. Furthermore, as the French delegates attempted to return home, they were attacked by Austrian cavalrymen or possibly French royalists masquerading as such. Scarce. We can find no auction records for this caricature. (1) £200-300
Lot 462
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464* White (Charles William, circa 1730-circa 1807). The Frenchman in London, published Robt. Sayer, 1770 [and] The English Lady at Paris, published S. Sledge, 1771, titles repeated in French, pair of hand coloured engravings after J.Collett and S. H. Grimm respectively, each approximately 360 x 255mm, mounted (2)
£100-150
465* Wigstead (Henry, circa 1745-1800). Four heads. “Do you think so?. I fear it is so, I don’t half like it, Nor I”, circa 1790, watercolour with manuscript captions above, 130 x 225mm, mounted, framed and glazed Henry Wigstead (died 1800 at Margate) was an English Magistrate, amateur painter & caricaturist. He was a friend of Thomas Rowlandson, whom he accompanied on sketching trips to the Isle of Wight (1784), Brighton (1789) and Wales (1787) which resulted in subsequent publications for which Rowlandson provided the illustrations. Wigstead exhibited at the RA exhibition of 1785. His style appears to be close to Rowlandson. (1) £300-500
463* Tregear (Gabriel Shear, publisher). Fly away pretty Moth, True generosity..., (2 copies), The most Important Question of the day. Have you _ ?, Pure Loyalty. Here’s a health to the King God Bless him, Come old fellow don’t be stingy _ give us a light?, A Fine growing Shower, circa 1840, together seven lithographs with contemporary hand colouring, some dust soiling and occasional marginal closed tears, each approximately 310 x 240mm, together with Dean & Co., (publishers), Gentle rustic one smile will enchant me! circa 1840, lithograph with contemporary hand colouring, an animated caricature where the girls bonnet lifts up to reveal the face of a pipe smoking old crone, 220 x 200mm Gabriel Shear Tregear (1802 - 21 February 1841), also known as Gabriel Shire Tregear, was an English publisher of caricatures and prints. Active from the late 1820s until his death, he operated his “Humorous and Sporting Print Shop” from quarters near today’s 123 Cheapside, London. Artists and caricaturists published by Tregear included Isaac Robert Cruikshank. (8) £100-150
466* Williams (Charles, active 1799-1826). Hocus Pocus - or Conjurors raising the wind, published W. N. Jones, Oct. 1st. 1814, The Siege of St. Quintin, published W. N. Jones, Decem. 1st. 1814, The Property tax - Civic Champions - or the Darling in Danger, published W. N. Jones, Jany. 2nd. 1815, Modern Idolatry - or Editors and Idols, published W. N. Jones, April 1st. 1814 [and] The Divine and the Donkey - or Petworth Frolics, published W. N. Jones, Feby. 1st. 1814, together six etched caricatures with contemporary hand colouring, old folds, thread margins, each approximately 205 x 530mm, mounted, printed explanation to verso of mount BM nos. 12328, 12315, 12452, 12207 & 12182. All published in ‘The Scourge’. (5) £300-500
Lot 464
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467* Williams (Charles, active 1799-1826). A Portugal Catch for three Voices, published S. W. Fores, Oct. 1808, The Rival Queans or a Scene from the Beggars Opera, published Walker, March 1809, The Gord - Ian Knot still untied or the Disapointed Dido still in Despair, published S. W. Fores, May 9th, 1802, The Yorkshire Bumkins Mistake, published Thomas Tegg, circa 1812, Green turned yellow, or Reflections on Embarking for the Continent, circa 1811 [and] The City Combat or the Desparate attack at the English Baron, published S. W. Fores, May 3rd. 1802, together six etched caricatures with contemporary hand colouring, each approximately 245 x 350mm BM nos:- 11042, 11277, 9929, 11979, 11758 & 9862. (6)
469* Williams (Charles, active 1799-1826). Finding of Arms or a Midnight Domiciliary visit to the Boarding School, circa 1812, St. Martins in an uproar, published S. W. Fores, Oct. 1st. 1801, Royal Munificence o hem!!, published W. N. Jones, June 1st. 1814, A New Mode. or presenting two addresses at once, published S. W. Fores, Feby. 1818, The Cold-Blooded Murderer or the Assassination of the Duke D’Enghein, published S. W. Fores, June 2nd. 1804 [and] The April Fool consigned to Infamy and Ridicule, published S. W. Fores, April 1st. 1801, together six etchings with contemporary hand colouring, each approximately 270 x 370mm BM nos:- 13291, 9779, 1 not found, 12984, 10251 and 9776. (6)
470* Woodward (George Moutard, 1760-1809). Pigmy Revels or All Alive at Lilliput Plate 1, Pigmy Revels, Plate 7, Pigmy revels Plate 8, Political Hoaxing!! Blunders in Style!! [and] Cross Readings, published S. W. Fores, 1799 - 1801, together six engraved caricatures with contemporary hand colouring, three trimmed to image, each approximately 320 x 450mm, mounted
468* Williams (Charles, active 1799-1826). An Irish Pilot or Steering by Chance, published Thos. Tegg, August 12th 1812, Nap nearly Nab’d or a retreating jump just in time, published Thos. Tegg, June 1813, Error in Judgement or John Bull taking advantage of a Precedent, published S. W. Fores, Jany. 15th. 1806, The Yorshire Jockey - or Material of a Fox-Hunters Head, [published Thos. Tegg, circa 1815], The Night Mayor or magistratical Vigilence, published Thos. Tegg, Nov. 9th. 1816 [and] The Parson at his Studies or - A Skittle ground the wrong road to a benifice, published Thos. Tegg, Novr. 1st. 1815, together six etchings with contemporary hand colouring, each approximately 250 x 350mm BM nos:- 11977, 12058, 10517, 12649, 12816 & 12651. (6)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
£200-300
£200-300
(6)
£200-300
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£200-300
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Lot 471
471 Style of George Moutard Woodward (1760-1809). Three watercolours of two groups of figures, one relating to drinking, one to smoking and the other to toasting and boxing, circa 1810, three grey wash watercolours, each signed G. M. Woodward Delin. to lower right, each window mounted, each approximately 175 x 110mm
474 Payne (Matthew & James). Regarding Thomas Rowlandson 1757-1827, His Life, Art & Acquaintance, Hogarth Arts, 2010, some colour and many monochrome illustrations, original red cloth gilt in dust wrappers, large 8vo, VG, together with other caricature reference, various (approx. 50)
Although signed G. M. Woodward the drawings are too competent and finished to be by Woodward. (3) £150-250
475 Ganado (Albert & Sammut, Joseph C.). Malta in British and French Caricature 1798-1815, Valletta, 1989, numerous colour and monochrome illustrations, original maroon cloth gilt in dust wrapper, 4to, together with other caricature reference, various
472 British Museum. Political and Personal Satires, Catalogue of Prints and Drawings in the British Museum, 11 volumes bound in 13, 1870-1954, occasional library inkstamps, original black cloth gilt, soiled and some volumes worn, 2 volumes with covers detached and backstrip deficient, large 8vo (13)
(approx. 50)
£200-300
476 Duffy (Michael, editor). The English Satirical Print 1600-1832, 7 volumes, Cambridge, 1986, titles are: John Brewer, The Common People and Politics 1750-1790s, H.T. Dickinson, Caricatures and the Constitution 1760-1832, Michael Duffy, The Englishman and The Foreigner, Paul Langford, Walpole and the Robinocracy, J.A. Sharp, Crime and the Law in English Satirical Print 1600-1832, Peter D.G. Thomas, The American Revolution, & John Miller, Religion in the Popular Prints 1600-1832, monochrome illustrations to each volume, all original uniform dark green cloth gilt in dust wrappers, small 4to, together with other caricature reference, various
£300-500
473 Robinson (Nicholas K.). Edmund Burke, A Life in Caricature, Yale University Press, 1996, numerous colour and monochrome illustrations, original cloth in dust wrapper, square 4to, VG, and others related (approx. 50)
£200-300
£200-300
(approx. 50)
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£200-300
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20th CENTURY CARTOONS 477 Cartoon Artwork. An album of pen and ink and pencil cartoons, illustrations and sketches by Peter Carden, 1950s, a total of several hundred drawings and sketches mounted on rectos and versos of 94 album leaves, some items loosely inserted including watercolours, a few signed and some noted as apparently published, the majority showing human figures, some with cartoon text captions, various sizes, contemporary cloth, rubbed and soiled, folio (1)
£200-300
478* Deakin (William Henry, ‘Jo Hookm’, circa 1848-1937). A collection of 44 mostly pen and ink drawings and cartoons, late 19th and early 20th century, many of Indian railway interest and including some Heath Robinson-style humour, on paper or card and some with further details and publishing markings to versos, including some published for ‘The Koochpurwanaypore Swadeshi Railway’, the majority signed ‘Jo Hookm’ or with Deakin’s real name or initials, approximately 20 x 33cm (8 x 13ins) and smaller, plus a small group of related proofs and reproductions and a handdecorated envelope addressed to W.H. Deakin, 2 Albany Road, Rainbow Hill, Worcester, stamped and postmarked February 1882
480* Searle (Ronald, 1920-2011). The Babysitter, 1975, colour lithograph published by Michel Cassé and printed Edition R S, Paris, signed, titled and dated in pencil below image, publisher’s and printer’s blindstamp, 48.5 x 64cm (19 x 25ins), mounted, framed and glazed
Many of the sketches reproduced in the aforementioned railway book by Hookhm (Deakin) first appeared in the GIP Railway magazine. (a folder) £1000-1500
Limited edition 76/99. (1)
£200-300
479* Searle (Ronald, 1920-2011). Those magnificent cats in their flying machines, 1981, colour lithograph, printed by Michel Cassé, Paris and published Edition R S, Paris, titled, signed and dated in pencil, publisher’s and printer’s blindstamp, small area of staining to upper left corner, 48.5 x 64cm (19 x 25ins), mounted, framed and glazed Limited edition 13/99. (1)
£200-300
481* Searle (Ronald, 1920-2011). Heroes of our Time, published Punch, 1956 - 1957, set of twelve colour photolithographs, slight creasing, each approximately 420 x 240mm, framed and glazed The caricatures represent:- Sir Malcolm Sargent, Mr Gilbert Harding, Lord Goddard, Aneurin Bevan, T S Eliot, Lord Beaverbrook, H R H Princess Margaret, The Dean of Canterbury, Sir Laurence Olivier & Vivien Lea,The Marquess of Salisbury, General Sir Brian Robertson [and] Lord Russell. (12) £100-150
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Lot 478
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482* Starke (Leslie, 1905-1974). A large collection of approximately 650 original cartoons, circa 1950s/1960s, mostly pen and ink on paper, some with blue or grey wash, etc., the majority signed with publication marked up and notes in pen and pencil, some with Starke’s name and address stamp to versos, various sizes, including cartoons published by The New Yorker (36), Lilliput (38), Men Only (31), Today’s Post and Saturday Evening Post (227), Punch (35), John Bull (280), London Opinion (5), Young Elizabethan (6), plus a Punch Lunch dinner menu, invitation and photograph, approximately 400 pull-outs and cut-outs of printed cartoons and possibly proofs from various published cartoon books and magazines including Police Journal, plus 2 related books Leslie Starke was an inventive and well-loved cartoonist of his day, whose work was popular in both the USA and Britain, his cartoons regularly appearing in publications such as the New Yorker, Collier’s, The Saturday Evening Post and Esquire. Provenance: From the family of Leslie Starke. (approx. 1100) £2000-3000
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ETCHINGS, LITHOGRAPHS & WOODCUTS 485* Gill (Eric, 1882-1940). Saint Luke, 1922, Mrs Williams of Ditchling, 1924, Ruth Lowinsky, 1924, & Mrs Beatrice Warde (2nd state), 1926, 4 woodcuts on cream laid paper, sheet size 320 x 244mm (12.6 x 9.6ins) and similar, together with a second version of Mrs Williams of Ditchling (with the border complete and with title and number 24 below), as issued in Engravings by Eric Gill, published by Douglas Cleverdon in 1929, each mounted Physick 210, 270, 277 & 400. (5)
£70-100
483* Brangwyn (Frank, 1867-1956). The Butcher’s Shop: La Boucherie, Wormwood Scrubs, 1904, etching printed in sepia, a strong dark impression, signed in pencil, plate size 477 x 490mm (18.8 x 19.3ins) with margins, framed and glazed, with old Colnaghi’s label to verso Gaunt 46. (1)
£80-120
486* Parker (Agnes Miller, 1895-1980). A collection of 23 wood engravings, all unsigned, some proofs, various sizes Provenance: From the estate of the artist. (23)
484* Dicksee (Herbert, 1862-1942). The Clover Field, 1907, etching, published by Frost & Reed, November 30th 1907, signed in pencil to lower margin, image size 28 x 46.5cm (11 x 18.25ins), with margins, contemporary black and gilt frame, glazed (with title of the work inscribed to inner gilt slip), Frost & Reed printed label to verso (1)
£100-150
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£100-150
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487* Hassall (Joan, 1906-1988). Auld grey Poussie, & Sparrowhawk & Robin, two wood engravings on thin wove paper, each signed, the first also titled in pencil, sheet size 65 x 90mm (2.5 x 3.5ins), and 64 x 80mm (2.5 x 3.2ins) respectively Provenance: From the collection of Brian North Lee, the artist’s husband. (2) £100-150
488* Hassall (Joan, 1906-1988). Harvest Mice, wood engraving, signed and titled in pencil, some pale mount toning, sheet size 123 x 94mm (4.8 x 3.7ins), framed and glazed, together with three other wood engravings by Sarah van Niekerk, Rosalind Atkins, and June Crisfield-Chapman, plus a colour woodcut by Edward Gordon Craig of Sir Henry Irving, with printed signature, all framed and glazed (5)
£100-150
Lot 487
489* Menpes (Mortimer, 1855-1938). The Washing Line, etching with drypoint, signed in pencil, plate size 13.5 x 15cm (5.25 x 5.9ins), with margins, framed and glazed (1)
£70-100
Lot 488 490* Gross (Anthony, 1905-1984). Dryads, etching, signed, titled and numbered 11/50, plate size 34.5 x 49.5cm (13.5 x 19.5ins), with margins, period frame, glazed (unexamined out of frame) (1)
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£300-500
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Lot 491
Lot 492
491 Nevinson (Christopher Richard Wynne, 1889-1946). Column on the March, 1917, offset colour lithograph on thin wove, signed in pencil lower right, sheet size 287 x 220mm (11.3 x 8.7ins), as issued in Modern War Paintings by C.R.W. Nevinson, with an introductory essay by P. G. Konody, 1st edition, Grant Richards Ltd., 1917, monochrome plates, untrimmed, original green cloth-backed boards with printed paper title labels to upper cover and spine, minor stain to lower edge of upper cover, otherwise in very good condition, 4to (1)
£400-600
492* Nicholson (William, 1872-1949). Prince Bismarck, colour woodcut, image 24 x 23cm (9.5 x 9ins), framed and glazed, together with two other woodcuts by Nicholson: The Archbishop of Canterbury and the artist James Pryde, both framed and glazed (3)
£100-150
493* Pellew (Claughton, 1890-1966). ‘The Mill’, 1931, woodcut, signed, dated, titled and numbered 6/40, and additionally inscribed in pencil ‘To Joan, June 1932’, image size 155 x 185mm (6.1 x 7.25ins), framed and glazed (1)
£300-500
Lot 493
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494 Raverat (Gwen, 1885-1957). An album of 145 wood engravings by Gwen Raverat, 1909-28, compiled by the artist as a personal record of her work, containing 145 wood engravings, of which 80 are signed in pencil, many also titled in pencil, name and address in the South of France in pencil to front pastedown (in the artist’s hand): Gwendolen Raverat, Villa Adele, Vence, Alpes Maritimes, with additional pencil note on loosely inserted sheet of paper 'In order up to 147 according to catalogue in Book I. But numbers on pages wrong', all mounted on album leaves, with titles and dates in the artist's hand in pencil to lower margin, various sizes, the largest measuring 23 x 33cm (9 x 13ins), the smallest 3.5 x 4 cm (1.4 x 1.6ins), original plain cream cloth, slightly rubbed and some light soiling, folio (33 x 26cm) Provenance: Estate of the artist, thence by descent. This album is one of several which were carefully compiled by Gwen Raverat, two of which have previously been sold through these rooms. A remarkable album of original wood engravings by Gwen Raverat, compiled by the artist as a record of her output between 1909 and 1928, including rare proofs, and many wood engravings not previously available on the market. The collection provides an almost complete survey of the artist’s output up to 1928, including her first wood engraving The Knight of the Burning Pestle (1909), the early work drawing on the English ballad tradition (such as May Margaret, Fair Annie, Windy Day, Despair, The Marsh, Child Stealers, Nightmare, Cobbled Yard, Annie of Rough Royal, Travellers, Expulsion, Margaret's Ghost, Clark Saunders, The Quarrel, all 1909), others from the years 1910- 12, including Wood-Nymph, Sir Thomas Browne, Anthony & Cleopatra, The Palmer, The Retreat, Flying, Gypsies, King Lear, A Dream, The Creation of Light, Pieta, The Visitation and The Dead Christ. Engravings produced during the First World War include Little Poplars, Man's End, East Lulworth Cove, The Avenue, Hoeing, The Edge of the Wood (numbers 1, 2 & 3), Poplars in France, Nativity, Winter Morning, Elms by Pond, Le Pelvoux, The Goose-Herd, Lost Traveller, Sheep, Sheep by a River, The Farm Pond, Primrose Wood, Boys Bathing, etc. Important examples of the artist's post-war output include Bathsheba (1920), Dancing Boys (1920), Village Street (1920), The Bolshevist Agent (1920) versions 1 and 2, Mountain Road (1921), Eve (1921), views in the south of France, including Olive Pickers (1922), Streets by Moonlight (1922), Bowl Players (1922), La Place en Hiver (1923), The Barber's Shop (1923), La Place en Eté (1923), The Town in Summer (1923), Christian Charity (1925), and also the Princess series, including The Princess in the Wood, The Princess Lost, The Princess Bathes, The Prince Hunting, The Princess Followed, The Princess in the Churchyard and The Princess by the Lake (1926-28). The album ends with some of Raverat’s best work including Children, The River Bank, The Balcony, The Wild Swans, The Sleepers, Apple Pickers, The Wicked Queen, and The Low Shore. Selborne & Newman, 1-78, 80-85, 87-89, 91-135, 137-147. (1) £20,000-30,000
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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495* Raverat (Gwen, 1885-1957). Sewing, 1926, wood engraving on pale cream wove paper, from the published edition of 60, signed and titled in pencil, image size 103 x 76mm (4 x 3ins), framed and glazed Selborne & Newman 130. (1)
£150-250
496* Rhead (George Wooliscroft, 1854-1920). Magnolia Grandiflora, 1878, etching on laid paper, plate sizse 28 x 21.5cm (11 x 8.5ins), with margins, framed and glazed (unexamined out of frame), together with Millais (J.E., 1829-1896), The Widow’s Mite, 1880, etching by Charles Albert Waltner after J.E. Millais, published by Thomas Agnew & Sons, June 30, 1880, a proof on chine appliqué, with printed title to lower margin, small publisher’s blindstamp to lower right, plate size 52 x 23.5cm (20.5 x 9.25ins), plus 9 etchings by Alan Wright and Anne Anderson, including several signed in pencil, various sizes, unframed (11)
£100-200
Lot 495
497* Soper (Eileen Alice, 1905-1990). Girl with Cats on a Step, etching, signed in pencil, plate size 115 x 190mm (4.5 x 7.5ins), sheet size 190 x 270mm (7.5 x 10.6ins), laid down on card, with glue marks to outer edges, together with Kinney (Troy), Dancing Figure, etching, signed in pencil, plate size 165 x 165mm (6.5 x 6.5ins), sheet size 390 x 310mm (15.3 x 12.2ins), pale mount stain, plus other various etchings, including Sidney Tushingham, W.H. Sweet, Will Nickless, Charles Sainton, two by E.G. MacColl (1896-1973) of the South Moat, Mandalay, and The Palace, Mandalay, each signed with initials, and one dated 1928, and two views of Dresden by Walter Ernst Zeising (1876-1933) all framed and glazed (except the first two works) (10)
Lot 496 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
140
£200-300
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498* Palmer (Samuel, 1805-1881). Christmas, or Folding the Last Sheep, 1850, (Lister E4), etching on pale cream wove paper, the 4th state (of 5), with printed title to lower margin ‘“Christmas” From Bampfylde’s Sonnet’, plate size 124 x 102mm (4.9 x 4ins), sheet size 290 x 210mm (11.4 x 8.25ins), as issued in (and included with) Samuel Palmer, A Memoir by A.H. Palmer, Fine Art Society, 1882, some scattered spotting to text, original morocco-backed cloth gilt, heavily rubbed and scuffed to spine, with some wear to joints, 4to (30 x 22.5cm) Provenance: George Richmond (1809-1896); thence by descent. Author’s presentation copy, inscribed to front pastedown ‘George Richmond Esq. R.A. with A.H. Palmer’s kind regards 1 May 1882’, with subsequent inscription below ‘Anthony W. Richmond - May 1922 from Daddy’. With two autograph letters signed by A.H. Palmer to George Richmond loosely inserted, relating to this publication, dated 16 September 1881 and November 14, 1883. The earlier letter refers to A.H. Palmer’s preparations for the book, and for a future edition of Samuel Palmer’s letters, requesting the use of any that George Richmond may have in his possession, and also asking if he owns any of Samuel Palmer’s original work for the forthcoming Palmer exhibition to be held at the Fine Art Society in London in the autumn of 1882. The letter is written on 4 sides of a single folded sheet, and finishes in mid-sentence on the last page, indicating that a further leaf is missing. The second letter thanks George Richmond for his kind comments on the published Memoir, referring with approval to the publisher Richmond Seeley, ‘a man of unusually refined literary & artistic taste’. He also asks for George Richmond’s further assistance in describing the early period of Samuel Palmer’s life involving William Blake and Shoreham, which he intends to publish as the opening part of the life and letters of Palmer [published in 1892], proposing ‘to call upon you some morning that I might read you what I have written; & that you might kindly correct the errors of ignorance, with any further information you might think advisable, about those delightful old days.’ The volume also includes a pencil annotation to the first page of text by George Richmond, giving the name of Samuel Palmer’s nurse (Mary Ward), whose love of the bible and Paradise Lost was an important early influence on the artist. An important association copy of this work. (4) £1500-2000
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Lot 500 499 Tanner (Robin, 1904-1988). Wren and Primroses, Full Moon, & The Old Road, 3 etchings, each signed in pencil, as issued in the book British Etchers 1850-1940 by Kenneth M. Guichard, published by Robin Garton, 1977, monochrome illustrations, top edge gilt, original quarter blue morocco gilt, with glassine wrapper and publisher’s cardboard box, large 4to (33.8 x 28cm, 13.3 x 11ins) Garton 19, 29, iii/iii & 36, iii/iii. (1)
£300-500
500* Webb (Clifford Cyril, 1895-1972). Meal Time, etching on pale cream wove paper, signed, titled and numbered 11/25, plate size 225 x 175mm (8.9 x 6.9ins), sheet size 395 x 270mm (15.5 x 10.6ins) (1)
£80-120
501* Wright (John Buckland). Golden Cockerel Press Colophon, wood engraving on japan tissue, an artist’s proof, signed with initials, and numbered 3.AP, sheet size 135 x 100mm (5.25 x 4ins), together with three other unsigned wood engraved colophon designs by John Buckland Wright, for Endymion, Flinders’ Narrative, and Rupert Hart Davies Ltd., sheet size 120 x 155mm (4.75 x 6ins) and smaller (4)
£80-120
Lot 501
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MODERN PRINTS
504* Bawden (Edward, 1903-1989). Fruit and Napkin, 1926, colour lithograph wallpaper, printed by the Curwen Press, slight creasing to top margin, and short closed tear without loss, sheet size 60 x 75.5cm (23.6 x 29.7ins) (1)
£150-200
502* Agar (Eileen, 1904-1991). Untitled, woodcut on Waterford handmade paper, signed in pencil, and numbered 18/100, sheet size 385 x 280mm (15.1 x 11ins), together with Untitled (Family), woodcut on handmade paper, signed in pencil and numbered 18/100, sheet size 383 x 280mm (15 x 11ins), matching frames, glazed (2)
£200-300
503* Bawden (Richard, 1936-). Hattie’s Sofa, colour etching on heavy wove paper, signed, titled and marked A/P in pencil, plate size 41 x 59cm (16 x 20ins), with margins, framed and glazed (unexamined out of frame), with Amalgam Art Ltd. label to verso (1)
505AR* Colquhoun (Robert, 1914-62). Trinket Seller, 1948, colour lithograph on wove paper, numbered 17 in pencil lower left, image size 37 x 28.5cm (14.5 x 11.25ins), with margins, framed and glazed, with Redfern Gallery label to verso, dated October 31st 1987
£100-150
(1)
143
£300-500
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506AR* Delvaux (Paul). La Robe du Dimanche, 1967, colour lithograph, signed in pencil, and numbered 42/75, in very good condition, image size 63 x 51cm (24.75 x 20ins), with margins, framed and glazed, with Redfern Gallery label to verso, dated September 6th 1968 Mira Jacob 18. (1)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
ÂŁ1000-1500
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509* Freedman (Barnett, 1901-1958). Music - Still Life, 1951, colour lithograph, published by J. Lyons & Co. Ltd, a few marks, 72 x 96cm (28.5 x 38ins), framed and glazed R. Artmonsky, Tea & A Slice of Art, The Lyons Lithographs 1946-55, page 112. (1) £150-200
507* Delvaux (Paul). ‘Buste de femme III’, 1960, etching, signed and numbered 42/60 in black ink, plate size 147 x 111mm (5.75 x 4.4ins), with margins, framed and glazed (1)
£300-500
508* Filonov (Pavel Nikolaevitch, 1883-1941). Carnival Week (Fastnachtswoche), colour lithograph on heavy wove paper, published by Mourlot, Paris, in an edition of 2000, with publisher’s circular blindstamp lower left, numbered in pencil 886/2000 lower left, image size 70 x 88cm (27.75 x 34.5ins), with margins, in very good condition, framed and glazed (1)
510* Gellert (Hugo, 1892-1985). Living Art, lithograph from Comrade Gulliver (1935), signed in pencil to lower margin, 46 x 35.5cm (18 x 14ins) mount aperture, black frame, glazed with accompanying printed text leaf to verso (1)
£150-200
145
£200-300
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513* Gellert (Hugo, 1892-1985). Poor Fish, lithograph from Comrade Gulliver (1935), signed in lower right, 42 x 38cm (16.5 x 15ins) mount aperture, black frame, glazed
511* Gellert (Hugo, 1892-1985). Millions, lithograph from Comrade Gulliver (1935), signed in lower left, 33 x 25cm (13 x 9.9ins) mount aperture, black frame, glazed (1)
(1)
£200-300
£200-300
512* Gellert (Hugo, 1892-1985). Greed is a Virtue, lithograph from Comrade Gulliver (1935), signed in pencil to lower right, 43 x 36cm (17 x 14.2ins) mount aperture, black frame, glazed
514* Godwin (Mark Andrew, 1957-). Graffito VII, colour aquatint, signed, titled and numbered 15/250 in pencil to lower margin, plate size 415 x 310mm (16.2 x 12.25ins), with margins, framed and glazed
(1)
(1)
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£200-300
146
£70-100
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515* Nash (John, 1893-1977). Harvesting Cornfields, 1942, fine colour reproduction print, published by Frost & Reed, signed in pencil, with publisher's blindstamp lower left, image size 46 x 76 cm (18 x 30 ins), sheet size 66 x 90.5 cm (55cm x 87ins) (1)
£200-300
Lot 517
516* Johnson (Ben, 1946-). Pavilion, Seville, 1992, colour print, signed and dated lower right, titled and numbered 50/100, image size 853 x 575mm (33.6 x 22.65ins), sheet size 1020 x 735mm, 40.5 x 29 ins, framed and glazed (1)
£80-120
517* Lamb (Elspeth, 1951-). Milagro, 1990, colour screenprint, signed and dated, titled, and numbered 21/30, sheet size 1070 x 765mm (42.2 x 30.2ins), framed and glazed, with Glasgow Print Studio Gallery label to verso (1)
£100-150
518* Lamb (Elspeth, 1951-). Poseidon, 1990, colour screenprint, from the edition of 40, signed, dated, titled and numbered 37/40 in pencil, image size 125.5 x 94.5cm (49.5 x 37.25ins), sheet size 147.5 x 114cm (58 x 45ins), framed and glazed, with Glasgow Print Studio label to verso (1)
Lot 518
£100-150
147
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Lot 519 519AR* Lowry (Laurence Stephen, 1887-1976). Station Approach, offset lithograph in colour, from the edition of 850 published by Adam Collection Ltd., 1972, signed in pencil lower right, Fine Art Trade Guild blindstamp lower left, image size 40.5 x 51cm (16 x 20ins), with margins, in very good condition, framed and glazed (unexamined out of frame) The present work reproduces Lowry’s painting of The London and North Western Railway Exchange Station in Manchester (since demolished), executed in 1960. (1) £1500-2000
520* Rothenstein (Michael, 1908-1994). Timber Felling in Essex, 1946, colour lithograph, printed by the Baynard Press for School Prints Ltd., sheet size 495 x 762mm (19.5 x 30ins) The artist’s first published print. (1)
£100-150
Lot 520
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148
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Lot 521
Lot 522
521AR* Soulages (Pierre, 1919-). Lithographie no. 1, 1957, colour lithograph on Arches, signed in pencil, and numbered 39/60, published by Berggruen, Paris, with full margins, light mount stain to extreme outer edges of the sheet, image size 565 x 432mm (22.25 x 17ins), sheet size 667 x 508mm (26.25 x 20ins), framed and glazed, with Gimpel Fils Gallery label to verso, dated January 1958 Riviere 1. (1)
£500-800
522AR* Sutherland (Graham, 1903-1980). Three Figures in a Garden, 1953, colour lithograph on wove paper, printed by Mourlot, and published by William Heinemann Ltd., signed and numbered 86/125 in pencil lower left, sheet size 298 x 215mm (11.75 x 8.5ins), framed and glazed, with Redfern Gallery Ltd. label to verso, dated August 29th 1968, and titled Three Standing Forms in a Garden Tassi 55. (1)
£400-600
523* Trevelyan (Julian, 1910-1988). Ponte Vecchio, etching with aquatint in colours, an artist’s proof, signed in pencil lower right, 35 x 47cm (13.75 x 18.5ins), framed and glazed (1)
149
£300-400
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524* Vasarely (Victor, 1906-1997). Untitled (from the Permutations series), 1968, colour screenprint in green, blue, purple and black, signed in pencil and numbered 115 from the edition of 150, image size 60 x 60cm (23.6 x 23.6ins), sheet size 68.5 x 68.5cm (27 x 27ins), period aluminum double frame, glazed
526* Vasarely (Victor, 1906-1997). Kinetic Composition (Olympische Spiele Munchen 1972), colour screenprint, with printed signature in black lower right, image size 87 x 64cm (34.25 x 25.1ins), sheet size 89 x 66cm (35 x 26ins), period aluminium frame, glazed
(1)
(1)
£300-500
527* Vasarely (Victor, 1906-1997). DiaC, 1968, colour screenprint in yellow, brown and gold, from the edition of 200 published by the Galerie Denise René, Paris, signed in pencil, and numbered 74/200, image size 60 x 60cm (23.6 x 23.6ins), sheet size 68 x 68cm (26.75 x 26.75ins), period aluminium frame, glazed
525* Vasarely (Victor, 1906-1997). Offizielles Emblem fur die Spiele der XX. Olympiade Munchen 1972, 1971, colour screenprint in blue, brown and orange, on a black background, with printed signature in blue, image size 84 x 74cm (33 x 29.1ins), sheet size 86 x 76cm (34 x 30ins), period aluminium frame, glazed (1)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
£200-300
(1)
£200-300
150
£200-300
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528AR* Vaughan (Keith, 1912-1977). Blue Boy, 1949, colour lithograph on wove paper, signed in pencil, image size 460 x 310mm (18.1 x 12.2ins), with margins, framed and glazed, with Redfern Gallery label to verso, dated November 27th 1987 (1)
ÂŁ700-1000
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529* Wunderlich (Paul, 1927-2010). Jeu de Paume, 1966, colour lithograph on Rives paper, signed in pencil and numbered 2/60, image size 34.2 x 28.2cm (13.5 x 11.1ins), with margins, framed and glazed, with Redfern Gallery label to verso dated August 29th 1968
531* Wunderlich (Paul, 1927-2010). Kleiner Frauenkopf (Small Head), colour lithograph, signed and numbered 36/100 in pencil, image size 170 x 120mm (6.75 x 4.75ins) with margins, framed and glazed, with Redfern Gallery label to verso, dated August 29th 1968
(1)
(1)
£150-200
£150-200
530* Wunderlich (Paul, 1927-2010). Lady with Flower and Dog (Femme, fleur et chien), 1988, colour lithograph on Zerkall heavy handmade paper, signed in pencil towards lower left, and numbered 11/90, sheet size 97 x 70cm (38.5 x 27.5ins), framed and glazed, with Redfern Gallery label to verso, dated February 11th 1989
532* Wunderlich (Paul, 1927-2010). Self Portrait, etching, signed and numbered 27/50, plate size 180 x 98mm (7.1 x 3.9ins), with margins, framed and glazed
(1)
(1)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
£200-300
152
£150-200
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MODERN PAINTINGS & WATERCOLOURS 535* Aldin (Cecil, 1870-1935). Portrait of a Pug, coloured chalks on pale brown paper, signed lower right, sheet size 45 x 38cm (17.75 x 15ins), mounted
533* Adams Acton (Murray, 1886-1971). The Demolition of Waterloo Bridge, 1936, watercolour and gouache on paper, inscribed Waterloo and dated lower right, titled verso, 48 x 36cm (18.75 x 14.25ins) mount aperture, framed and glazed
(1)
£500-800
Inscribed verso, ‘drawn on the site by Murray Adams-Acton, to Cecil Fowler with best wishes’. Murray Adams-Acton was an English historian of art and architecture and interior designer of considerable flamboyance. He designed the dining room of Shirenewton Hall in 1910 and the interiors of the men’s outfitters shop Swan & Edgar’s in Piccadilly. (1) £100-150
534* Adams (Hervey Cadwallader, 1903-1996). Sky Lines, chalk and coloured wash on heavy wove paper, signed lower right, 32 x 65cm (12.5 x 25.5ins), together with another by the same hand, 39 x 50cm (15.25 x 19.75ins), both framed and glazed (2)
£100-150
536* Alison (David, 1882-1955). Still life of summer flowers, oil on canvas, signed lower right, size 76 x 63.5cm (30 x 25ins), framed Provenance: Purchased by the present owner from Edwards, Bigwood & Bewley, 12th February, 1986 (according to handwritten label to verso). David Alison studied at the Glasgow School of Art and became friends with his Scottish contemporary, Francis Cadell, who introduced him to the other major Scottish colourist, Samuel J. Peploe. Alison was a member of the Society of Eight, which included John Lavery, Patrick Adam, Peploe and others. He exhibited over forty works at the Royal Academy, twice that many at the Royal Scottish Academy, and obtained the silver medal at the Paris Salon. (1) £500-800
Lot 535
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Lot 537
537* Bartsch (Karl Frederick, 1829-1908). Dyrehaven, 1902, oil on canvas of a Danish summer landscape with stag and deer resting beneath trees, signed with monogram, titled, and dated September 1902 lower right, small patch repair to verso (generally in excellent condition), 49.5 x 71cm (19.5 x 28ins), modern gilt frame (1)
£400-600
538* Bosshard (Rodolphe Theophile, 1889-1960). Reclining nude, 1929, charcoal on card, signed with initials and dated ‘29 lower left, 22.5 x 29.5cm (8.75 x 11.6ins), framed and glazed (1)
Lot 538
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154
£300-500
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541* Delescluze (Edmond, 1905-1993). Beach scene in Brittany with figures by the shore, oil on canvas, signed lower right, 32 x 47.5cm (12.5 x 18.75ins) (1)
£100-150
539* Christopherson (John, 1921-1996). Field, Path and Barn, 1967, oil on wood panel, signed with initials in red lower right, additionally signed to verso, and with handwritten label giving the artist’s name, title and date 25th February 1967, 160 x 275mm (6.25 x 6.8ins), framed (1)
£150-200
542* Delescluze (Edmond, 1905-1993). Beach at Perros Guirec, Brittany, oil on canvas, signed lower left, 32 x 47.5cm (12.5 x 18.75ins) (1)
£100-150
540* Continental School. Wooded Landscape, Early Evening, 1918, watercolour, heightened with bodycolour, signed with monogram M within a circle, with W below, and dated, lower right, 43.5 x 66cm (17 x 26ins), mounted (1)
£100-150
543* Delescluze (Edmond, 1905-1993). Figures on the beach, Cotes d’Armor, oil on canvas, signed lower left, 33 x 47.5cm (12.5 x 18.75ins) (1)
155
£100-150
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544AR* Fedden (Mary, 1915-2012). Moonlight at Cappadocia 1970, watercolour on paper, signed and dated lower left, also signed and titled by artist to the verso, 18 x 13cm (7 x 5ins), period frame Provenance: Private Collection, West Midlands. (1) £1000-2000
545* Ferroni (Guido, 1888-1979). Waterfall, oil on board, signed lower left, 87 x 52cm (34.25 x 20.5ins), framed (1)
£200-300
546* Gerber (Karl, 1912-1974). Still life of flowers 1959, gouache and colour pastel on laid paper, signed and dated lower left, 49 x 68.5cm (19.25 x 27ins), framed and glazed (1)
£150-200
Lot 545
Lot 546
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Lot 544
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Lot 547
Lot 548 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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Lot 549
Lot 550
547AR* Gillchrest (Joan, 1918-2008). View of Land’s End with Poppies, oil on board, 69 x 71cm (27 x 28ins), framed and glazed
549AR* Gillchrest (Joan, 1918-2008). Lilies, oil on board, signed with initials lower right, 56 x 35.5cm (22 x 14ins), framed and glazed
Provenance: Private Collection, Wiltshire. (1)
Provenance: Private Collection, Wiltshire. (1)
£2500-3500
548AR* Gillchrest (Joan, 1918-2008). Fruit Selection, oil on board, signed with initials lower right, inscribed to verso in pencil 98/59 Fruit Selection, and with handwritten label by the artist to verso ‘J G Still life Joan Gillchrest’, 26 x 42cm (10.25 x 16.5ins), framed and glazed Provenance: Private Collection, Wiltshire. (1)
£1500-2000
550AR* Gillchrest (Joan, 1918-2008). Waiting for a Bus in France, oil on board, signed with initials lower right, marked in pencil to verso 99/48, and with the artist’s signed handwritten label numbered 48, giving the title of the work to verso, framed and glazed
£1000-1500
Provenance: Private Collection, Wiltshire. (1)
159
£1000-1500
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553* Hofmann (Ludwig von, 1861-1945). Female Nude, black chalk on grey-green paper, full-length portrait of a young lady, seminude and in a state of undress, spotted and edge-frayed, inscribed lower left with initials by the artist to William Rothenstein ‘LvH to WR’, 62 x 47.5cm (24.25 x 18.75ins) Painter, wood-engraver and designer Ludwig von Hofmann was a cofounder of literary magazine ‘Pan’, and a regular contributor to its pages. He was a long-standing friend of William Rothenstein. The National Portrait Gallery holds a lithographed portrait of Ludwig von Hofmann executed in 1902 by Rothenstein. (1) £200-300
551* Goodall (John Strickland, 1908-1996). The Bridesmaids, watercolour with pencil, heightened with white bodycolour, signed lower left, 19 x 14cm (7.5 x 5.5ins), together The Question, watercolour heightened with bodycolour, showing a courting couple seated on a wooden bench under a tree in a meadow, signed lower left, 19 x 14cm (7.5 x 5.5ins), both framed and glazed (2)
£200-300
552* Hilder (Rowland, 1905-1993). Sepham Farm, Winter, pen, ink & watercolour, with traces of pencil, heightened with bodycolour, signed lower left (indistinct), 20.5 x 32cm (8 x 12.5ins) mount aperture, framed and glazed, with Duncan Campbell printed address label to verso (1)
554* Kapp (Edmond Xavier, 1890-1978). Profile portrait of a gentlemen with pince-nez, circa 1920s, black charcoal on thin japan paper, signed with monogram lower right, sheet size 327 x 254mm (12.9 x 10ins), mounted
£200-400
(1)
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160
£100-150
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555* Kashmir. Ruins of the Martand Sun Temple, Kashmir, circa 1910, oil on wood panel by Liliane Morton, signed lower right, and titled to lower left, additionally inscribed to verso ‘Ruins Markand Kashmir, painted by Lilian Morton about 1910 & given to Joan Chetwynd by Iris Hyslop in memory of Liliane Morton her mother 1958’, 15.5 x 23.5cm (6 x 9.25ins), period gilded wood frame
557* Leaver (Noel Harry, 1889-1951). Blarney Castle, Ireland, watercolour on paper, signed lower left, 26 x 36cm (10.25 x 14ins) mount aperture, framed and glazed (1)
£200-300
Provenance: Collection of Herbet Alexander Casson (1867-1952), Deputy Commissioner in the Punjab; Joan Gilbert Casson, Viscountess Chetwynd (born 1898); thence by descent. (1) £200-300
556* Knight (Charles, 1901-1990). The Old Bun Shop, Pool Valley, Brighton, circa 1940, watercolour and gouache, signed lower left, 38 x 37.5cm (15 x 14.75ins), framed and glazed
558* Leaver (Noel Harry, 1889-1951). Summer in Bucks, watercolour on paper, showing a village scene with figures and a herd of sheep on a road, signed lower right, 36.5 x 26cm (14.25 x 10.25ins) mount aperture, framed and glazed
Another version (dated 1940) of this subject by Charles Knight is held by the V&A Museum, London, and was one of the artist's many contributions to the Recording Britain project, instigated by Sir Kenneth Clarke at the beginning of the Second World War, to record British life and landscape in a time of unprecedented upheaval. Funded by the Pilgrim Trust, British artists were commissioned to produce watercolours celebrating the beauty of British landscape and architectural heritage, including John Piper, Sir William Russell Flint, Rowland Hilder, Charles Knight, Kenneth Rowntree, Luke Hennell, Barbara Jones and others. The V&A version of the present work appears on pages 168-169 of the 4th volume (1949). (1) £500-800
(1)
161
£200-300
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559* Leuers (Jeanette, 1942- ). Girl by a river, oil on board, signed lower left, 19.5 x 25cm (7.75 x 9.75ins), gilt frame (1)
£150-200
560* Littleford (Robert, 1940-). Donkey riding, watercolour on paper, showing three children riding donkeys on a beach, signed upper left, 13 x 17cm (5.25 x 6.75ins), framed and glazed (1)
£150-200
561* Lloyd (Elizabeth Jane, 1928-1995). Working in the summer garden, watercolour on paper, signed in pencil to lower right, 56 x 76cm (22 x 30ins), together with Chair with dish of blossom, watercolour study on paper, signed in pencil to lower right, 57 x 50.5cm (22.5 x 20ins), plus Strand on the Green, 1984, watercolour on paper, signed lower right, 56 x 75.5cm (22 x 29.75ins), and six others similar, various sizes Elizabeth Lloyd was born in London and studied painting at the Chelsea School of Art and the Royal College of Art, specialising in mural design. She taught in art schools in Britain and America and from her own studio at Strand on the Green, taking painting groups to India. She received public and private commissions for mural and scene painting for films such as The Mirror Crack’d, Chariots of Fire, Flash Gordon & Breaking Glass. (9) £200-300
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
162
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Lot 562 562* Mackenzie (Roderick Dempster, American, 1865-1941). Afghan soldier in the Karakoram Mountains, Hindu Kush, 1901, oil on canvas, signed and dated lower left, 45.5 x 61cm (18 x 24ins), contemporary wood frame, glazed Provenance: Collection of Herbet Alexander Casson (1867-1952), Deputy Commissioner in the Punjab; Joan Gilbert Casson, Viscountess Chetwynd (born 1898); thence by descent. The American artist John Roderick Dempster Mackenzie studied first at the School of the Museum of Fine Arts in Boston, Massachusetts (1884-1886), and later in Paris, at the Academie Julian in 1889, then the Ecole des BeauxArts. He travelled to India in search of exotic subjects in 1892, and stayed there until 1906, producing his most characteristic work, including scenes and landscapes in Benares, Lahore and Delhi, views of the Khyber Pass, and mountainous parts of Afghanistan and Baluchistan. A retrospective of his work was held at the Mobile Museum of Art in Alabama in 1997. (1) ÂŁ500-800
563* Mackenzie (Stuart, RSA, 1959-). The Intellectual, 1991, oil on canvas, signed and dated to reverse, 167 x 133cm (66 x 52ins), framed Scottish artist Stuart Mackenzie studied at the Edinburgh College of Art (197983), and has taught painting at the Glasgow School of Art since 1988. (1) ÂŁ200-300
Lot 563 163
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Lot 564
Lot 566
564* Menpes (Mortimer, 1855-1938). Indian market street with oxen, pencil and gouache on board, signed lower left, 32 x 41cm (12.5 x 16ins) mount aperture, period frame, glazed (unexamined out of frame) (1)
566* Modernist Interior. Architectural sketch of an interior, 1920’s, watercolour heightened with bodycolour, unsigned, 13.7 x 10.5cm (5.5 x 4ins), framed & glazed (1)
567* Pal (Boris, 1939-). Still life of flowers, oil on wooden panel, painted in the Dutch Old Master style, signed lower right, 41 x 51cm (16 x 20ins), in an elaborate gilt frame, 76 x 87cm (30 x 34.25ins)
565* Millais (Raoul, 1901-1999). The Mill, oil on board, signed lower right, 19.5 x 24.5cm (7.75 x 9.5ins), framed (small chip to lower corner), label fragment to verso dated ‘Nov 1954’ (1)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
£70-100
£500-800
(1)
£100-150
164
£200-400
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568* Paton (Hugh, 1853-1927). Scottish coastal cottages, oil on board, signed lower right, 28 x 38cm (11 x 15ins), framed and glazed (1)
£300-500
Lot 570
569* Philpot (Glynn Warren, 1884-1937). Sailors on the quayside, North Africa, coloured pencils on paper, signed with initials lower right, 146 x 121mm (5.75 x 4.75ins) mount aperture, framed and glazed (1)
£100-150
570* Poster. A Special Exhibition of Poole Pottery Foxton Fabrics and Hand-Weaving by Mrs Mairet, [Bristol], May 7th-19th [circa 1925-30], original design for a poster in black chalk, and red and black ink on heavy paper (two versions), some marks and soiling with some damage to head and foot, sheet size 64.5 x 40.5cm (25.3 x 16ins)
571* Rosenkratz (Arild, 1870-1964). Blue Angel 1932, pastel on paper, signed and dated lower right, 39 x 47cm (15.5 x 18.5ins), gilt Arts & Crafts frame, glazed Baron Arild Rosenkratz was a Danish nobleman, a painter, sculptor, stained glass artist and illustrator, who studied in Rome and Paris. He was influenced by the Pre-Raphaelites, in particular Edward Burne-Jones. (1) £200-300
This poster was designed for an exhibition held at the Bristol Guild of Handicraft, some time between 1923 and 1933. (2) £70-100
165
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572* Rothenstein (Sir William, 1872-1945). Portrait of the English architect L.M. Austin, February 1924, red chalk on heavy off-white paper, heightened with white chalk, inscribed in the artist's hand lower right 'To my Friend L.M. Austin, W. Rothenstein, Feb 1924', some discolouration due to mount staining, sheet size 40 x 29cm (15.75 x 11.5ins), framed (1)
£300-500
573* Manner of Edward Seago (1910-1974). Boats moored in a bay, oil on board, signed ‘Edward Seago’ lower left, 30 x 40cm (11.75 x 15.75ins) mount aperture, old black and gilt frame, glazed (1)
£100-200
574* Attributed to Robert Borlase Smart (1881-1947). Cornish Tin Mine, oil on canvas, with large Chenil Gallery canvas mark to verso in the shape of a palette, with the words Chenil Gallery By The Town Hall Chelsea, signed lower right, 36 x 46cm (14 x 18ins), framed (1)
Lot 572
Lot 574
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
166
£700-1000
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Lot 577
575* Sully (Frank E., 1898-1992). Portrait of young Mandarin girl, oil on wooden panel, showing a figure turning away, signed lower left, typed artist studio label verso, 32.5 x 20.5cm (12.75 x 8.25ins) (1)
£100-150
578* Walker (Eric Montague, 1907-1999). St. Aubin’s Fort, Jersey, watercolour, showing St. Aubin’s Fort, with Elizabeth Castle in the background, signed lower left, 36.5 x 54.5cm (14.25 x 21.5ins), mounted, framed and glazed (1)
£150-200
576* Walker (Eric Montague, 1907-1999). Gorey Castle, Jersey, watercolour, showing a summer seascape with fortress, harbour, and figures, signed lower right, 33 x 52cm (13 x 20.5ins), mounted, framed and glazed (1)
£150-200
577* Walker (Eric Montague, 1907-1999). Sydney Harbour, watercolour, showing boats on the water at twilight, including a figure in a punt, signed lower right, 36.5 x 54cm (14.25 x 21.25ins), mounted, framed and glazed, with RBA exhibition label on backboard ‘At The Mall Galleries, 1988’ (1)
579* Walker (Eric Montague, 1907-1999). Bonne Nuit Bay, Jersey, watercolour, showing a seascape with figures and beached boats, signed lower right, 36.5 x 54cm (14.25 x 21.25ins), mounted, framed and glazed
£150-200
(1)
167
£150-200
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582* Walker (Eric Montague, 1907-1999). Le Hocq, Martello Tower, Jersey, watercolour, showing a sunny landscape with fortification and figures, signed lower left, 43.5 x 57.5cm (17 x 22.5ins), mounted, framed and glazed, with Federation of British Artists Gallery label on backboard (1)
£150-200
580* Walker (Eric Montague, 1907-1999). Bouley Bay, Jersey, watercolour, showing a quay with figures and boats, signed lower left, 36 x 54cm (14.25 x 21.25ins), mounted, framed and glazed (1)
£150-200
583* Walker (Eric Montague, 1907-1999). A windmill, watercolour, showing a windmill in a landscape with trees, houses, and figures, lightly spotted, signed lower right, 47 x 60cm (18.5 x 23.5ins), framed and glazed (1)
£150-200
581* Walker (Eric Montague, 1907-1999). St. Aubin’s Harbour, Jersey, watercolour, showing a harbour scene with boats, figures, and houses, signed lower left, 36.5 x 55cm (14.25 x 21.5ins), mounted, framed and glazed (1)
£150-200
584* Walker (Eric Lionel, 1941-2011). Walberswick, Suffolk, watercolour, showing a summer seascape with figures on a beach, signed lower right, 40 x 50cm (15.75 x 19.75ins), mounted, framed and glazed, label on backboard with title and artist’s name and address in his hand (1)
Lot 582 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
168
£200-300
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587* Walker (Eric Lionel, 1941-2011). Early Morning Walk, Norfolk, watercolour, showing a solitary female figure in a field of poppies, signed lower left, 39.5 x 50cm (15.5 x 19.75ins), mounted, framed and glazed, label on backboard with title and artist’s name and address in his hand, together with another watercolour by the same artist, depicting a watermill, signed lower right, 34 x 48cm (13.5 x 19ins), mounted, framed and glazed
585* Walker (Eric Lionel, 1941-2011). Quaisne Bay, Jersey, watercolour, showing a summer seascape with figures on a beach, signed lower right, 39 x 49.5cm (15.25 x 19.5ins), mounted, framed and glazed (1)
£200-300
(2)
£200-300
586* Walker (Eric Lionel, 1941-2011). 6a.m. Gorey Castle, Jersey, watercolour, showing day breaking over Gorey Castle, signed lower left, 39 x 49.5cm (15.25 x 19.5ins), mounted, framed and glazed
588* Warburton (Stanley, 1919-2012). River and Cottages beneath Helvellyn, Lake District, oil on canvas, signed to lower right, 61 x 76cm (24 x 30ins), gilt frame
(1)
(1)
£200-300
169
£250-300
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589* Ward (Eric, b. 1945). Studies of Nudes, watercolour with pen and black ink on paper, each signed lower left, sheet size 25 x 18cm (9.8 x 7.1ins), matching frames, glazed (2)
£70-100
590AR* Yeats (Jack Butler, 1871-1957). The Connaught Toast, 1912 ink and watercolour on paper, signed to left margin, additionally inscribed to verso by the artist with title and layout instructions in pencil to verso, additionally inscribed in blue pencil ‘Reduce to 4ins Jack B. Yeats’, image size 120 x 164mm (4.7 x 6.5ins), sheet size 134 x 191mm (5.25 x 7. ins) The original design for the Cuala Press Broadside no. 2, 5th year, A Connaught Toast, published in July 1912. The first series of the Cuala Press broadsides, each limited to 300 copies, was published in 84 monthly issues between June 1908 and May 1913. See Hilary Pyle, The Different Worlds of Jack B. Yeats: His Cartoons and Illustrations (1994), 1890, page 61. (1) £2000-3000
591* Schauss (Martin, 1867-1927). Circular bronze portrait plaque of Franz Riegel (1843-1904), head & shoulders facing right, in high relief, 14cm diameter, signed and inscribed FRANZ RIEGEL GIESSEN Franz Riegel was Chair of Medicine at the University of Giessen 1879-1904. Provenance: From the collection of Lady Ottoline Morrell by descent. Lady Ottoline in her memoirs (vol.1 p.114) in 1902, mentions Professor Riegel at length, describing him as “a very tall, aristocratic man, about sixty, like an old Jewish Rabbi with long, sensitive, artistic hands”. (1) £100-150
Lot 589
Lot 590 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
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ANNE CARLISLE (1901-1975) Anne Carlisle was born in London and studied for several years at the Byam Shaw School of Art. Her first one-man show was at the Marcel Bernheim Gallery in Paris followed by others at the Mayor Gallery, 19-31 May 1934, Redfern Gallery, February 1938 (shortly before the famous exhibition of Christopher Wood’s work organised by the Redfern at the New Burlington Galleries, March 3rd-April 2nd 1938), Lefevre Gallery (New Paintings by Julian Trevelyan, New Paintings by Anne Carlisle, September-October 1948), Obelisk Galleries in London and group shows at the Wildenstein Gallery and elsewhere in England, Paris and Holland. At the beginning of World War II she was appointed regional director of the Council for the Encouragement of Music and Art, whose purpose was to foster and preserve the arts in wartime, and she remained in that position when it became the Arts Council of Great Britain. She later resigned to become Art Consultant to the American Embassy in London under the United States Information Services. In 1957 she left London to pursue her painting full-time at Châteauneuf-de-Grasse in the Alpes Maritimes (a few miles from Mougins, where Picasso also spent the last twelve years of his life from 1961 to 1973). She continued to exhibit in London, Paris and the US as well as locally near her home, culminating in a very successful show at the Galerie Coard in Paris in 1973. The following collection of works are from the estate of the artist.
593* Carlisle (Anne, 1901-1975). Landscape, oil on canvas, signed lower left, 60 x 73cm (23.5 x 28.75ins), together with another untitled oil on canvas by Anne Carlisle, unsigned, dimensions as above, each unframed (on stretcher) (2)
592* Carlisle (Anne, 1901-1975). Composition, oil on canvas, signed lower right, 77 x 64.5cm (30.25 x 25.5ins), unframed (on stretcher) (1)
£200-300
171
£300-400
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594* Carlisle (Anne, 1901-1975). Landscape with Birds, oil on canvas, showing two birds flying over an undulating landscape, signed lower right, pencilled ‘Abstract, Bird Period’ in the artist’s hand on verso, 60.5 x 73cm (23.75 x 28.75ins), together with another oil on canvas by Anne Carlisle, untitled, and unsigned, dimensions as above, each unframed (on stretcher) (2)
596* Carlisle (Anne, 1901-1975). Still Life, oil on canvas, signed lower left, 54 x 65.5cm (21.5 x 25.75ins), together with another oil on canvas by Anne Carlisle, unsigned, dimensions as above, each unframed (on stretcher) (2)
£300-400
595* Carlisle (Anne, 1901-1975). Still Life, oil on canvas, signed lower right, 54 x 65.5cm (21.5 x 25.75ins), together with another oil on canvas by Anne Carlisle, depicting a seascape, unsigned, dimensions as above, each unframed (on stretcher) (2)
597* Carlisle (Anne, 1901-1975). Bird in a Landscape, oil on canvas, signed lower right, 54 x 65cm (21.5 x 25.5ins), together with another oil on canvas by Anne Carlisle, untitled, and unsigned, pencilled date on upper edge in the artist’s hand “July 25 ‘67”, dimensions as above, each unframed (on stretcher)
£200-300
(2)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
£200-300
172
£200-300
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598* Carlisle (Anne, 1901-1975). Summer Landscape, South of France, oil on canvas, signed lower right, 60 x 73cm (23.5 x 28.75ins), together with another oil on canvas by Anne Carlisle, untitled, artist’s name written on upper edge and on verso, 54 x 65cm (21.25 x 25.5ins), each unframed (on stretcher) (2)
600* Carlisle (Anne, 1901-1975). Spanish Harbour, oil on canvas, showing sailing vessels, signed lower right, additionally signed and titled in pencil on verso, and with typed gallery label ‘The New Art Centre, 41 Sloane Street, London’, 46 x 55cm (18 x 21.5ins), together with two others by Anne Carlisle, untitled, oil on canvas, the first with pencilled date on upper edge “March 4 ‘74”, the other with slight surface loss, both unsigned, 60 x 70.5cm (23.5 x 27.75ins) and 64.5 x 80cm (25.5 x 31.5ins) respectively, all unframed (on stretcher)
£200-300
(3)
601* Carlisle (Anne, 1901-1975). Landscape, oil on canvas, showing a landscape with birds, signed lower right, pencilled title in the artist’s hand on verso, 45 x 54.5cm (17.75 x 21.5ins), together with two others by Anne Carlisle, both untitled, oil on canvas, smaller work signed lower left (the other unsigned), 65 x 79.5cm (25.5 x 31.25ins) and 33 x 24cm (13 x 9.5ins), all unframed (on stretcher)
599* Carlisle (Anne, 1901-1975). Landscape II, oil on canvas, showing a landscape with houses, a Greek temple, and hills, signed lower right, with typed label on verso detailing artist, title, etc., 45.5 x 54.5cm (18 x 21.5ins), together with two others by Anne Carlisle, untitled, oil on canvas, one of a dog, signed lower left, 46 x 38cm (18.25 x 15ins), the other unsigned, 60 x 73cm (23.5 x 28.75ins), all unframed (on stretcher) (3)
£250-350
(3)
£200-300
173
£200-300
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602* Carlisle (Anne, 1901-1975). Composition, 1962, oil on canvas, signed lower right, dated in pencil on verso in the artist’s hand ‘Oct 11.62’, 46 x 55cm (18 x 21.5ins), together with two others by Anne Carlisle, untitled, oil on canvas, 72.5 x 60.5cm (28.5 x 23.75ins) and 38 x 45.5cm (15 x 18ins), all unframed (on stretcher) (3)
£200-300
603 Carlisle (Anne, 1901-1975). Landscape with Sea, South of France, oil on canvas, signed lower left, signed and titled in pencil on verso, 46 x 55cm (18 x 21.5ins), together with two others by Anne Carlisle, larger work titled in pencil on verso ‘Pink Abstract’, the other untitled, oil on canvas, 59.5 x 73 (23.5 x 28.75ins) and 64.5 x 53.5cm (25.5 x 21ins), all unframed (on stretcher) (3)
£200-300
Lot 602
Lot 603
604* Carlisle (Anne, 1901-1975). Composition, oil on canvas, 82 x 65cm (32.25 x 25.5ins), together with four others by Anne Carlisle, oil on canvas, similar size and smaller, each unframed and without stretcher (5)
Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)
174
£200-300
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605* Carlisle (Anne, 1901-1975). Composition, oil on canvas, 65 x 81cm (25.5 x 31.75ins), together with four others by Anne Carlisle, oil on canvas, similar size and smaller, each unframed and without stretcher (5)
607* Carlisle (Anne, 1901-1975). Untitled, oil on canvas, dated in pencil to upper edge above image in the artist’s hand ‘April 9.70’, 65 x 80cm (25.5 x 31.5ins), together with four others by Anne Carlisle, oil on canvas, similar size and smaller, each unframed and without stretcher
£200-300
(5)
£200-300
606* Carlisle (Anne, 1901-1975). Untitled, oil on canvas, 65 x 81cm (25.5 x 32ins), together with four others by Anne Carlisle, oil on canvas, similar size and smaller, each unframed and without stretcher
608* Carlisle (Anne, 1901-1975). Summer Landscape, South of France, oil on canvas, 65 x 80.5cm (25.5 x 31.75ins), together with five others by Anne Carlisle, oil on canvas, similar size and smaller, each unframed and without stretcher
(5)
(6)
£200-300
175
£200-300
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The Library of Richard Adams author of Watership Down 14 DECEMBER 2017
Richards Adams’s copy of Wind in the Willows by Kenneth Grahame, 1st edition, 1908 Estimate £1000-1500
For further information please contact Susanna Winters susanna@dominicwinter.co.uk | 01285 860006
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Children’s & Illustrated Books The Lewis Carroll Collection of David Lansley The George Fleming Collection of Victorian Greetings Cards Modern Literature & First Editions 15 DECEMBER 2017
[Dodgson, Charles Lutwidge, ‘Lewis Carroll’, 1832-1898]. A caged canary singing to the young Lilian Morgan, painted by her mother Alice Havers (1850-1890), circa 1885, pen and pencil and watercolour on wove paper, signed with artist’s monogram lower right, 25 x 14 cm (10 x 5.5 ins), framed and glazed It has been established that this watercolour hung on the walls of Lewis Carroll’s rooms at Christ Church College, Oxford. Dodgson first met the artist Alice Mary Havers (Mrs Frederick Morgan) on 30 December 1885 and ‘found her pleasant’. Shortly thereafter he helped arrange for the publication of ‘Bumble-Bee Bogo’s Budget’ with illustrations by Havers. Dodgson clearly liked her work and owned the original artwork for this book, as well as a set of proofs of drawings and several of her illustrated volumes. Provenance: Manuscript inscriptions on labels to frame verso: 1) ‘To Mr Dodgson from Lilian’ [presumably in her hand]; 2) [In Lewis Carroll’s hand:] ‘Given me by Lilian Morgan. Painted, (from her), by her mother Mrs Morgan (alias “Alice Havers”); In unidentified hands: 3) [In pencil:] ‘Mrs Morgan painted under the name of Alice Havers’; 4) ‘Bought at Lewis Carrol’s [sic] sale /98’. His writing on the other paper’; 5) ‘W.O. 764a 18/1/18’. From the Lewis Carroll Collection of David Lansley to be offered for sale on 15 December. Estimate £1,500-2,000
Further entries are invited. Please contact Susanna Winters and Paul Rasti. susanna@dominicwinter.co.uk paul@dominicwinter.co.uk 01285 860006
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INFORMATION FOR BUYERS AFTER THE AUCTION Online Results: If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after the sale has ended. Payment: The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a percentage of the final hammer price) and vat where applicable. You will be issued with an invoice made out to the name and address provided on your registration form. Please note successful bids made via live bidding cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + vat will be added to your invoice.
METHODS OF PAYMENT Cheque: Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear before purchases can be collected or posted. Cash: Payments can be made at the Cashier’s Office, either during or after the sale. Debit Card: There is no additional charge for purchases made with debit cards in the UK. All card payments drawn on an overseas bank, however, will be subject to a 2% surcharge. Credit Cards: We accept Visa and Mastercard, to which a 2% surcharge will apply. It is advisable to let your card provider know in advance if you are intending to purchase. This reduces the time needed to obtain authorisation when the payment is made. Bank Transfer: All transfers must state the relevant invoice number. 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. Note to Overseas Clients: All payments must be made by bank transfer only. No card payments will be accepted unless by special prior arrangements with the auctioneers. 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.
ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty 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 and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details.
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Libraries & Archives Nathan Winter & Chris Albury Paintings & Prints Nathan Winter Antiques & Furniture Henry Meadows Medals & Militaria Henry Meadows Aviation & Transport Collections Chris Albury & Henry Meadows Atlases, Maps & Prints John Trevers Antiquarian Books Colin Meays Modern First Editions Paul Rasti Children's Books, Toys & Games Susanna Winters Sports Books & Memorabilia Paul Rasti Taxidermy, Fossils & Field Sports John Trevers Vintage Photography & Cinema Chris Albury Manuscripts, Autographs & Ephemera Chris Albury
For free valuations without obligation, please contact any of the above specialists for further advice. Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ 01285 860006 / firstname or info@dominicwinter.co.uk
www.dominicwinter.co.uk
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CONDITIONS OF SALE AND BUSINESS 1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims. 2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice. (b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account. 3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 19.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 23.40% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 19.5% and assents to the Auctioneer receiving the said commission. 4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due. (b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately. (c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day. (d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared. 5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights: (i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller. (ii) Proceed for damages for breach of contract. (b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day. (c) Ownership of the lot purchased shall not pass to the buyer until he has paid to the Auctioneer the total sum due. 6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed. (b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot. (c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.
7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded. 8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer. 9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof. 10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to theAuctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions. 11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage. The value of the goods so covered will be the hammer price, or in the case of unsold lots the lower estimate, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods. (b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions. 12. The Auctioneer shall remit the proceeds of the sale to the seller thirty days after the day of the auction provided that the Auctioneer has received the total sum due from the buyer. In all other cases the Auctioneer will remit the proceeds of the sale to the seller within seven days of the receipt by the Auctioneer of the total sum due. The Auctioneer will not be deemed to have received the total sum due until after any cheque delivered by the buyer has been cleared. In the event of the Auctioneer exercising his right to rescind the sale his obligation to the seller hereunder lapses. 13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots. 14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein. 15. These conditions shall be governed by and construed in accordance with English Law.
Military & Aviation History, Stamps, Coins & Medals THURSDAY 9 NOVEMBER 2017
A unique and unusually interesting miniature ‘Basuto Gun War’ VC group attributed to Surgeon Major (later Colonel) Edmund Baron Hartley, VC, CMG Estimate £1500-2000
Further entries are invited. Please contact Henry Meadows: henry@dominicwinter.co.uk | 01285 860006