Rosebery's London by Jamm Design Ltd

OLD MASTER, 18TH & 19TH CENTURY PICTURES Thursday 21 November 2019

OLD MASTER, 18TH & 19TH CENTURY PICTURES Thursday 21 November 2019 Starting at 1pm VIEWING Sunday 17 November 10am-2pm Monday 18 November 9.30am-5.30pm Tuesday 19 November 9.30am-5.30pm Wednesday 20 November 9.30am-5.30pm Thursday 21 November 9.30am-12.30pm Head of Department: Marcus Grey Please note the conditions of sale at the back of this catalogue Buyer’s Premium 25% + VAT (30% inclusive of VAT) Condition of items: a catalogue description does not state the condition of the item Catalogue Price £10 (£12 by post) Front Cover: Lot 174 Back Cover: Lot 97 Inside Front Cover: Lot 149 Inside Back Cover: Lot 83

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk

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BUYING AT ROSEBERYS The following is intended to serve as a useful quick reference to buying at Roseberys. Prior to bidding please familiarise yourself with our full conditions of sale which are applicable when bidding at one of our auctions. Our staff are available to assist you with any questions you may have. Viewing Catalogues are available from reception and all lots are listed and illustrated at www.roseberys.co.uk Condition is not stated in the catalogue description and buyers are encouraged to view lots in person prior to bidding to satisfy themselves as to the accuracy of the description and condition of lots. New Bidders New buyers are required to register before bidding. This can be done in person at reception, or via email to clientservices@roseberys.co.uk. Photographic identification, full contact details and proof of address are required. Roseberys cannot accept bids from unregistered buyers. Once registered you will be provided with a paddle which states your bidding number for the auction.

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The buyer shall pay the hammer price together with a premium thereon of: 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate.

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VAT

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VAT is not charged on the hammer price unless it is stated that there is ‘VAT applicable on the hammer price’ at the end of the description. Buyer’s premium is subject to VAT.

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(ARR) – ARTIST’S RESALE RIGHT Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional. It applies to lots with hammer value over €1,000 as follows: 0 to €50,000 - 4%, €50,000.01 to €200,000 - 3% €200,000.01 to €350,000 - 1%, €350,000.01 to €500,000 - 0.5% Exceeding €500,000 - 0.25% ARR is capped at €12,500 Please note ARR is calculated in euros. Auctioneers will apply current exchange rates.

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Lot 203

1 Italian School, 15th/16th century

2 After Antonio da Correggio, Italian 1489-1534

The Madonna and child

Madonna and Child with St Jerome and Mary Magdalene,

oil on panel, 23.8x19.5cm

oil on canvas, 154.5x106cm., (unframed)

£600 - 800*

Provenance: with Frost & Reed, according to label attached to the stretcher Note: This painting is a copy of Antonio da Correggio’s work of the same title held in the Galleria Nazionale of Parma, Italy, dating from around 1528. £600 - 800*

3 3 Manner of Gianfrancesco Penni, early-mid 18th century Sinite Parvulos Venire ad me oil on canvas, 58x110cm £1,200 - 1,800* 4

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4 Circle of Hans Eworth, Flemish act. 1540-1573 Portrait of a man quarter-length, wearing a black cap and coat oil on panel, 28.6x21.8cm £400 - 600*

5 Sienese School, late 16th century Saint Agatha holding a torch and an eye with a devoted figure at her feet oil on cradled panel, 128x82.5cm (unframed) £2,000 - 3,000* 6 Abraham Ortelius, Flemish 1527-1598 Transilvania hand-coloured engraved map, printed in Antwerp, 1584, and published in Theatrum Orbis Terrarum, plate 32.8x44.7cm: together with one further hand-coloured engraved map by the same artist entitled Poloniae, Litvaniae Q Descriptio, published in Theatrum Orbis Terrarum, plate 37.7x48.5cm (2) £150 - 250*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

7 Giovanni Battista Franco, Italian 1498-1561 Landscape with horseman and his groom, after Tiziano Vecellio [Bartsch 8], circa 1560 etching, plate 33.2x44cm (unframed) Note: To see a comparative example of this print see Fitzwilliam Museum, Cambridge, item no 179144 £600 - 800*

8 After Israhel van Meckenem, German c.1445-1503/17 Der Ritter und seine Schöne (the Knight and the Lady), c.1496 copper engraving on laid paper, bears initials within the plate, 16x11.3cm £400 - 600*

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9 After Lucas van Leyden, Dutch 1494-1533 The Adoration of the Magi pen and brown ink and wash on laid paper, 29x42.5cm Note: Together with correspondence from Martin Royalton-Kisch, former Assistant Keeper at the British Museum, 28 June 1990. £300 - 500*

10 After Albrecht Dürer, German 1471-1528 The Large Passion: The Resurrection and Samson Fighting with the Lion woodcuts on wove, two, both with collectors stamp verso, 40x28cm (max/sheet), (2) (unframed) (VAT charged on hammer price) £250 - 350*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

11 Follower of Michiel Jansz van Mierevelt, Dutch 1567-1641 Portrait of gentleman, half-length in a black coat and white ruff oil on copper panel, 32.5x27cm £600 - 800* 12 After Frans Hals, Dutch 1582-1666 Portrait of a Man in his Thirties oil on canvas, 64x50cm Note: The present painting is a copy after Frans Hals work by the same title held in the National Gallery, London (ref. NG1251) £200 - 300*

13 After Samuel Cooper, British 1609-1672 Portrait of Oliver Cromwell oil on copper panel, 17.3x12.8cm Note: For the original work, see NPG 3065 £150 - 200*

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14 14 Manner of Guido Reni, 18th century The Sleeping Child oil on canvas, bears inscription on the reverse, 42x57cm Note: The present painting depicts a secular scene of an infant resting with an urn of flowers beside him. The pose of the sleeping child displays very similar qualities to the numerous examples of the Virgin and Sleeping Child by or after Guido Reni. Other examples can be found at Bateman’s, East Sussex (ref. NT 761403) and The National Galleries Scotland (ref. P 8809) of the religious depictions. £1,500 - 2,000*

15 Follower of Pieter Brueghel the Younger, Flemish 1564-1636 Massacre in a village oil on cradled panel, 48.3x65.5cm Note: Typical of the Flemish style of this period, the subject matter and perspective display a number of similarities to the compositions executed by Brueghel the Younger and his studio in faith with his father's famous works. £1,500 - 2,000* 15

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

16 Manner of Lavinia Fontana, 18th century Portrait of St. Catherine of Alexandria oil on canvas laid down on panel, bears signature and date, 63x52.8cm., (unframed) Note: This painting bears the following inscription and date; ‘Lavi Font de Zappis Facie, MDXCIIIII’, which closely resembles that on the work ‘The Holy Family and St Catherine of Alexandria’ by Lavinia Fontana of 1581; in the collection of the Los Angeles County Museum of Art. £1,500 - 2,500*

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17 17 Follower of Cesare Dandini, Italian 1596-1657 An allegory of spring, portrait of a woman holding a rose, feigned oval oil on canvas, 83.5x65.8cm ÂŁ5,000 - 8,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

18 Follower of Joos de Momper the Younger, Flemish 1564-1635 Lakeside dwellings with mountains beyond, and Arched bridge over river in mountainous landscape oils on canvas, a pair, ea. 32.7x47cm, (2) £200 - 400* 19 Follower of Pieter Anthonisz van Groenewegen, Dutch 1600-1658 Figures by a weir in a river landscape beneath stormy skies, a hill top castle beyond oil on panel, 23x19.5cm £1,000 - 1,500*

20 20 After Aert van der Neer, Dutch 1603-1677 Wide frozen river landscape with village and windmill oil on canvas, bears monogram, inscribed and dated indistinctly, 30x41cm

Provenance: Sotheby’s, London, 29th October 2014, lot 455 Note: This particular painting is a copy after the signed and dated original work completed in 1662 and held in a Private Collection (see W. Schulz, Aert van der Neer, Doornspijk 2002, p.146, cat. No. 76, colour plate 12.) £1,000 - 1,500*

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21 Joachim Govertsz. Camphuysen, Dutch 1601-1659 A landscape with travellers on a path oil on panel, 61.5x78.5cm Provenance: Sotheby’s, London, 2nd May 2012, lot 133 £2,000 - 3,000* 22 Follower of Klaes Molenaer, Dutch c.1630-1676 Villagers haymaking on the brow of a hill with cloudy skies oil on panel, 44x37.5cm (unframed) £250 - 300*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

23 Circle of Mario Nuzzi called Mario de Fiori, Italian 1603-1693 Still life of flowers tied with a blue ribbon oil on canvas, 47.2x35.2cm £1,500 - 2,500* 24 Simon Hardime, Flemish 1664-1737 Still life of flowers with roses, tulips and hydrangeas in a bronze urn on a stone pedestal, together with a parrot oil on canvas, 87.5x111cm Provenance: Sotheby’s, Old Masters, 3 May 2017, lot 236; Christie’s, London, 10 July 1981, lot 38, as Peeter Casteels; H.W. Noble; By whose executors sold, London, Christie’s, 10 July 1981, lot 38 (as Peeter Casteels); Sir C.R.P. Beauchamp; with Leggatt, London, by 1957, until at least 1960, as Pieter Hardimé £4,000 - 6,000* 23

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25 Giuseppe Vicenzino, Italian c.1662-1700 Still life with wild roses, tulips and other flowers oils on canvas, a pair, 100x80cm., ea., (2) Note: little is known of this Milanese artists' life, however he is renowned for his dramatic and detailed depictions of flowers. This particular pair of still lifes show the artist's ability in highlighting the flowers through the use of chiaroscuro. Two of his signed paintings are held in the Dubini collection, Milan, which were shown at the exhibition; 'La natura morta Italiana' in Naples in 1964. ÂŁ5,000 - 10,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

26 Aert van der Neer, Dutch 1603-1677 Wide river landscape by moonlight with figures fishing and a village beyond oil on panel, signed with initials, 53x77.8cm Provenance: Nathusius, Amsterdam; sale Amsterdam (Mak van Waay) 20th Novemeber 1951, lot 95, ill,; sale Amsterdam (Mak van Waay) 24th January 1967, lot 505 p. 28, ill,; Leonard Koetser, London (Cat. Spring 1967, no. 4 p. 10, ill. p.11); John Viccars, London; Sothebyâ&#x20AC;&#x2122;s London, 4th December 2014, lot 162 (certificate Walther Bernt) Exhibition: Leonard Koetser Gallery, London, Spring Exhibition, 1967, no. 4. Literature: W. Schulz, Aert van der Neer, Doornspijk 2002, p. 276, cat. no. 606. Note: Renowned for his bleak winter landscapes, Aert van der Neer is one of the leading landscape artists of the Dutch Golden Age. Considered an expert in painting scenes lit by moonlight, this particular atmospheric work is typical of his well established style, masterfully portraying the effect of moonlight on a river landscape and a Dutch village in the distance. Born in the Netherlands, van der Neer spent most of his life in and around Amsterdam. It is thought he only began painting in his late 20s and would go on to make a number of collaborations with the landscape artist, Aelbert Cuyp (1620-1691). ÂŁ20,000 - 30,000*

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

27 27 Jan Baptist van Meunincxhove, Flemish c. 1620/25-1703/04 The Good Samaritan, 1673 oil on canvas, signed and dated, 137x153cm Provenance: gifted by Sir Archibald Campbell 2nd Bt of Succoth to his sister Ann, wife of Francis Sitwell of Barrmoor about AD 1800, according to the inscribed label attached to the stretcher Note: Known for his ability to work across a wide range of genres, the present work shows the artist's versatility in painting landscapes and architecture. Most remarked upon are his Flemish cityscapes and large scale group portraits. ÂŁ3,000 - 4,000*

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28 28 Jean Daret, Flemish 1614-1668 The Birth of the Virgin, 1639 oil on canvas, signed and dated, 74.7x68.8cm Provenance: Bonhams, London, 24th October 2012, lot 106; HĂ´tel Drouot, Paris, 10 June 2005, lot 8 Note: Known for his versatility in subject matter, Jean Daret was a highly sought after artist for his religious depictions. Apprenticed under Anton Van Opstal in Brussels from 1625 he would go on to travel to Italy and France decorating multiple churches and convents throughout his life, as well as private chapels and homes of the nobility. ÂŁ5,000 - 7,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

29 Venetian School, 17th century Abraham and the Three Angels oil on canvas, bears signature, 72.8x98.5cm (VAT charged on hammer price) Provenance: Sotheby’s, London, 7th December 2004, lot 423 £2,000 - 3,000* 30 Follower of Johann Michael Rottmayr, Austrian 1656 -1730 Celestial allegorical figure oil on canvas laid down on panel, 31.5x36.8cm

£200 - 300*

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31 Manner of Bartolome Esteban Murillo, early 19th century

33 Follower of Jan Gabrielsz Sonje, Dutch c.1625-1707

The Madonna and child with St Anthony and friar

Rider in a wooded river landscape with a stone bridge and a hill top castle

oil on canvas, 79.5x63cm £400 - 600* 32 Follower of Salvator Rosa, Italian 1615-1673 Portrait of a bearded old man in a turban, head and shoulders oil on panel, 38x26cm (unframed) £100 - 200*

oil on panel, bears old label attached to the reverse, 41x47.7cm., (unframed) £400 - 600* 34 Antonio Francesco Peruzzini, called Il Perugino, Italian 1646-1724 A wooded river landscape with fishermen oil on canvas, 92x117cm Provenance: Sotheby’s, London, 19th September 2019, lot 167; Sotheby’s, London, 9th July 1998, lot 170 £3,000 - 4,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

35 Follower of Antoine Coypel, French 1661-1722 Latona and her Children, Apollo and Diana, beneath an old tree in a moonlit river landscape oil on canvas, 74x62cm ÂŁ800 - 1,200*

36 Venetian School, 18th century Two Angels oil on canvas, 90x126cm., (unframed) ÂŁ600 - 800*

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37 After Francesco Trevisani, Italian 1656-1746 The Holy Family with Saint John the Baptist oil on canvas, 98x73cm Note: The present work is a copy of Francesco Trevisani’s painting of the same subject matter, a theme that he visited multiple times. For a similar version see Francesco Trevisani’s ‘Holy Family with the Infant St. John’ at the Art Institute of Chicago (ref. 1978.107) £600 - 800* 38 Follower of Jacob de Wit, Flemish c.1695-1754 Trompe l’oeil of putti with musical instruments and books oil on canvas, 56x124cm Provenance: Sotheby’s, London, 24th April 2008, lot 482 £600 - 800*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

39 Follower of Jean-Baptiste-Siméon Chardin, French 1699-1779

41 Antoine Waterloo, Flemish 1609-1690

Still life with lemons, a bowl, and a hanging cloth

Woodland stream

oil on oblong shaped canvas, 20x40cm (unframed)

etching on laid paper, signed with initials within the plate, stamped verso Kupferstich-Sammlung Koniglichen Museen, and inscribed, sheet 29x23.5cm: together with five further etchings on laid by the same artist, depicting- Rural and Northern European landscapes, one stamped verso, all signed or signed with initials within the plate, sheet 22.6x29cm (max) (6) (unframed)

£300 - 500* 40 Johann Christoph Weigel the Elder, German 1654-1725 Anglia Cambdeni; Scotia Cambdeni et Sibbaldi hand-coloured engraved maps on laid paper, two, both printed in Nuremberg by Johann Ernst Adelbulner c.1718, published in Bequemer Schul-und Reisen-Atlas, sight 39.2x32.8cm and 39.6x33.4cm., (2)

£300 - 500* 42 Giovanni Battista Piranesi, Italian 1720-1778 Camera Sepolcrale, [Wilton-Ely 373], 1750-56 etching on laid paper, from the Camera Sepocrali series, plate 40x59.5cm (VAT charged on hammer price)

£200 - 300*

Provenance: with P & D Colnaghi & Co. Ltd., London, according to the label attached to the reverse of the frame £100 - 150* 43 Giovanni Battista Piranesi, Italian 1720-1778 Veduta del Tempio di Bacco, [Wilton-Ely 184], 1758 43

etching on laid, watermark fleur-de-lys in double circle, plate 40.5x61.5cm, sheet 52x78cm (unframed) £500 - 700* 44 Giovanni Battista Piranesi, Italian 1720-1778 Veduta della Facciata di dietro della Basilica di Santa Maria Maggiore, [Wilton-Ely 172], 1749 etching on laid, watermark fleur-de-lys in double circle, plate 40.5x61cm, sheet 53x75cm (unframed)

£500 - 700* 45 Giovanni Battista Piranesi, Italian 1720-1778 Veduta della fonte e della Spelonche d’Egeria fuor della porta Capana or di S.Sebno, [Wilton-Ely 213], 1766 etching on laid, III/VI state, watermark, plate 40.5x69.5cm, sheet 46x74.5cm (unframed)

£500 - 700*

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46 Giovanni Battista Piranesi, Italian 1720-1778 Veduta del Tempio, detto della Tosse su la via Tiburtina un miglio vicino a Tivoli, [Wilton-Ely 202], 1763 etching on laid, III/IV state, watermark of a crowned fleur-de-lys above three ermine tails, plate 44x57.5cm, sheet 53.5x73cm (unframed) £500 - 700* 47 Giovanni Battista Piranesi, Italian 1720-1778 Carceri d'Invenzione, plate IV, [Wilton-Ely 29], c.1749 etching on laid, plate 54x41, sheet 80.6x55cm (unframed) £500 - 700* 48 Giovanni Battista Piranesi, Italian 1720-1778

Pianta del Sepolcro de’ Scipioni, & Pianta di un Sepolcro situato sull’ antica Via Appia vicino alla Vigna Buonamici, [Wilton-Ely 384 & 393], c.1756 etchings on laid paper, two, from the first Paris Edition (1800-07), plate 35x23.5cm, sheet 56.2x40.4cm (max) (2) (unframed) £300 - 500* 49 Giovanni Battista Piranesi, Italian 1720-1778 Posticum Panthei, [Wilton-Ely], 1762

etching on laid, plate 20.5x44cm, sheet 41.7x58.5cm, (unframed/mounted) £300 - 500* 50 Giovanni Battista Piranesi, Italian 1720-1778 Veduta dell’avanzo del Castello, che prendendo una porzione dell’ Acqua Guilia dal Condotto, [Wilton-Ely 169], c.1774 etching on thick laid paper with a fleur-de-lys in a double circle watermark, plate 40x61cm, sheet 53x74cm

Note: From the Rome edition of ‘Vedute di Roma’, showing the modified and partially reconstructed ruins of the terminal distribution ‘castellum’ of the water supplied to central Rome from the Aqua Giulia, sited in what is now the Parco Vittorio Emanuale, near the Villa Palombara £500 - 700*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

51 Antoine Augustin Calmet, French 1672-1757 Sinagogue des Juifs, c.1750 copper engraving on laid paper, 31.5x44cm £200 - 300*

52 52 Jacques Rigaud, French c.1681-1754

53 Jean-Etienne Liotard, Swiss 1702-1789

Autre Vue D’Anet du Cote de la Cour des Cuisines

Portrait of Maria Theresa, Empress of Austria (Profil de l’Imperatrice Reine), [Roethlisberger & Loche 527], c.1780

copper engraving on laid paper, plate 23x47cm: together with two further copper engravings on laid paper by the same artist, depicting- Veue du Grand Canal de Chantilli prise a sa source & A Son Altesse Serenissime Monseigneur Le Duc, printed Rue St. Jacques, circa 1739, watermarks on all Croix de Malte et collier, plate 24.4x45.5cm (max) (3) (unframed)

mezzotint on watermarked laid paper, plate 16.5x13cm (unframed)

£400 - 500*

£400 - 600* 54 Pierre-Quentin Chedel, French 1705-1763 Harlequin Jaloux, after Watteau [Dacier & Vuaflart 77] engraving and etching on laid, printed in Paris, plate 38.3x28.5cm (unframed) £200 - 300*

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55 Attributed to John Clerk of Eldin FRSE FSA, Scottish 1728-1812 The Abbey and Gardens of Culross, Fife, as seen from the South East pen and ink with watercolour, image 17.3x35.5cm Provenance: Appleby Bros. Ltd., London, Spring Exhibition, 1963 £150 - 200* 56 Italian School, 18th century Study of female mythological figure pen and brown ink on laid paper, 19.5x12cm £100 - 150* 57 Manner of Joos Van Craesbeeck, early/mid 18th century Portrait of a gentleman seated by a table reading;

red chalk on laid paper, 27.7x20.6cm £500 - 700*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

58 58 Circle of Sir Joshua Reynolds PRA FRS FRSA, British 1723-1792 A young woman and a shepherd in a glade oil on cradled panel, 64.5x78.7cm., (unframed) Note: the present work bears similarities to various works by Sir Joshua Reynolds, including the red drapery and diaphanous gown of the sitter in ‘Cupid Untying the Zone of Venus’ and ‘Wanton Bacchante’. The figures themselves also resemble the portraits of Maria Marow Gideon and her brother William, owned by the Barber Institute of Fine Arts (ref. No.2013.1) £2,000 - 3,000* 59 Follower of Jean-Baptiste-Henri Deshays, French 1729-1765 Venus lamenting the death of Adonis oil on canvas, 112.5x73cm £500 - 700*

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60 After Sir Thomas Lawrence PRA, British 1769-1830

62 British School, early-mid 18th century

Elizabeth Thynne, Countess Cawdor, d.1866

Portrait of John Dunmoll Mercer (1737-1831), quarterlength in an azure blue blue brocaded coat and red cloak, feigned oval, 1735

oil on canvas, stamped ESK to the reverse of the canvas, 35.5x34.8cm (unframed) Note: For the original work, see National Galleries Scotland, PG 2796 £100 - 150* 61 Circle of John Riley, British 1646-1691

oil on canvas, inscribed and dated, 78x85cm Note: A leather bound prayer book belonging to the sitter accompanies this lot: The Book of Common Prayer, published by John Baskett, Oxford, 1719, bearing extensive inscription £200 - 400*

Portrait of a gentleman, quarter-length turned to the right in a red cloak oil on panel, feigned oval, 35.5x26.5cm £300 - 400*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

63 Follower of Robert Edge Pine, British/American 1730-1788

64 Studio of John Hoppner RA, British 1758-1810

Portrait of a gentleman, traditionally held to be William Smith (1728-1793), seated halflength holding a quill, eventually the loyalist Chief Justice of the Province of New York from 1780 to 1782 and Chief Justice of the Province of Quebec

Portrait of a gentleman, half-length turned to the left

oil on canvas, 88.8x68cm

ÂŁ1,000 - 1,500*

oil on canvas, 76.5x64cm Provenance: John Denham Gallery, London, where purchased in 1989 Note: By repute, this portrait may depict George III

ÂŁ2,500 - 3,500*

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65 Circle of Peter Paul Lens, British 1714-1751 A portrait miniature of Robert Pye LLD (1715-1788), in Holy Orders Prebendary of Rochester Cathedral oval, signed with monogram AB, 3.5x2.8cm Note: A hand-written note relating to this miniature accompanies this lot ÂŁ250 - 300*

66 Attributed to John Hoppner RA, British 1758-1810 Portrait of Jane, daughter of Lt. Gen. Sir Thomas Spencer Wilson Bt., half length, in a black lace dress oil on canvas, bears inscription Mrs Spencer Perceval on the stretcher, 76.5x63.2cm Note: John Hoppner was an English portrait painter who attended the Royal Academy during the latter part of the 18th century. The sitter, Jane Spencer, went on to marry Rt. Hon Spencer Perceval KC, Prime Minister from 1809-1812. The first version of this painting known to be by John Hoppner originally came from collection of D. Perceval, documented in the Witt Library. It was sold at Christie's on 12 December 1930 to Goodon & Fox Ltd and then to J. Leger & Son in 1961, and was documented as being for sale in their 1962 catalogue as being from the collection of Lady Haldin, wife Sir Philip Edward Haldin.

ÂŁ1,800 - 2,200*

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69 67 Paul Sandby RA, British 1731-1809 Harriet Mary Sandby, the artist’s niece and daughter-in-law, standing full-length watercolour over traces of pencil, 14x6.1cm Provenance: Andrew Wyld, W/S Fine Art Ltd., London £300 - 500* 68 Paul Sandby RA, British 1731-1809 Studies of working horses and carts ink and wash, three, ea. of irregular shape, in a shared mount and frame, 7x12cm (max) Provenance: Abbott & Holder Ltd., London; Christie’s, London, William Sandby Collection, 26th May 1959, lot 105 £200 - 300* 67

69 Paul Sandby RA, British 1731-1809 Nuneham House, Seat of the Earl of Harcourt with Oxford in the distance pencil, pen and ink on laid paper, inscribed in pencil, image 15.7x45.2cm Provenance: A. Williams; thence by descent until 1999; W.S. Fine art Ltd., Andrew Wyld Exhibited: The Guildhall Art Gallery, London, Paul Sandby Exhibition, 1960 £400 - 600* 70 John Baptiste Malchair, German/British 1731-1817

Oxford from Magdalen bridge, 23rd June 1775 pencil and wash on laid paper, 24x17cm Provenance: Abbott & Holder Ltd., London £500 - 800*

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73 71 Francisco de Goya, Spanish 1746-1828

72 Richard Westall RA, British 1765-1836

73 William Blake, British 1757-1827

The Kidnapping Horse, from Los Proverbios, plate 10, [Harris 257.III.1], c. 1824

Girl seated in a glade with attentive dog

Satan before the Throne of the God (2nd plate of the Book of Job), When the Almighty was yet with me, When my Children / were about me, [Bindman 627]

etching, aquatint and drypoint on laid, second state, plate 24.4x35cm

watercolour, signed, image 36.6x27.5cm £200 - 300*

£120 - 180*

engraving on chine-collé, published March 8 1825, 21x16cm (unframed) £800 - 1,200*

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74 74 Thomas Rowlandson, British 1756-1827

76 Thomas Sunderland, British 1744-1823

A religious procession with street worshippers

Near the Breadalbane Estate, Perthshire

pen and ink and watercolour,14.5x22cm

pen, brown ink and watercolour over traces of pencil, 33x46cm

Provenance: Abbott & Holder Ltd., London £700 - 1,000* 75 Attributed to Jean Claude Nattes, French 1765-1822

Note: The name Breadalbane derives from the Gaelic word for ‘High Ground of Scotland’. The Breadalbane area is centred on the upper reaches of the Tay River and loch in north-west Perthshire. £250 - 350*

In the English Garden at Chatelier pen and brush and ink on laid paper, inscribed, 26.5x42cm (mounted, unframed) £150 - 200*

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77 77 Edward Dayes, British 1763-1804 Portrait of a lady standing full-length in a parkland setting by a statue holding a drawing, 1790 pen and grey/black ink and watercolour heightened with white, signed and dated, 28.3x18.3cm ÂŁ800 - 1,200*

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78 William Payne AOWS, British 1760-1830

80 Lorenzo Roccheggiani, Italian fl.1788-1817

A Hilly Landscape near Dundee

Ornament, plates T.XCIX, T.XCVIII, I T.XCIV, T.XCIII

watercolour, 20.7x26.1cm

engravings on wove, plate ea. 18x29.5cm approx. (4): After François Chauveau, French, 1613-1676Armiger, Ephebus, Americani, & Castrorum Prefectus Indus, from ‘Courses de Testes et de Bagues Faittes par Roy et par les Princes et Signeurs de sa Cour, en l’annee 1662 (Grand Carrousel), two hand-coloured engravings, ea. plate 31x25.5cm, (6)

Provenance: Christie’s, English Drawings & Watercolours, 28th October 1969, lot 121, according to the label attached to the reverse of the frame £150 - 250* 79 Attributed to John Varley OWS, British 1778-1842 Study of a cottage; pencil and watercolour on paper, bears inscriptions on the reverse, 17.5x28cm £200 - 300*

£200 - 300* 81 Joshua Cristall POWS, British, c.1767-1847 A girl collecting water at Barmouth, 1831 pencil on paper, signed, dated and titled in ink, 24x18cm Provenance: Spink, St. James, according to the label attached verso £150 - 250* 82 John Varley OWS, British 1778-1842 Bamburgh Castle, Northumberland watercolour, signed, 10.5x13.5cm

Note: Bamburgh Castle was a subject matter repeated on a number of occasions by Varley throughout his artistic career, many with the same exaggerated rocky outcrop dominating the picture plane. One of the founding members of the Old Watercolour Society he became a regular exhibitor as well as producing multiple works for the Royal Academy. £400 - 600*

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83 83 After Jacob Philipp Hackert, German 1737-1807 Return of the Fleet from Algeria to the Bay of Naples, after 1794 gouache on laid paper, 57x86.4cm Note: This painting is a large format study after Jacob Philipp Hackert’s “Return of the Fleet from Algeria to the Bay of Naples”, part of the extensive Hackert collection at the Reggia di Caserta. The original shows the volcano omitting smoke, however in the current work Vesuvius’s profile has been updated to reflect the eruption in 1794, therefore this painting is likely to have been executed after this date. £3,000 - 5,000*

84 Swiss/Austrian School, 18th century

85 Follower of George Morland, British 1763-1804

86 British School, 18th century

Alpine river landscape with figures and a distant townscape

Boy with farmyard animals;

Figures beneath an old oak tree in a landscape

oil on copper panel, tondo, 9.8cm diameter

oil on canvas, bears signature, 43x58.5cm £200 - 300*

oil on canvas, 46x37.7cm £300 - 400*

£100 - 150*

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87 British School, late 18th/early 19th century A Naval engagement oil on panel, 35x77cm £500 - 700*

88 88 Thomas Whitcombe, British c.1763-1824 HMS Defiance, in choppy seas with other shipping and a headland beyond, 1786 oil on canvas, signed and dated, 89x149.5cm Note: This stormy, atmospheric naval scene, typical of the artist’s style, displays HMS Defiance possibly off the coast of Kent or Sussex. Launched in 1783 HMS Defiance was a 74-gun third rate ship of the line of the Royal Navy, built by Randall and Co., at Rotherhithe on the River Thames. A leading and prolific maritime painter during the French Revolutionary Wars and Napoleonic Wars, Whitcombe exhibited over fifty times at the Royal Academy between 1783 and 1824, his extensive knowledge of naval architecture and life at sea is accurately portrayed through out all his works. He is mostly renowned for producing 50 paintings to illustrate ‘The Naval Achievements of Great Britain’ which went on to be engraved and sold extensively across Britain. £4,000 - 6,000*

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89 89 Follower of Robert Dodd, British 1748-1815 The Quebec and Surveillante in Action, 6 October 1779 oil on copper panel, 51x74.5cm Provenance: John Denham Gallery, London, where purchased in 1997 Note: This is a copy of the painting of the same title by Robert Dodd, held in the National Maritime Museum Greenwich (ref. BHC0426). HMS Quebec of the British Royal Navy is portrayed as the ship ablaze and dismasted on the right, with the frigate Surveillante of the French Navy on the left. Robert Dodd was one of the principal recorders of the famous naval battles within the American Revolutionary Wars. ÂŁ4,000 - 6,000*

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90 British School, late 18th century Portrait of Henry James Pye (1745-1813) of Farringdon, Berkshire, Poet Laureate from 1790-1813, c.1785 pastel and watercolour on paper, oval, bears label Ivor A B Ferguson Esq., *2 Eaton Square, London SW attached to the reverse of the frame, 60.5x46cm Note: This lot is accompanied by the following items: original back label, held separately; original publication by the sitter entitled ‘Amusement, A poetical essay’; another original publication by the sitter entitled ‘Adelaide: A Tragedy, in five acts’; a sheet with the biographical details of the sitter Provenance: see NPG, London, c.1785, Small oval pastel drawing by unknown artist, half-length to right in blue coat and white stock, in Ivor Ferguson sale at Foster’s, 1 December 1938 (678). £800 - 1,200* 90 91 European School, late 18th/early 19th century Portrait of František Kočvara (1730-1791), Czech violinist and composer oil on canvas, 76x63cm Provenance: John Denham Gallery, London, where purchased by the present owner £600 - 800*

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92 After Charles Jagger, British c.1770-1827 Portrait of William IV when Duke of Clarence wearing Star of the Garter oil on canvas, 76x60.7cm £150 - 250*

92 93 Dutch School, late 18th/early 19th century Portrait of a fisherwoman oil on copper panel, 13.2x9.5cm., (unframed) £400 - 600* 94 Circle of Patrick Nasmyth, Scottish 1787-1831 Landscape with peasants and cart oil on board, bears remains of inscribed label attached to the reverse, 15x22.5cm £100 - 150*

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95 95 Dutch School, early 19th century

96 Joseph Ellis, British 1783-1848

Landscape with a figure, woodland and a stream

Cottage on the Stream, Dolgelley, 1876

oil on panel, 44x55.5cm

oil on canvas, signed and dated, signed, titled and dated on the reverse, 35.8x53cm

ÂŁ300 - 500*

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97 97 William Burland, British fl.1787-1848 Summer, 1834 oil on canvas, signed and dated, 74x71cm Provenance: with N R Omell. London, according to the label attached to the reverse ÂŁ2,000 - 4,000*

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98 98 Attributed to Peter de Wint OWS, British 1784-1849

99 Anthony Vandyke Copley Fielding POWS, British 1787-1855

Haymaking

Martello Tower on the Sussex Coast, 1848

watercolour, bears signature, 21x36cm £1,500 - 2,500*

watercolour, signed and dated, 18.5x25cm Provenance: with Mawson, Swan & Morgan Limited, Grainger Street, Newcastle-on-Tyne, according to the label attached to the reverse of the frame

100 William Turner of Oxford, British 1789-1862 Aldnorth Church, Berks pencil with touches of watercolour and white on buff coloured paper, 21.5x35.8cm Exhibited: University Galleries, Oxford, Exhibition of the Work of William Turner, 1895, according to the label attached to the reverse of the frame £300 - 500*

£100 - 150*

100

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101 After Captain Frederick Marryat, British 1792-1848 Funeral procession of Napoleon Bonaparte at St. Helena, May 1821; aquatint printed in colours, 40x67cm: After Jean-Michel Moreau, French 1741-1814, Ceremony of Te Deum by the Allied Armies on the Square of Louis XV at Paris, published by Robert Bowyer, 1816, 33x53cm (2) £150 - 200* 102 Robert Theer, Austrian 1808-1863 Portrait miniature of a lady, quarterlength turned to the right in a white lace collar oval, signed, in a glazed rectangular ebonised frame with gilt mounted oval aperture, 7x5.5cm: European School, mid 19th century, a portrait miniature of a lady, standing three quarter-length in a green dress, signed with initials, in a glazed ebonised rectangular frame, 11.5x8cm: European School, mid 19th century, a portrait miniature of a gentleman, quarter-length turned to the right in a brown coat, tondo, in a glazed gilded metal tondo frame, 5cm., dia., (3)

102

£600 - 800* 103 William Purser, British 1789-1852 Fisherfolk unloading from vessels moored below a riverside castle watercolour, signed, 28.5x22cm £400 - 600*

103

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104 Herminie Deherain, French 1798-1839 Lady in her bedchamber with a suiter and attendants, 1833 oil on canvas, signed and dated, 81.5x65.5cm ÂŁ800 - 1,200* 105 Follower of Thomas Webster RA, British 1800-1886 Villagers making merry in a tavern oil on canvas, 70.5x91cm ÂŁ300 - 400*

104

105

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106 Attributed to Sebastian Pether, British 1790-1844 Moonlit harbour scene oil on canvas, 50.5x60.7cm £600 - 800* 107 British School, early 19th century Elegant riders on a path with cattle herders and shepherds in a wooded river landscape oil on canvas, bears inscription on the stretcher, 68x106.5cm £200 - 400* 106

108 British School, early 19th century East meets west on the Bosphorus, with Istanbul beyond oil on canvas, 75x61cm Note: Several of the figures in this picture also appear in a British School work in the collection of the Atkinson Art Gallery, Southport (BOOAG:30), suggesting this is by the same hand £1,500 - 2,500*

108

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109 Attributed to James Stark, British 1794-1859 Figures beneath an old oak tree with a cottage and a landscape beyond oil on canvas, 24x33cm £400 - 600* 110 C Stanﬁeld, British School, early/mid 19th century Shipping scene in the English Channel, 1830 109

oil on canvas, signed and dated, 63x76cm £600 - 800* 111 Northern European School, late 18th/early 19th century Droving cattle and sheep by an old Inn with a windmill and mountains in the distance; oil on panel, 22.5x29.8cm £300 - 500* 112 British School, early 19th century The demolition of Wricklemarsh House

111

oil on canvas, 46x80cm Provenance: Christie’s, London, 22nd July 1988, lot 186 Note: The ruins of Wricklemarsh House were purchased in 1784 by John Cator who would go on to sell the contents of the house in 1787 at Christie’s. A watercolour of the ruins in a similar state can be found at the New Walk Museum and Art Gallery in Leicester by J.M.W.Turner. £400 - 600*

112

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113

114

113 British School, early 19th century Portrait of Philip Jackson (1715 to 1792) of Rainton Hall Co. Durham, half-length in a red coat turned to the right, feigned oval and portrait of his wife Mrs Philip Jackson, quarterlength in a white bonnet oils on board, two, 14x121.2cm., ea., (2) £300 - 500* 114 British Provincial School, early 19th century Shepherd boy with his dog and sheep resting in a woodland glade oil on canvas, 37.3x32.5cm £300 - 500* 115 Attributed to Sir William Charles Ross RA, British 1794-1860 Portrait of a lady, traditionally held to be Isobel Anderson, seated half-length holding an open book

115

oil on board, bears inscription to the reverse of the frame, 17.6x13.8cm £500 - 800*

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116 116 David Roberts RA, Scottish 1796-1864 The Great Temple of Aboo Simble [sic], Nubia, & The Great Sphinx, Pyramids of Girzeh hand-coloured lithographs, two, both published in London by F G Moon, 20 Threadneedle St, Aug. 1st 1846, image 33.5x49cm & image 27x36.5cm (2) £500 - 700*

117 117 C W M Van de Velde, Dutch fl 1851-52 Kefr Hamam near Hasbeiya; tinted lithograph, from Collection de cent vues prises d’apres nature dans la Syrie et la Palestine, published by Jules Renouard, 1857, printed by Lemercier: together with a collection of further pates from the same and/or related suites, (approx 50) (unframed) Provenance: Sotheby’s, London, 14th May 1998, lot 128 £800 - 1,200*

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118 118 David Roberts RA, Scottish 1796-1864 Gaza Tinted lithograph, published by F G Moon Jan 2nd 1843, 44x61cm: together with six further tinted lithographs by the same artist to include Jerusalem from the Mount of Olives, published by F G Moon July 1st 1841; Tiberius, published by F G Moon Aug 1st 1844; Suez, published by F G Moon Aug 1st 1843; Petra, shewing (sic) the Upper or Eastern end of the valley, published by F G Moon July 1st 1842; Jerusalem, from the road leading to Bethany, published by F G Moon June 1st 1841 and Hebron, published by F G Moon Jan 2nd 1843, ea. 44x61cm., (7) (unframed) Provenance: Sothebyâ&#x20AC;&#x2122;s, London, 14th May 1998, lot 111 ÂŁ200 - 300*

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119 119 After Isaac Frost, British 1793-1858 Muggletonian Astronomical prints from Two Systems of Astronomy, 1846: The Newtonian System of the Universe [plate 1]; The Newtonian System [plate 3]; The Newtonian System [plate 6]; System According to the Holy Scriptures [plate 7]; System According to the Holy Scriptures [plate 9]; System According to the Holy Scriptures [plate 10] engravings printed in colours, six, engraved by W P Clubb & Son, 7 Charterhouse Street, London, and printed by George Baxter Patentee, 11, Northampton Square, London, each plate 24x32cm (6) (unframed) Note: Muggletonianism was a Protestant sect movement founded in 1651 and named after Lodowicke Muggleton. These celestial maps, published by Isaac Frost in his book Two Systems of Astronomy, illustrate many aspects of the sectâ&#x20AC;&#x2122;s beliefs. ÂŁ600 - 1,000*

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120 Circle of Charles Cooper Henderson, British 1803-1877 Unloading a cart by a public house and Horse and cart laden with luggage and crates watercolours, a near matched pair, 24.5x34.5cm and 25x34.5cm, (2) £100 - 200* 121 Henry Courtney Selous, British 1811-1890 Continental Village scene pencil on wove paper, signed, 15x24.7cm

120

£200 - 300* 122 Albert Fleetwood Varley, British 1804-1876 View of farm buildings watercolour, signed, 15x21cm £100 - 150* 123 David Cox Jnr, British 1809-1885 Woodland and foliage at the edge of a lake with hills beyond watercolour, signed, 25x36cm Provenance: with Ernest Brown & Phillips, The Leicester Galleries, London, according to the label attached to the reverse of the frame; Sotheby’s, London, 1st April 1993, lot 95

122

£100 - 150*

123

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124 Samuel Spode, British fl. 1825-1858 A bay thoroughbred horse with a dog in a stable oil on canvas, bears label for Adolphe Lesage Printseller, Frame Maker Publisher and Artist’s Repository (from Paris) 40 Lower Sackville Street, Dublin attached to the stretcher, 50.2x61cm £600 - 800* 125 Attributed to Walter Harrowing, British fl. 1838-1913 A bay hunter in a stable oil on canvas, 63x76cm

124

£1,000 - 1,500*

125

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126 126 Joseph Paul, British 1804-1887 Old Palace Yard, Westminster oil on canvas, 79.5x83.5cm Provenance: W Russell Button Inc., formerly of Ackermannâ&#x20AC;&#x2122;s, 408 South Michigan Avenue, Chicago, according to label attached to the reverse of the frame Note: Joseph Paul (1804-87) was principally a topographical painter and a copyist of London views, this view is also known as A View of the Grand Palace of Westminster and the artist is sometimes referred to as John Paul: Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 180. Museum of London, John Paul, Charing cross and Northumberland House, oil on canvas, 76x100cm., ref. C2389 ÂŁ4,000 - 6,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

127 Neapolitan School, early-mid 19th century A pastoral scene, gentleman on a grey horse with two travellers oil on panel, signed with monogram, 26x34cm £150 - 250*

127 128 Attributed Frederick Henry Henshaw, British 1807-1891 Figures on a mountain track with woodland oil on panel, 28.8x23cm £300 - 400*

128 129 Austrian School, early 19th century Figures seated in an alpine landscape, possibly the Tyrol oil on panel, 28x40.8cm £250 - 300*

129

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130 130 Follower of Sir Francis Grant PRA, Scottish 1803-1878 Portrait of Mary Fanny Bouluors, (d.1862), seated three-quarter length in a black dress turned to the left and Portrait of William Bouluors, quarter-length turned to the right in a black coat oils on panel, a pair, ea. 23x17.8cm (2) Provenance: with J & W Vokins, London, according to the labels attached to the reverse of the frames; with Roberson & Miller, London, according to the labels and stamps to the panels £300 - 500* 131 Flemish School, early-mid 19th century

131

Portrait of a man in profile turned to the left, head and shoulders oil on canvas, 29.5x29.5cm £300 - 400* 132 Spanish School, early 19th century Portrait of a lady quarter-length turned to the left in a red dress with a feigned floral garland border oil on copper panel, oval, 11.5x9.5cm £150 - 200* 132 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

133 133 Samuel Henry Alken, British 1810-1894

134 George Augustus Williams, British 1814-1901

York to London Royal Mail coach in winter

Shepherd with sheep in a wooded winter landscape at the end of the day

oil on panel, signed, 40.5x79cm

oil on canvas, signed with monogram, 61x107cm

Note: The son of the prominent sporting artist Henry Thomas Alken Snr (1785-1851), Samuel was a painter of racing, foxhunting and coaching scenes in oil and watercolour, executing numerous examples of this kind.

ÂŁ1,500 - 2,500*

ÂŁ2,500 - 3,500*

134

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135 135 James Peel RBA, British 1811-1906 Children by a gate with fields beyond oil on canvas, signed, 71x91.5cm ÂŁ600 - 800* 136 William Bromley, British fl.1835-1888 The dancing child, 1862 oil on canvas, signed and dated, 30.7x25.9cm ÂŁ500 - 600*

136

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

137

138

137 British School, early-mid 19th century

138 British School, early-mid 19th century

Portrait of Mary Catherine Richmond (18001876), seated half-length, turned to the right wearing an ermine trimmed cape

Portrait of James Marshall (1796-1855), seated threequarter length turned to the left in a black coat and white stock holding a book

oil on canvas, bears label to the reverse John H. Paris, Carver, Gilder, Looking Glass & Picture frame Manufacturer, Leece Street, Liverpool, 128x98.5cm

oil on canvas, bears label to the reverse John H. Paris, Carver, Gilder, Looking Glass & Picture frame Manufacturer, Leece Street, Liverpool, 128.5x101.5cm

ÂŁ300 - 400*

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139 139 Nicolas Edward Gabe, French 1814-1865

140 British School, early-mid 19th century

Elegant company making crepes

Portrait of a lady, quarter-length turned to the left

oil on canvas, signed, 97x146cm

watercolour, 14x10.7cm

£2,000 - 3,000*

£100 - 150*

141 Attributed to John le Capelain, British c.1814-1848 Cattle in a field overlooking a town and an estuary watercolour, 19.5x34cm Provenance: with Talmac, Donald Macpherson, Headington, Oxford, according to the label attached to the reverse of the frame £100 - 150*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

142 Myles Birket Foster RWS, British 1825-1899 A courtyard in the Alhambra, Grenada; watercolour on paper, signed with monogram, image 22.9x17.5cm Provenance: Christie’s, London, 11th July 2018, lot 42 Note: In the Spring of 1883 Myles Birket Foster went to travel around Morocco and Spain with his son and a friend. They arrived in Grenada after a period in Tangier, and inspired by the Moorish architecture of the Alhambra Birket Foster would go on to make multiple sketches similar to the one displayed here. £1,000 - 1,500*

142 143 Myles Birket Foster RWS, British 1825-1899 A Balcony on the Grand Canal watercolour, signed with monogram, 20.3x30cm Provenance: The Barn Gallery, Powick, Worcester, according to label attached to the reverse of the frame; Sotheby’s, London, 13th December 2018, lot 36

143 Note: The artist made his first visit to Venice in 1868, sketching multiple iconic views of the picturesque island. As well as painting cityscapes and famous buildings during his visit he also produced watercolours like this one which show closely cropped scenes of locals going about their everyday routines. £1,800 - 2,200*

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144 Circle of John Absolon RI, British 1815-1895 A bird’s eye view from Western Heights of Dover Harbour Station as designed by William Cubitt for the London, Chatham & Dover Railway, showing layout of the Port with Prince of Wales and Admiralty Piers, c.1862 watercolour over pencil, 66x97.5cm Note: This section of the Chatham & Dover Railway opened in 1861; however, these buildings were not finished until 1865 £500 - 700*

144

145 William Gale, British 1823- 1909 Seated woman sewing pen and brown ink on laid paper, feigned arch, signed with monogram, sheet 15.5x11.4cm (unframed) £200 - 300* 146 Henry Edward Doyle, Irish 1827-1892 Study of a Jewish Peddler; watercolour, signed, 25x17cm Note: An unusual and rare depiction of an itinerant merchant weighed down by his wares £200 - 300* 147 Achille Deveria, French 1800-1857 Portrait of a man in a cravat, 1828

146

black chalk and heightened with white on wove, signed and dated, 22.5x16.5cm Provenance: Galerie de la Scala, Paris £200 - 300* 148 Sokolov, Russian, mid 19th century Portrait of a young lady seated half-length turned to the left pen and black and blue ink and wash on paper, oval, signed, 14x11cm £400 - 600*

148

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

149 149 James Webb, British c.1825-1895 Paris oil on canvas, signed, signed and inscribed on the reverse, bears applied wax seal on stretcher, 46x76cm (unframed) Provenance: purchased circa 1940-1950 by the grandfather of the present owner Note: This lively and detailed composition depicts the bustle of industry along the Seine at the Pont Neuf, viewed from the Pont des Arts, around the late 1850s. Washerwomen scrub and dry clothing and linen on the boats in the river to the left, while merchants sell their wares on the quay to the right. In the background are Notre Dame's iconic bell towers. James Webb was a painter of marine and landscape scenes in England, Wales, Holland and France. He exhibited at the Royal Academy between 1853 and 1888 and his works are in the collections of the Tate Gallery and the Victoria & Albert Museum. ÂŁ4,000 - 6,000*

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150 150 John Moore, British 1824-1908

151 August von Siegen, German 1820-1883

Boats moored in a tranquil fishing harbour

Moored shipping in a busy port

oil on panel, signed, 19x25.5cm

oil on panel, signed, 31.5x53cm

ÂŁ300 - 500*

ÂŁ500 - 700*

151

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152 Karl Nagl, Austrian fl. 1852-1880 Portrait of a young woman quarter length in a red tunic with braided hair, 1867 oil on canvas laid down on panel, oval, signed and dated, 56x46cm ÂŁ300 - 400*

152

153 Leopold Munsch, Austrian 1826-1888 Girl collecting water from a waterfall, 1867 oil on panel, signed and dated, bears inscribed label to the reverse, 21x17cm ÂŁ400 - 500*

153

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154 154 Jean-Baptiste Robie, Belgian 1821-1910 Flowers in an ornamental urn oil on panel, signed, bears applied inscribed paper label to the reverse, 23.3x18cm Note: Robie was one of the pioneers in the evolution of still life painting during the mid-19th century. Renowned for his realistic depictions, faithful use of colour and attention to detail his finished compositions were much sought after and provided him with multiple awards and honours, including a knighthood in 1861. Robie exhibited at the Brussels Salon from 1843 until 1875 and made his debut at the Paris Salon in 1863. He would go onto participate in the 1880 exhibition at the Palais des Beaux-Arts before exhibiting at the 1885 World Fair in Paris. This present work is thought to have been completed by Robie when he was 42 years old in 1863. The colour palette and composition is classically of his style, however the scale of the painting suggests that this could have been a finished sketch for a later and much larger work. Additionally, the label attached to the reverse written in the artist's hand confirms the authenticity of the present painting declaring the subject matter, size and date; Brussels 3rd April 1863. Further inscription states the work was gifted by the artist to a mayor or alderman of the name Heinbach. We are grateful to Kathleen de Fays for kindly confirming the authenticity of this work. ÂŁ2,000 - 3,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

155 155 John Lewis-Brown, French 1829-1890 Attelage sur la plage, 1872 oil on panel, signed and dated, 48.7x64.5cm Provenance: Beaussant-Lefevre, Paris, 1st June 2005, lot 81 Note: John Lewis Brown was born in Bordeaux to a Scottish family. Largely self-taught and best known as a horse painter and painter of elegant equestrian scenes, he exhibited at the Salon for the first time in 1848. He was a socialite and society painter, who became a chronicler of Parisian high society before the war of 1870. The present work combines these two sides of his career, showing an elegant couple taking a break during their journey in a horse-drawn carriage. The influence of the Impressionists can be seen in his large brushstrokes, which are a feature of his later works. ÂŁ5,000 - 7,000*

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158 C. E. Ambrose Jnr, British, mid-19th century The Horseshoe and Magpie Public House, Westminster oil on canvas, signed, dated 1857 and inscribed ‘Bridge Street West’, 71x49cm

157 156 British School, mid 19th century Mother and child on a path with a farmhouse, woodland and rolling hills

Note: This well known pub, the Horseshoe & Magpie, stood opposite the Houses of Parliament at number 21 Bridge Street in St Margaret’s, Westminster, and overlooked New Palace Yard to the back of the building. The landlord was William Painter. The pub and surrounding buildings were demolished from around 1862 to open up New Palace Yard. £500 - 700*

oil on canvas, 30.2x45.5cm £300 - 500* 157 Follower Hermanus Koekkoek Jnr, Dutch 1836-1909 Seascape with two sail boats and one rowing boat oil on canvas , signed indistinctly, bears label for D Sala & Zonen, Leyden attached to the reverse of the frame, 43x74cm

159 Alessandro Seffer, Italian 1831-1905 View of a piazza in the Veneto region, 1880 oil on canvas, signed and dated, 66.5x55.5cm £1,000 - 2,000*

£300 - 500*

158

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159

160 George Shalders, British 1826-1873 Figures with sheep in an upland meadow, 1865 watercolour and gouache, signed and dated, 19x29cm £300 - 500*

160

161 Cesare Uva, Italian 1824-1886 The Bay of Naples with fishermen on a rocky shoreline gouache on card, signed , 27.5x43cm £600 - 800*

161

162 Cesare Uva, Italian 1824-1886 Naples seen from hills of Posillipo gouache on card, signed, 27.5x43cm £600 - 800*

162

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163 British School, early-mid 19th century Clock and Watchmaker’s Asylum, Colney Hatch, circa 1855 ink and watercolour architectural elevation, arched image, 56.7x97cm., (unframed) Note: The asylum was further extended in 1857, and is also known as Friern Hospital £200 - 300* 164 Henry William Brewer, British 1836-1903

163

Exeter Cathedral pen and black ink on wove paper, signed, 15.7x22.7cm £200 - 300* 165 Henry William Banks Davis RA, British 1833-1914 A study for ‘Noonday Rest’ oil on paper laid down on board, inscribed verso ‘HD Valle de la Cluse 1861’, 15x27.5cm: together with two further oils on paper by the same artist depicting a landscape subject and a Napoleonic battle scene, 27.5x38.5cm and 25.5x34.5cm (unframed) (3) Note: This work is a study for the painting ‘Noonday Rest’, now in the collection of the Manchester Art Gallery. The painting was completed in 1863 and exhibited in Paris in 1900 where it sold for 135 guineas. It was later bequeathed by Mr James Thomas Blair to Manchester Art Gallery in 1917. £120 - 180* 166 Sir Joseph Noel Paton RSA FSSA, British 1821-1901

166

Botanical Study watercolour over traces of pencil, inscribed and dated 11 Sept 1848 in pencil, 28.2x22.5cm: together with a small quantity of pencil drawings by Waller Hugh Paton (the artist’s brother) of botanical and figurative allegorical drawings, c.1850, sheet 24x30.2cm (max), (a lot) (unframed) Provenance: Rupert Toovey & Co Sale of the Noel Paton Collection, 10th October 2001 £300 - 500*

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167 Edme-Alexis-Alfred Dehodencq, French 1822-1882 Portrait of a young woman reclining in a chair pencil, signed in pen and brown ink, 16.5x15cm Provenance: Christie’s, London, 11th December 2009, lot 382 £300 - 500*

167

168 John Butler Yeats, Irish 1839-1922 Self-portrait, 1898 pencil on buff coloured paper, signed and dated Oct 23rd 1898, 8.5x10.5cm Provenance: Bonham’s, London 20th March 2012, lot 139 £300 - 500*

168

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169 James Jacques Tissot RE, French 1836-1902 Querelle d’amoreux [W. 18], 1876 etching and drypoint, signed and dated within the plate, 30.2x17.9cm Provenance: Sotheby’s, London, 20th September 2019, lot 142 Exhibited: Arts Council of Great Britain, James Tissot, 1984, cat. no. 92, according to the label attached to the reverse of the frame £1,000 - 1,500* 170 Felix Henri Bracquemond, French 1833-1914 Le Terrasse de la Villa Brancas, 1876 etching with drypoint on thick laid paper, signed, dated and inscribed within the plate, published by l’Art, 24.5x34.7cm £200 - 300* 171 Currier & Ives Publishers, American, est 1835-1907 A Midnight Race on the Mississippi, 1871 chromolithograph, published by R Rogerson, with Yates & Co, Old Radford Notts, for the Yorkshire Fine Arts Distribution, image 39.5x56cm: together with five further hand-coloured prints, by and after various hands, depicting topographical locations, to include The Port of London, Port of Boulogne, Prospect of Greenwich Hospital and Prospect of the City of London, 48x99.5cm (max) (8)

169

£200 - 300*

170

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171

172 172 William Aiken Walker, American 1839-1921 The Cotton Picker’s Cabin oil on board, signed, 23.8x31.3cm Note: Walker established an artistic career as a painter of scenes from the American South throughout the late 19th century. During the 1880s, he regularly made trips along the Mississippi River recording and documenting the lives of African American families going about their everyday routines and created many small scale compositions similar to the present work that would go on to be sold to tourists as souvenirs of the Old South. These paintings became increasingly popular during the period and documented the changing socio-economic structure of the South through the late 19th century. His works are held in the collections of the Museum of Fine Arts, Boston, Yale University Art Gallery, Virginia Museum of Fine Art, High Museum of Art, Parrish Art Museum, Morris Museum of Art, and Historic New Orleans Collection. His work is still highly regarded and circulated across the world and this painting displays a balanced and well executed composition typical of his small scale paintings. Note: based on examination of images of this painting, John Fowler will be including this work in his forthcoming catalogue raisonné £4,000 - 6,000*

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173 173 Benjamin Williams Leader RA, British 1831-1923 Near Conway oil on canvas, signed, 45.5x76cm Note: The scene depicted is the sands at Aberdovey Bay, where Leader painted other related views. Coastal scenes of the sandy bays of Carnarvonshire and Cardiganshire began in 1888 after Leader took a working holiday with his family to Towyn near Aberdovey in the early autumn of 1887 (see Wood, 1998, p.70). ÂŁ4,000 - 6,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

174 174 Heinrich Lossow, German 1843-1897 The Persistent Suitor oil on canvas, signed, 66.5x50cm ÂŁ3,000 - 5,000*

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175 175 Mina Fischer von Horn, German, early-mid 19th century Musical interlude oil on canvas, signed, 81x104cm ÂŁ1,000 - 1,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

176 176 Carl Heuser, German 1827-1892 Genre portraits oils on panel, four, each signed, 17.5x13.5cm., ea., (4) ÂŁ1,000 - 2,000*

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177 177 Walter Williams, British 1843-1884 Sunset Evening; oil on canvas, signed, 61x106.5cm ÂŁ1,500 - 2,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

178 Walter Greaves, British 1846-1930 Street scene Pen and black ink, signed, 24x21cm £150 - 250* 179 Walter Greaves, British 1846-1930 Queen’s Road, Chelsea;

179

oil and mixed media on board, signed and inscribed, bears label for Abbey Framers, New Street, Penzance, attached to the reverse of the frame, 22x30cm Provenance: Bonhams, London, 25th March 2003, lot 30; Sotheby’s, London, 26th September 1973, lot 1 £500 - 800* 180 Walter Greaves, British 1846-1930 Fireworks, Cremorne Gardens, London, 1859 watercolour over traces of pencil, signed and dated, 24.5x35cm £800 - 1,200*

180

181 Walter Greaves, British 1846-1930 Cremorne Gardens, London; pen and black ink, wash over traces of pencil, signed, 28x19.6cm £250 - 350* 182 Walter Greaves, British 1846-1930 The Riverside, Old Chelsea; watercolour, signed, 21.6x32.4cm £400 - 600*

182

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183

184

183 Karl Julius Bernhard Mannefeld, German 1848-1925 Schlosshof zu Heidelberg, c.1890 etching, published by Verlag V Raimund Mitscher, Berlin, plate 104x74cm; together with one other etching by the same artist, depicting Blick durch eine üppige fig.-floralen Ornamenteinfassung auf Dom, Rathaus u Rathausplatz, c.1890, published by Verlag V Raimund Mitscher, Berlin, plate 103x74cm, (2) £300 - 500*

184 Alfred Cooper, British, mid 19th century

185 British School, mid-late 19th century

The First Slide, 1858

The Pope is supposed to have passed to another world and when he tries to open the door to Heaven with his key he finds he has brought the key of his collection with him; from the poem entitled The Key to the Pope’s own Cellar

pen and ink on blue toned wove paper, signed and dated, 25.2x20.4cm; together with another pen and ink on blue toned wove paper, by the same artist, depicting- A girl sewing, 25.2x20.4cm, (2) (unframed)

185

pen and brown ink on paper, original artwork for illustration, 15x10.5cm £200 - 300*

£200 - 300* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

186

187

186 Emile Wauters, Belgian 1846-1933

187 Louis Bonamici, French 1878-1966

North African figure on a donkey

Market scene with a church tower

oil on panel, signed with monogram, 27.2x16cm

oil on canvas, signed, bears label for S Montauti, 40 rue de France Nice attached to the reverse of the stretcher, 38x48cm (ARR)

Provenance: with J B Clerckx 2B rue St Lazare, Bruselles, according to the label attached to the reverse of the panel

£200 - 300*

£250 - 350*

188 After Loir Luigi, French 1845-1916 Coin de la Place Blanche oil on canvas, bears signature, bears inscription on the reverse, 39.5x26.5cm Provenance: Private collection, London £300 - 400*

188

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189

189 John Sargent Noble RBA, British 1848-1896

190 British Provincial School, mid-19th century

191 Hans Sperlich, German 1847-1931

A gamekeeper’s pony and resting setters

Two horses, a goat and chickens in a stable

Portrait of a ginger cat

oil on canvas, signed, 91.5x107.5cm

oil on canvas, 50.5x60.5cm

oil on panel, signed, 16x12cm £150 - 200*

£200 - 300*

£2,000 - 3,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

192 Edwin Alfred Pettitt, British 1840-1912 Sunday Morning, Vale of Neath, S. Wales, 1861 oil on canvas, signed and dated, further signed, titled, inscribed and dated on the reverse, 85x132cm £600 - 800* 193 British School, late 19th century 192

Cattle in a highland loch at sunset oil on canvas laid down on board, 28x49.5cm £200 - 300* 194 Follower of Alfred de Breanski Snr, British 1852-1928 Cattle watering in a highland loch at sunset oil on canvas, bears signature, 51x76.8cm £400 - 500*

194

195 French School, mid-late 19th century Venetian capriccio oil on canvas laid down on panel, bears label for Fernandez, rue Nationale 80, Lille attached to the reverse, 38.3x53cm £300 - 400*

195

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196 Frederick Edward Joseph Goff, British 1855-1931 London Bridge watercolour, signed and titled, 11x15cm Provenance: M Newman Ltd., Fine Art Dealers, London, according to the label attached to the reverse of the frame £200 - 300* 197 Bernard, French, mid-late 19th century Shipping in a Moorish harbour;

196

oil on panel, signed, bears stamp verso, 15.5x31.5cm £150 - 200* 198 Arthur Wilde Parsons RWA, British 1854-1931 Just in Time oil on canvas laid down on board, signed, 23x32.5cm £400 - 600* 199 William Raymond Dommersen, British 1859-1927 On the Amstel

198

oil on canvas, signed, 51x77cm £400 - 600*

199

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200 200 Attributed to Charles Thomas Bale, British fl.1866-1895 Still life of grapes, a melon, peaches, cherries, gooseberries and vine leaves on a ledge oil on canvas, 59x67cm ÂŁ300 - 500* 201 British Aesthetic School, mid-late 19th century Lilies oil on canvas, 66.5x30.5cm ÂŁ200 - 300*

201

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202 202 Hans Zatzka, Austrian 1859-1945 Floral still life oil on canvas, signed, 77.5x64cm ÂŁ2,000 - 4,000*

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203 Jacek Malczewski, Polish 1854-1929 The Piano Lesson, 1877 oil on canvas, inscribed and dated on the reverse, 44x78cm Provenance: Helena Karczewska (nee Malczewska) until her death in 1933; Christie’s East, New York, 26th February, 1997, lot 247; Private Collection, UK; thence by descent Literature: A. Heydel, ‘Jacek Malczewski - the person and the artist’, Krakow, 1933, p.76 Note: This painting completed by Malczewski early on in his artistic career is thought to portray the artist’s two younger sisters Bronisława and Helena; originally titled ‘The Portrait of the Two Sisters’. Displaying artistic talent from an early age, Malczewski left school to continue his studies within art and in 1876 enrolled at the École des Beaux-Arts in Paris under Ernst Henri Lehmann. Home-sick and dismissive of the strict teaching methods implemented by his tutor, he rejected his life in Paris in July 1877. The following Autumn he went on to enrol at the Krakow School of Fine Arts under Jan Matejko, so it is considered that this particular painting would have been completed in his home city of Radom between these two periods. Malczewski’s youngest sister Helena, seen playing the piano in this double portrait, owned this painting until her death in 1933. Only a small number of Malczewski’s paintings survive from this period and give an unique insight into the artist’s early finished naturalistic compositions. Malczewski would go onto be one of the leading painters of the Polish school and eventually a respected name across Europe, rejecting the Realism taught in the French Schools and adopting a more overt form of Symbolism that has continued to stand in high regard through multiple artistic circles to this day. We are grateful to Paulina Szymalak-Bugajska from the Museum of Jacek Malczewski, Radom, for her assistance in the cataloguing of this lot. £6,000 - 8,000*

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203

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204 204 Henry Gillard Glindoni ARWS, British 1852-1913 Dismissal of Archy, the King’s Jester oil on canvas, signed, 71x92cm Exhibited: London, Royal Academy 1886, no. 2 £2,000 - 3,000*

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205 205 Paul Emile Léon Perboyre, French 1851-1929 French officers, cuirassiers, and cavalrymen waiting for battle during the Franco-Prussian War, c. 1870; oil on panel, signed, 37.5x46.5cm Provenance: A titled French family; thence by descent Note: Paul Perboyre was a pupil of Léon Bonnat. He exhibited at the Paris Salon from 1881 and later at the Salon des Artistes Français, having become a member of the society in 1909 £1,500 - 2,000* 206 Vincenzo Migliaro, Italian 1858-1938 Woman feeding doves in a courtyard oil on panel, signed, 32x20cm Provenance: with The Goupil Gallery, Boussod Valadon & Co 5 Regent Street Pall Mall London SW, according to the label attached to the reverse £1,500 - 1,800*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

206

208

207

209 207 Clara Federica Montalba RWS, British 1842-1929

208 Frank Wasley, British 1848-1934

209 Angelos Giallinas, Greek 1857-1939

A Venetian Scene, 1887

The Sun of Venice going to Sea, after JMW Turner RA

View in the Italian lakes

watercolour on paper, signed and dated, bears applied label for the Rowley Gallery to the reverse of the frame, 35x22.3cm £200 - 400*

watercolour and gouache, signed, 26x36.5cm Note: The original work by J.M.W.Turner, exhibited in 1843, is held at The Tate Gallery, London (ref. N00535)

watercolour, signed, 33x43cm Provenance: Bonhams, Oxford, 4th September 2013, lot 98, one of two in the lot £600 - 800*

£400 - 600*

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210 210 James Salt, British 1850-1903

211 Nils Hans Christiansen, Danish 1850-1922

212 William Matthison, British 1853-1926

Venetian canal scenes

Figures on a village street in Winter

Shenfield Mill and Castle; Elizabethan house by a pond

oil on board, signed and inscribed, 30x40cm

oil on canvas, a pair, signed, one titled to the reverse of the canvas, ea. 20.5x30.7cm (2)

oils on canvas, a pair, both signed, 35.5x61cm., ea., (2) £1,200 - 1,800*

£100 - 150*

£100 - 200*

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213 213 William Mellor, British 1851-1931

214 C. Shailor Bromley, British fl.1879-1885

Cattle watering in a wooded river landscape

Grapes on a mossy bank, 1887

oils on canvas, a pair, 25.5x46cm., ea., (2)

oil on board, signed and dated, inscribed Painted for Mrs Wallis for her kindness towards my Mother on the reverse, 12.6x17.8cm

ÂŁ1,000 - 1,500*

ÂŁ150 - 200*

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215 215 Leo van Aken, Belgian 1857-1904

216 Gaston Bonﬁls, French 1855-1946

217 German School, mid-late 19th century

Meter Dolorosa;

Le cardinal amateur de peinture

oil on canvas, signed, bears inscribed label attached to the stretcher, 84x100.5cm

oil on canvas, signed, 46.3x37.8cm

Two suitors with a woman in a tavern interior and a group of figures with a priest at a table in a tavern

£800 - 1,200*

Provenance: Tajan, Paris, 15th October 2015, lot 162 £600 - 800*

216

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oils on canvas, a pair, both signed, 47x63cm., ea., (2) £300 - 500*

217

218 218 Max Klinger, German 1857-1920 Eva und die Zukunft, Rad Werk III, [Singer 43-51], 1898 folio with the complete set of six etchings with aquatint, to include- 1. Eva, Opus III, Plate I, 2. Erste Zukunft, Opus III, Plate II, 3. Die Schlange, Opus III, Plate III, 4. Zweite Zukunft, Opus III, Plate IV, 5. Adam, Opus III, Plate V, 6. Dritte Zukunft, Opus III, Plate VI, published by Max Klinger and printed by Wilhelm Felsing, Berlin, in a coloured silk wraparound hard cover, overall size 62x46.6cm., (folio) ÂŁ1,000 - 1,500*

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219 Theophile Alexandre Steinlen, Swiss/French 1859-1923 Nu de dos allongé, (Nude with elongated back), c. 1910-1915 charcoal on paper, signed, 46.5x61cm Provenance: with Cabinet Baysers, Paris, according to the label attached to the reverse of the frame; Millon & Associés SAS, Paris 23 Jun 2011 lot 158; St. James’s Art Books, London, where purchased by the current owner in 2014 Note: This lot is accompanied with a certificate of authentication from Madame Orset Claude.

219

£500 - 700* 220 Henri de Toulouse-Lautrec, French 1864-1901 Marchand de marrons, 1897 lithograph, signed with monogram within the plate, 25.8x17.5cm Provenance: with William Weston Gallery, London, according to label attached to the reverse of the frame £300 - 400* 221 Philip William May RI RP NEAC, British 1864-1903 Study portrait of a gentleman quarter-length turned to the left in profile; pencil on paper, signed, 17.3x11.1cm £100 - 150* 222 William Lionel Wyllie RA RBA RE RI NEAC, British 1851-1931 Fishing boats etching, signed in pencil, 20x25cm: Edgar James Maybery, (A Simes), British 1887-1964- Off the Isle of Arran; etching, signed in pencil, 15.5x20cm., (2) (ARR)

220

£150 - 200*

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223 John Bernard Partridge, British 1861-1945 An Appeal to the Nation, London. “If Money can save this, surely it will be saved” ink, pen, pencil, scratching out/paper, original artwork for illustration for Punch, January 21st 1925, signed, further signed, inscribed, dedicated and dated March 1926 on the mount, 33x25cm £600 - 800* 224 Philip William May RI RP NEAC, British 1864-1903 Box o’ lights my lord? ink on buff coloured paper, signed and inscribed, 22x14cm £120 - 180* 225 Thomas Swift Hutton, British c.1860-1935 Summer Evening, Holy Island watercolour, signed, 28.5x48cm 223

£200 - 400*

225

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226

227

226 Spyridon Scarvelli, Greek 1868-1942

229 Henry Charles Clifford RBA, British 1861-1947

On the banks of the River Nile, near the Pyramids;

The Ale House on a Heath

watercolour, signed, 21.5x34.5cm

watercolour on card, inscribed on the reverse, 36x 3cm: together with a watercolour of a church and a gouache study of a wooded river landscape attributed to the same artist, 37x49.5cm and 37x54cm, (3) (unframed)

Provenance: Bonhams, New York, 4th May 2011, lot 87, (one of two) £600 - 800* 227 Spyridon Scarvelli, Greek 1868-1942 View of Corfu watercolour, signed, 28.5x48.5cm Provenance: Babuino Casa d’Aste, Rome, Italy, 25th June 2018, lot 386 Note: Spyridon Scarvelli was born on the island of Corfu, Greece. He was taught art at The Corfu School of Art and later studied in Trieste & Rome. He lived, worked and inspired by Greece and Egypt. £800 - 1,200*

£100 - 150* 230 William Wiehe Collins, British 1862-1951 Hyde Park Corner from a Window in St George’s Hospital; watercolour, signed, 26x37cm Provenance: with M Newman Ltd., London, according to the label attached to the reverse of the frame £1,000 - 1,500*

228 Hans am Ende, German 1864-1918 River landscape with woodland etching, signed and inscribed ‘Worpswede’ in pencil, further inscribed in pencil, 40.5x57cm £200 - 300*

230

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231

231 Attributed to Alexander Young, Scottish 1865-1923

232 Louis Appian, French 1862-1896

233 Edward Brent Walker, British 1860-1917 exh 1896-1916

The Evening Gun

Environs de Carqueiranne pres d’Hyeres, (Var)

San Giorgio Maggiore, Venice

oil on canvas, bears inscription on the reverse of the stretcher, 48x61cm £800 - 1,200*

oil on canvas, signed, 52x72cm £300 - 500*

£250 - 350*

232

100

oil on canvas, signed, inscribed on the stretcher, 31.8x53.5cm

233

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234 Gabriel Puig Roda, Spanish 1865-1919 Dancers in Barcelona, 1896 oil on panel, signed, inscribed Roma and dated, 25.3x15.9cm £3,000 - 4,000*

234 235 Gabriel Joseph Marie Augustin Ferrier, French 1847-1914 Portrait sketch of a woman, head and shoulders oil on canvas, studio stamp on the reverse of the canvas, 15.5x10.50cm: together with two further monochrome oils on canvas by the same artist, depictingFigurative studies, each with studio stamp on the reverse, 9.8x14.6cm & 14.5x16cm, (3) (unframed)

236 Charles Vigor, British 1860-1930 Gilbert Bartholomew, Managing Director of Bryant and May Match Company, 1908 oil on canvas, signed and dated, 91.5x122.5cm (unframed) £200 - 300*

£300 - 500* 235 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

101

237 237 Leopold Schmutzler, German 1864-1941 A young beauty oil on board, signed, 67x50.8cm ÂŁ1,500 - 2,500*

102

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238 238 John St Helier Lander, British 1868-1944 Portrait of Elizabeth Bowes-Lyon, Her late Majesty Queen Elizabeth the Queen Mother (1900-2002), halflength turned to the right in a blue dress, 1923 oil on board, oval, signed and dated, 75x63cm Provenance: Commissioned by The Sketch, 1923; Private Collection, Denver, Colorado.; Christie’s, London, 10th April 2019, lot 272 Note: Born in St Helier, Jersey, in 1864 to the son of a boot maker, Lander showed promise as a painter from an early age. At the age of 16 he travelled to London and was introduced to John Everett Millais (1829-1896) who encouraged him to study in Paris. Lander would go on to study at the Académie Julian under WilliamAdolphe Bouguereau, returning to London a year later to study at the Royal Academy Schools. He returned to Jersey to set up his studio, and became a regular exhibitor at the Royal Academy predominantly of Jersey subjects, portraiture as well as many of the First World War's leading military figures. £2,000 - 3,000*

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103

239 Frank Moss Bennett, British 1874-1952 Good Tidings, 1925 oil on canvas, signed and dated, 51x38cm £600 - 800* 240 Impressionist School, mid-late 19th century Mother and child along a river side path oil on canvas, signed with monogram, 48.3x58cm Provenance: from a private estate in Pretoria, South Africa; where purchased by the present owner. Note: For a painting depicting a similar location, see Banks of Seine at Neuilly, 1886, by the French Neo-Impressionist painter Albert Dubois-Pillet, (1846-1890). £600 - 900* 241 Henry Schouten, Belgian 1864-1927 Ploughing in a field 239

oil on canvas, signed, signed and inscribed on the reverse of the canvas, 60x90cm £600 - 800* 242 Charles Emerson Brown Jnr, American b.1869 City of New York from Jersey City oil on board, signed, bears inscribed label to the reverse, 20x30.3cm (unframed) £200 - 300*

241

104

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243 243 P Dumont, French, mid-late 19th century Busy quayside scene oil on canvas laid down on panel, signed, 97x143cm ÂŁ800 - 1,200*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

105

244 James Isaiah Lewis, British 1860/61-1934 Stag on the shores of a lake in the Highlands, and A braying stag by a loch in the Highlands oils on canvas, a pair, one signed, 51x77cm., ea., (2) ÂŁ600 - 800*

244

245 245 James Isaiah Lewis, British 1860/61-1934 The Great Pagoda in Kew Gardens; oil on canvas, signed, 24.4x41cm: together with another oil on canvas attributed to the same artist, depicting- Farm buildings on the edge of a pond, 24.5x37cm., (2) ÂŁ300 - 500*

106

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246 246 James Isaiah Lewis, British 1860/61-1934 Richmond Bridge from Cholmondeley Walk oil on canvas, signed, 50.5x76cm: together with two further oils on canvas by the same artist, depicting Kew Bridge at sunset, & Figures on the towpath of the River Thames, Surrey, 48x73cm & 40.5x61cm (3) ÂŁ600 - 800*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

107

247 247 Tom Mostyn RBA ROI, British 1864-1930 A Memory of Venice oil on canvas, signed, and signed and titled to the salvage, 50.7x68.8cm ÂŁ2,000 - 3,000*

108

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248 248 Antoine Bouvard, French 1870-1966 A Venetian backwater oil on canvas, signed, 47.5x63cm (ARR) Provenance: Harrods, London, where purchased by the parents of the present owner circa 1965/70 ÂŁ3,000 - 5,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

109

249

249 Follower of Henry Stacy Marks RA, British 1829-1898

250 A Bossi, late 19th century

Mounted Knight and attendant

Hunting scenes

oil on canvas, 56x118cm

oils on panel, a pair, one signed with initial, 21x27cm., ea., (2)

Provenance: John Denham Gallery, London, where purchased in 1993

ÂŁ150 - 250*

ÂŁ2,000 - 3,000*

250

110

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251

251 Alex de Andreis, British 1871-1939

252 After Juan Pablo Salinas Y Teruel, Spanish 1871-1946

Portrait of a cavalier standing full-length in an interior

An Interesting Conversation

oil on canvas, signed, 73.5x54cm

oil on panel, bears signature and inscription, 25.5x40cm

ÂŁ1,200 - 1,800*

ÂŁ1,000 - 1,500*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

111

253

254

253 Edward Frederick Ertz FRSA, American 1862-1954 Marshland in autumn watercolours, two, both signed, one 30x24cm the other 22.5x34cm., (2) £200 - 300* 254 Sir William Nicholson, British 1872-1949 Baron Munchausen, Commodore Trunnion, Mr Weller, & Jorrocks lithographs printed in colours, titled in the plate, four, from a suite of sixteen entitled Characters of Romance, published by William Heinemann, London, October 1900, each sheet 49.2x38.4cm (4) (unframed, unbound) (ARR) £200 - 300* 255 Manuel Robbe, French 1872-1936 La Toilette

255

drypoint etching in colours on laid paper, signed in pencil within the plate, plate 49.1x32.7cm: together with two further aquatints in colours by the same artist, depicting- River landscapes in France, both signed in pencil, plate 28.5x39cm (max) (3) (unframed) £300 - 400*

112

www.roseberys.co.uk

257

258

256 Frank Henry Mason RBA RI RSMA, British 1875-1965

259 R Parkinson, British, late 19th/early 20th century

Figures on a Jetty with shipping and a cityscape beyond

Busy shipping scene on the Thames

watercolour, signed, 24x35cm (ARR) £150 - 250* 257 Francis Dodd RA, British 1874-1959 Whitehall, 1920 watercolour, signed and dated, 21x29cm (ARR) Provenance: with M Newman Ltd., London, according to the label attached to the reverse of the frame £500 - 700* 258 Belgian School, late 19th century View of a railway station in Belgium, possibly Geel, 1880

watercolour, signed, 25x70cm £120 - 180* 260 Lady Helena Gleichen OBE DSU, British 1873-1947 Hauling Timber, c.1900 charcoal on tan paper, signed and inscribed, 87x135cm £300 - 400* 261 Robert David Gauley, Irish 1875-1943 Portrait of a girl in a bonnet oil on canvas, signed, bears inscribed label attached to the stretcher, 60.5x46cm (unframed) £100 - 150*

watercolour, indistinctly signed, dated and inscribed, further inscriptions to the mount, sheet 14.4x23cm (unframed) £200 - 300*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

113

262 James Lillie Graham, British 1873-1965 Returning to the Farm, 1899 oil on panel, signed and dated, 24x33cm £300 - 400* 263 C Badely Millar, British, late 19th century A cottage by a weir, 1890 oil on canvas, signed and dated, 40.2x61cm

262

Provenance: Sotheby’s Belgravia, 14th May 1970, lot 84 £100 - 200* 264 Lucot, late 19th century Wooded river landscapes with a figure on a path oils on panel, a pair, 18x30.5cm., ea., (2) £300 - 400*

264

114

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265 265 C H Harrison, British, late 19th/early 20th century Figures with sheep on a tranquil village country lane, 1904 oil on canvas, signed and dated, 30.5x61.2cm ÂŁ250 - 300* 266 Attributed to William Stewart, British b.1886 exh. 1912-1925 Elegant couple stepping out on a street, 1905 oil on board, signed with initials and dated, 30.4x22.7cm ÂŁ400 - 600*

266

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

115

267 Andor G Horvath, Hungarian 1876-1933 Villagers enjoying a yard of wine oil on canvas, signed, 60.5x80cm £200 - 300*

267

268

269

268 Circle of Mozart Rottmann, Hungarian 1874-c.1958

269 Péter Szüle, Hungarian 1886-1944

Portrait of an old lady seated full-length in an interior;

Girl with a guitar

oil on canvas, 80x61cm

oil on canvas, signed, 80.5x60cm £200 - 300*

£400 - 600*

116

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270 Erwin Eichinger, Austrian 1892-1950 Study of a monk seated full-length holding a violin and bow in a chapel oil on panel, signed and inscribed Wien, 26x32cm (ARR) £600 - 800*

270

271

272

271 Erwin Eichinger, Austrian 1892-1950

272 Hungarian School, late 19th/early 20th century

Study of a monk seated full-length holding a goblet in an interior

Portrait of an elderly man peeling an apple

oil on panel, signed, 31.5x25.8cm (ARR)

oil on board, signed, 41x30cm £150 - 250*

£600 - 800*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

117

273

274 273 Antal Berkes, Hungarian 1874-1938

274 Antal Berkes, Hungarian 1874-1938

A street scene in Budapest

A busy street scene in Budapest on a rainy evening, 1911

oil on canvas laid down on board, signed, 59x79cm £800 - 1,200*

118

275 Béla Tölgyes, Hungarian, 19th/early 20th century Still life with fruit

oil on canvas, signed and dated, 75.5x100cm

oil on canvas, signed, 55.5x68.5cm

£1,500 - 2,000*

£150 - 250*

www.roseberys.co.uk

276 Alfred Lakos, American/Hungarian, 1870-1961 Still life with Violin oil on canvas laid down on board, signed, 65x80cm £200 - 300*

276 277 Agoston Acs, Hungarian 1889-1947 Villagers conversing oil on canvas, signed indistinctly, 60.5x80.5cm £300 - 400*

278 Gio Ban, Hungarian School, early-mid 20th century A Spanish Dancer oil on canvas, signed, 92x60cm £300 - 400*

279 Hungarian School, late 19th/early 20th century Study of a Cavalier, standing fulllength gouache on paper, signed and dated, 6.5x4.5cm £100 - 150*

277

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

278

119

280 280 D Wolff, Northern European, late 19th century Fishing fleet leaving a tranquil fishing harbour under moonlit skies oil on canvas, signed, 99.5x74.5cm £500 - 700*

281 281 Flemish/Dutch School, late 19th/early 20th century

282 Northern European School, late 19th century

De Haven van Enkhuizen

Labourer in a field

oil on canvas laid down on panel, bears label for Kunsthandel en Elektrische Lijstenmakerij J B Max Steenstraat 83 Arnhem attached to the reverse of the frame, signed and dated, 30x50cm

oil on board laid down on canvas, signed with monogram SG, 81x81cm £400 - 600*

£100 - 150*

283 Eastern European/Russian School, late 19th/early 20th century Figures at a night time market with a cityscape beyond oil on canvas, 30.8x35.8cm £800 - 1,200*

283

120

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INDEX OF ARTISTS A Acs, Agoston Alken, Samuel Henry Ambrose Jnr, C. E. Andreis, Alex de Appian, Louis

277 133 158 251 232

B Bale, Attributed to Charles Thomas 200 Ban, Gio 278 Bennett, Frank Moss 239 Berkes, Antal 273, 274 Bernard 197 Blake, William 73 Bonamici, Louis 187 Bonfils, Gaston 216 Bossi, A 250 Bouvard, Antoine 248 Bracquemond, Felix Henri 170 Brewer, Henry William 164 Bromley, C Shailor 214 Bromley, William 136 Brown Jnr, Charles Emerson 242 Burland, William 97 C Calmet, Antoine Augustin 51 Camphuysen, Joachim Govertsz. 21 Capelain, Attributed to John le 141 Chedel, Pierre-Quentin 54 Christiansen, Nils Hans 211 Clerk of Eldin FRSE FSA, Attributed to John 55 Clifford RBA, Henry Charles 229 Collins, William Wiehe 230 Cooper, Alfred 184 Courtney Selous, Henry 121 123 Cox Jnr, David Cristall POWS, Joshua 81 D Daret, Jean Davis RA, Henry William Banks Dayes, Edward Deherain, Herminie Dehodencq, Edme-Alexis-Alfred Deveria, Achille Dodd RA, Francis Dommersen, William Raymond Doyle, Henry Edward Dumont, P E Eichinger, Erwin Ellis, Joseph Ende, Hans am Ertz FRSA, Edward Frederick

28 165 77 104 167 147 257 199 146 243

H Hardime, Simon Harrison, C H Henshaw, Attributed to Frederick Henry Heuser, Carl Hoppner RA, Attributed to John Horn, Mina Fischer von Horvath, Andor G Hutton, Thomas Swift

24 265 128 176 66 175 267 225

K Klinger, Max

218

L Lakos, Alfred 276 Lander, John St Helier 238 Leader RA, Benjamin Williams 173 Lens, Attributed to Peter Paul 65 Lewis, James Isaiah 244, 245, 246 Lewis-Brown, John 155 Liotard, Jean-Etienne 53 Lossow, Heinrich 174 Lucot 264 M Malchair, John Baptiste 70 Malczewski, Jacek 203 Mannefeld, Karl Julius Bernhard 183 Mason RBA RI RSMA, Frank Henry 256 Matthison, William 212 May RI RP NEAC, Philip William 221, 224 Mellor, William 213 Migliaro, Vincenzo 206 Millar, C Badely 263 Montalba RWS, Clara Federica 207 Moore, John 150 Mostyn RBA ROI, Tom 247 Munsch, Leopold 153 N Nagl, Karl Nattes, Attributed to Jean Claude

152 75

Nicholson, Sir William Noble RBA, John Sargent

254 189

O Ortelius, Abraham 270, 271 96 228 253

F Ferrier, Gabriel Joseph Marie Augustin 235 Fielding POWS, Anthony Vandyke Copley 99 Fleetwood Varley, Albert 122 Foster RWS, Myles Birket 142, 143 Franco, Giovanni Battista 7 G Gabe, Nicolas Edward Gale, William Gauley, Robert David Giallinas, Angelos

Gleichen OBE DSU, Lady Helena 260 Glindoni ARWS, Henry Gillard 204 Goff, Frederick Edward Joseph 196 Goya, Francisco de 71 Graham, James Lillie 262 Greaves, Walter 178, 179, 180, 181, 182

139 145 261 209

P Parkinson, R 259 Parsons RWA, Arthur Wilde 198 Partridge, John Bernard 223 Paton RSA FSSA, Sir Joseph Noel 166 Paul, Joseph 126 Payne AOWS, William 78 Peel RBA, James 135 Perboyre, Paul Emile Léon 205 Peruzzini, Antonio Francesco 34 Pether, Attributed to Sebastian 106 Pettitt, Edwin Alfred 192 Piranesi, Giovanni Battista 42, 43, 44, 45, 46, 47, 48, 49, 50 Purser, William 103

R Rigaud, Jacques 52 Robbe, Manuel 255 Roberts RA, David 102, 116, 118 Roda, Gabriel Puig 234 Robie, Jean-Baptiste 154 Roccheggiani, Lorenzo 80 Ross RA, Attributed to Sir William Charles 115 Rowlandson, Thomas 74 S Salt, James Sandby RA, Paul Scarvelli, Spyridon Schmutzler, Leopold Schouten, Henry Seffer, Alessandro Shalders, George Sokolov Sperlich, Hans Spode, Samuel Stanfield, C Stark, Attributed to James Steinlen, Theophile Alexandre Stewart, Attributed to William Sunderland, Thomas Szüle, Péter T Tissot RE, James Jacques Tölgyes, Béla Toulouse-Lautrec, Henri de Turner of Oxford, William U Uva, Cesare V Van Aken, Leo Van de Velde, C W M Van der Neer, Aert Van Meunincxhove, Jan Baptist Varley OWS, Attributed to John Varley OWS, John Vicenzino, Giuseppe Vigor, Charles Von Siegen, August

210 67, 68, 69 226, 227 237 241 159 160 148 191 124 110 109 219 266 76 269

169 275 220 100

161, 162

215 117 26 27 79 82 25 236 151

W Walker, Edward Brent 233 Walker, William Aiken 172 Wasley, Frank 208 Waterloo, Antoine 41 Wauters, Emile 186 Webb, James 149 Weigel the Elder, Johann Christoph 40 Westall RA, Richard 72 8 Whitcombe, Thomas Williams, George Augustus 134 Williams, Walter 177 Wint OWS, Attributed to Peter de 98 Wolff, D 280 Wyllie RA RBA RE RI NEAC, William Lionel 222 Y Yeats, John Butler Young, Attributed to Alexander

168 231

Z Zatzka, Hans

202

EXPLANATION OF CATALOGUING TERMS Any statement as to authorship, attribution, origin, date, provenance and condition is a statement of opinion and is not to be taken as a statement or representation of fact. Roseberys reserve the right, in forming their opinion, to consult and rely upon an expert or authority considered by them to be reliable. 1.

‘Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by the artist.

‘Attributed to Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, probably a work by the artist.

‘Studio of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work likely to come from the studio of the artist or closely associated with the artist.

‘Circle of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by an unidentified artist working in the artist’s style and during the period of the artist’s life.

‘Follower of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by an unidentified artist working in the artist’s style, contemporary or near contemporary.

‘School of Peter Paul Rubens, Flemish 17th century’ * In our opinion, a work executed during this period and in the style associated with that artist.

‘Flemish School, 17th century’ * In our opinion, a work executed during this period and in the style associated with that location.

‘Manner of Peter Paul Rubens’ * In our opinion, a work by an unidentified artist working in the artist’s style but at a later date, although not of recent execution.

‘Style of Peter Paul Rubens’ * In our opinion, a work by an unidentified artist working in the artist’s style and of recent execution.

10.

‘After Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a copy by an unidentified artist of a named work by the artist.

11.

A picture catalogued with accompanying dates e.g. 1577-1640 relates to the identification of the particular artist and is not proof of attribution or indicative of authenticity.

12.

The terms ‘signed’, ‘dated’, ‘inscribed’ means that in our opinion these are by the artist’s hand.

13.

The terms ‘bears signature’, ‘bears date’, ‘bears inscription’ means that in our opinion that these have been added by another hand other than the artist.

14.

All references to signature, inscriptions and dates refer to the present state of the work.

15.

Dimensions are given in centimetres, height before width and are measured from the edges of the work if these are visible and if not, from the front.

16.

All pictures are framed, unless otherwise stated in the catalogue.

17.

Catalogue and website images may not be a true representation of an item due to printing or photographing processes.

18.

(ARR) – ARTIST’S RESALE RIGHT Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional. It applies to lots with a hammer value over €1,000 as follows: 0 to €50,000 - 4% €50,001 to €200,000 - 3% €200,001 to €350,000 - 1% €350,001 to €500,000 - 0.5% Exceeding €500,000 - 0.25% ARR is capped at €12,500. Please note ARR is calculated in euros. Auctioneers will apply current exchange rates.

Lot 77

SPECIALIST TEAM Ian A. Cadzow Chairman & Joint Managing Director Rugs, Furniture & Works of Art iancadzow@roseberys.co.uk Vicki Wonfor Joint Managing Director Head of Corporate Collections vickiwonfor@roseberys.co.uk Peter Greenway Director Head of Professional Services petergreenway@roseberys.co.uk Marcus Grey Director Head of Paintings & Prints marcusgrey@roseberys.co.uk Bill Forrest Associate Director Head of Department Asian Arts billforrest@roseberys.co.uk Helena Anderson Associate Specialist Modern & Contemporary British Art helenaanderson@roseberys.co.uk Alice Bailey Head of Department Islamic & Indian Arts alicebailey@roseberys.co.uk Fiona Baker Head of Department 20th Century & Decorative Arts fionabaker@roseberys.co.uk Mark Bowis FGA DGA FSA Head of Department Jewellery & Watches markbowis@roseberys.co.uk Nigel Dawson-Ellis Junior Cataloguer Furniture & 20th Century Design nigeldawsonellis@roseberys.co.uk Anna Evans Consultant Specialist Works of Art annaevans@roseberys.co.uk Sophie Hetherton Junior Cataloguer & Departmental Assistant Paintings & Prints sophiehetherton@roseberys.co.uk

Roseberys London Main London Saleroom 70/76 Knights Hill London, SE27 0JD

Sam Howard Administrator Asian, Islamic & Indian Arts samhoward@roseberys.co.uk

Complimentary valuations Monday to Friday: 9.30am to 5.00pm

Tess Oâ&#x20AC;&#x2122;Brien Specialist Impressionist, Modern, Post War and Contemporary Art tessobrien@roseberys.co.uk

+44 (0)20 8761 2522 clientservices@roseberys.co.uk

Kate Pritchard Cataloguer & Valuer Paintings & Prints, Modern & Contemporary Art katepritchard@roseberys.co.uk

Central London OfďŹ ce Valuations by appointment.

Alex Tonkinson Consultant Specialist Modern Design alextonkinson@roseberys.co.uk

Please call us on +44 (0) 20 8761 2522 or email our Professional Services department at valuations@roseberys.co.uk to book your complimentary valuation.

Elizabeth Wormald Cataloguing Assistant & Administrator Prints & Multiples / Japanese Arts elizabethwormald@roseberys.co.uk

Lot 59

Mark Longley Specialist Ceramics & Glass, Works of Art & Collectables marklongley@roseberys.co.uk

Shane Xu Head of Department Modern & Contemporary Prints & Multiples shanexu@roseberys.co.uk Geoff Young FGA DGA Senior Consultant Jewellery geoffyoung@roseberys.co.uk

Inviting Consignments MODERN & CONTEMPORARY BRITISH ART TUESDAY 11 FEBRUARY 2020

Boyd & Evans, British b. 1944/1945-Shelter, 1986;acrylic on canvas Sold for Â£5,000 *plus bp

For further information or a complimentary valuation please contact Shane Xu | shanexu@roseberys.co.uk +44 (0)20 8761 2522 | www.roseberys.co.uk

Inviting Consignments OLD MASTER, 18TH & 19TH CENTURY PICTURES WEDNESDAY 25 MARCH 2020

Albert Chevallier Tayler NEA RBA ROI RBC, British 1862-1925- Interior scene with figures luncheoning; oil on canvas Sold for Â£33,750 *plus bp

For further information or a complimentary valuation please contact Marcus Grey | marcusgrey@roseberys.co.uk +44 (0) 20 8761 2522 | www.roseberys.co.uk

Inviting Consignments CHINESE, JAPANESE & SOUTH EAST ASIAN ART 19 MAY 2020

Katsushika Hokusai, Japanese, 1760-1849 Three woodblock prints from the series 36 Views of Mount Fuji Sold for Â£22,500 inc bp

Contact Head of Department Bill Forrest for a complimentary valuation billforrest@roseberys.co.uk +44 (0) 20 8761 2522 | www.roseberys.co.uk

Inviting Consignments ISLAMIC ARTS 24 APRIL 2020

A large Umayyad carved marble capital, Madinat Al-Zahra, Andalusia, Spain, second half 10th century Sold for ÂŁ46,250 inc bp

Contact Head of Department Alice Bailey for a complimentary valuation alicebailey@roseberys.co.uk +44 (0) 20 8761 2522 | www.roseberys.co.uk

TERMS OF CONSIGNMENT FOR SELLERS These terms apply to Rosebery Fine Art Ltd trading as Roseberys and Roseberys London. 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission and Entry Fee. (a) Entry Fee: A charge of £20 is made to each lot sold in addition to vendor’s commission. This charge covers our specialist research, catalogue description, website illustration, marketing on our website and other third party sites as well as live or timed bidding on various internet platforms. (b) Vendors Commission: Is charged on each lot at 15%. 3. Catalogue Illustration Fee. The cost of any illustration is borne by you. Lots may be illustrated in a catalogue and thus a charge of between £20-60 per illustration is applicable, dependent on size. For example a quarter page illustration £20, half page £40, three quarter/full page £60. The copyright in respect of such illustrations shall be the property of the auctioneers, as is the text of the catalogue; any persons to be found to have reproduced such illustrations or text without prior written approval will be deemed as being in breach of copyright law and appropriate legal action may be taken. 4. Loss and Damage of Goods (a) Roseberys is not authorised by the FSA to provide insurance to its clients, and does not so do. However Roseberys, for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until title passes to the buyer. To justify accepting liability, Roseberys makes a charge of 1.75% of the hammer price plus VAT. The liability assumed by Roseberys shall be limited to the lower pre-sale estimate or to the reserve if the lot was unsold. Settlement in any claim arising shall be subject to commission as if the lot had sold in the normal manner. (b) If the owner of goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4(a) is inapplicable. (c) Roseberys will not be liable for the loss or damage to frames or glass covering prints, paintings or other works. Old frames are often fragile or subject to deterioration and whilst Roseberys will do their

upmost to ensure the safety and care of frames and glass we will not compensate for loss or damage to property caused by changes in humidity or temperature, normal wear and tear, gradual deterioration, inherent defect or errors in processing. 5. Removal Costs. Items for sale must be consigned to the saleroom by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 6. Minimum Bids and our Discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 7. We may sell Lots below the reserve provided we account to you for the same sale proceeds that you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to approximately 15% below the low estimate and “wide discretion” allows to use accept a bid of up to approximately 30% below the low estimate. 7. Reserves. (a) Prior to the auction you are entitled to place a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. If we are unable to offer goods they may be subject to storage charges if uncollected. (b) A reserve once set cannot be changed except with our consent, and confirmed by you in writing. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical Items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft Furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request

TERMS OF CONSIGNMENT FOR SELLERS 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery or where we are or ought to have been aware of it. 11. Unsold Items. Unsold lots will be automatically reoffered into the next appropriate live or online auction with the low estimate reduced by 40% and if the revised estimate is £200 or below it will be offered without reserve. Alternatively, we may contact you to request that you collect the items. If you do not wish to re-enter the lots please notify Roseberys in writing with collection instructions. Please note storage charges will be incurred if lots are not collected within one week, storage charges will be applied of £2 + VAT per lot per day. If a lot remains uncollected two months after the date of the auction, Roseberys shall have the right to sell the lot at auction without reserve and to deduct from the ‘hammer price’ any sum owing to Roseberys as well as expenses arising from all auctions in which the lot has been included, plus storage and loss and damage warranty charges. 12. Withdrawn Items. (a) If an item is withdrawn prior to the publication of the catalogue a minimum charge of £20 + VAT per lot is applicable. This fee covers administration, handling, storage and loss & damage of the lot whilst in our care. (b) If an item is withdrawn after the online or offline publication of the lots they will incur charges where applicable comprising the sum of the vendor’s commission, the entry fee, the illustration cost, the loss and damage warranty, the buyer’s premium, the marketing fees and other expenses in relation to the item. VAT is applicable on all charges. These commission and premium charges will be calculated upon Roseberys published mid estimate. (c) In the cases of 12 (a) and (b) Roseberys will store the withdrawn item for a period of five days with no charge, after this a storage charge will be applicable at a daily rate of £2 per item per day plus VAT for items that remain uncollected.

13. Conditions of Sale. You agree that all goods will be sold according to our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to Deduct Commission and Expenses and Retain Premium and Interest. (a) You authorise us to deduct commission from the hammer price at the stated rate plus all applicable expenses incurred on your account and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us at our discretion to negotiate a sale by private treaty not later than five working days from the date of the auction in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient written sale instructions, client contact details or without our prior written agreement to take delivery and reserve the right to either refuse to receive such goods or to make a minimum warehousing charge of £2 per item per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within twenty one days we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Settlement of the net sum due to you normally takes place 28 days after the sale (by crossed cheque or bank transfer to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers of Roseberys London particularly those inexperienced or new to our salerooms or online only bidding platform. All sales are conducted according to our printed Conditions of Sale which are readily available for inspection in person, on our website and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price or may be above the reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. Buyer’s Premium. The Conditions of Sale oblige buyers to pay a buyer’s premium of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate. 5. VAT. The addition of (*) or (VAT applied on hammer price) to the lot description indicates that VAT is payable by the purchaser at the standard rate, presently 20%, on the hammer price as well as being payable on the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the premium is not recoverable as input tax. 6. Artist’s Resale Rights/Droit de Suite. Lots as indicated in the catalogue and if sold for the equivalent of 1000 euros or more on the day of the auction will be subject to a further percentage of the hammer price as follows: From 0 to 50,000 euros subject to 4% From 50,001 to 200,000 euros subject to 3% From 200,001 to 350,000 euros subject to 1% From 350,001 to 500,000 euros subject to 0.5% Exceeding 500,000 euros subject to 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to maximum royalty payable of 12,500 euros for any single work each time it is sold. Calculations of the artist’s resale right will be based on the pound sterling/Euro reference exchange rate quoted on the date of sale by the European Central Bank. 7. Agents. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. Additionally, in specified circumstances lots mis-described because they are ‘deliberate forgeries’ may be returned and repayment made. There is a three week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 8. Electrical goods. These are sold as ‘antiques’ or ‘decorative’ items only and if bought for use must first be checked for compliance with safety regulations by a qualified electrician. 9. Coloured gems. It is common practice for gemstones to be treated in order to enhance colour and clarity. Unless stated buyers should presume coloured stones may well have been exposed to some sort of treatment.

10. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory. 11. Bidding. Bidders are required to register with us before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 12. Commission bidding (i)

Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding the buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for leaving commission bids by telephone, email or fax. Please ensure bids are left at least one hour prior to the start of the auction.

(ii) Commission bids may also be left via the Roseberys website. These bids are executed via the RoseberysLive software and there is no surcharge. 13. Live Online bidding (a) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites the buyer is agreeing to Roseberys conditions of sale. (b) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (c) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding. Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price. (d) Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (i) any loss of connection to the auction being conducted online; (ii) a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any internet connection, computer, mobile device or system. (e) By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our website. Please ensure you familiarise yourself with these prior to accessing our website. 14. Methods of Payment. Payment can be made by cash (maximum 10,000 euros), debit and credit cards (maximum £1,000 online or over the phone) or bank transfer. For international bank transfers an administration fee of £25 is payable. Any cheques tendered will need to allow 10 days to be cleared before removal of lots purchased is permitted. Please note that regulation of money laundering means we are limited to receiving the equivalent of 10,000 euros in cash payment. 15. Collection and storage (a) Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. All lots must be collected within five working days following auction. Storage charges of £2 per lot per day + VAT will be strictly enforced thereafter. (b) Roseberys are unable to pack, post or deliver any items purchased through public or online auction, a list of suggested companies is supplied upon issuing of invoices, upon request or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies.

CONDITIONS OF SALE Rosebery Fine Art Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1.

Definitions

In these Conditions: (a) “auctioneer” means the firm of Rosebery Fine Art Ltd or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Rosebery Fine Art Ltd accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate. 2.

Bidding Procedures and Conduct of the Auction

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid. Any bidder who refuses to provide the requested identification may be refused permission to bid. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if they believe there may be error or dispute, and take such action as they reasonably think fit. (c) Subject to condition 2(b) the contract between the buyer and seller is concluded on the striking of the auctioneer’s hammer, whereupon the buyer becomes liable to pay the purchase price. (d) Any post-auction sale of lots offered at auction shall incorporate these conditions as if sold in the auction. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3.

Increments. Bidding increments shall be at the auctioneer’s sole discretion.

The Purchase Price. The buyer shall pay the hammer price together with a premium thereon of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT). The premium price is subject to VAT at the standard rate.

Value Added Tax. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged

at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to “Information for Buyers” for a brief explanation of the VAT position). 6.

Payment

(1) (a) (b)

Immediately a Lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in cash, debit, credit card or bank transfer or in such other way as is agreed by us. Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

(2)

Title and Collection of Purchases. The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (a)(i) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 5 working days following the day of the auction. (ii) Roseberys are unable to pack, post or deliver any items purchased through public or online auction. A list of suggested companies is supplied upon issuing of invoices, upon request, or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies. (b) No purchase can be claimed or removed until it has been paid for and payment has cleared. (c) Invoices will not be split or title transferred to another person(s). Invoices must be paid in full before any lots can be removed. (d) Purchased lots must be collected within the allocated time as stated in the Information for Buyers section 13, storage charges are applicable thereafter. Purchased lots are at the Buyer’s risk (and therefore their sole responsibility for insurance) from the earliest of the collection or the 21st calendar day after the auction. Until risk passes Roseberys will compensate the buyer for any loss or damage to the lot up to a maximum of the purchase price paid. 8. (1)

(a) (b) (c)

(d) (e)

Remedies for Non-Payment or Failure to Collect Purchases If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: to proceed against you for damages for breach of contract; to rescind the sale of that Lot and/or any other Lots sold by us to you; to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

CONDITIONS OF SALE (f)

to retain that or any other Lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied. (2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9.

Third Party Liability. All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. Commission, Telephone Bids and Live Online Bidding. Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. (a) Lots will be purchased by the Auctioneer on behalf of the commission bidder for the lowest price allowed by other bids and/or reserves if any, up to and including their maximum bid amount recorded. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute commission bids whether through the auctioneer or through any online bidding software, or where a bidding slip has been completed incorrectly. We urge commission bidders, to ensure that the correct lot number(s) and price(s) are recorded on their bidding forms. (b) Where two or more commission bids at the same level are recorded we reserve the right at our absolute discretion to prefer the first bid so made. (c) Telephone Bids. Any person unable to attend the auction may request to bid on a specific lot by telephone. This facility is only available by prior arrangement with the Auctioneers and not available for online only auctions. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute telephone bids. (d) Live Online bidding. (i) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites, the buyer is agreeing to Roseberys conditions of sale. (ii) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (iii) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding. Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price.

(iv)

(v)

Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids, placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (aa) any loss of connection to the auction being conducted online; (bb) a breakdown or problems with the online bidding software or the web site service provider; and/or (cc) a breakdown or problems with any internet connection, computer, mobile device or system. By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our websites. Please ensure you familiarise yourself with these prior to accessing our websites.

11.

Warranty of Title and Availability. The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. No representation or warranties are made by Roseberys or the seller as to whether any lots is subject to copyright or whether they buyer acquires copyright in any lot.

12.

Agency. The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13.

Terms of Sale. The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot.

14. (a)

Description and Conditions Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description of a lot. Buyers are welcome to make an appointment to view any lots listed on an online only auction. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 â&#x20AC;&#x153;information to buyersâ&#x20AC;?. Condition Reports. Reports on the condition of any lot are offered by the Auctioneers as a statement of opinion only, and not of fact. Rosebery Fine Art Ltd are not liable for any errors or omissions contained therein. The buyer must satisfy themselves to the condition of any given lot prior to bidding. Roseberys will not be held responsible for any damage or defect that has not been notified to the buyer. Catalogue illustrations are for guidance only and will not convey full information as to the actual condition of lots.

(b)

CONDITIONS OF SALE (c)

(d)

Where the term (a/f) is used this refers to a lot being ‘as found’, it is used for guidance only and indicates in our opinion there is significant damage or repair to an item, the omission of this term does not indicate there is not significant damage or repair to an item and Roseberys are not liable for the omission of this term. Private treaty sales made on these premises under these Conditions are deemed to be sales by auction for the purposes of consumer legislation.

15. Forgeries. Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. Roseberys may require the buyer to obtain at the buyer’s cost the reports of two independent and recognised experts in the field, mutually acceptable to Roseberys and the buyer. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) if you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale. 16. Online Only Timed Auctions These following terms are applicable only to sales conducted online only and are to be used in addition to the conditions of sale. (a) (i)

Right to Cancel If you are a consumer resident in the European Union you have the right to cancel the contract for the purchase of a lot within 14 calendar days without giving any reason. (ii) The cancellation period will expire after 14 calendar days from the day on which you acquire (or a party nominated by you and is not the shipper) physical possession of the lot. (iii) To exercise the right to cancel, you must inform us of your decision to cancel this contract by a clear written statement (e.g. a letter sent by post, fax or email), or you may use the cancellation form which can be found on our website or by contacting a member of staff. The communication must be received within 14 calendar days from the day on which you acquire the lot. (iv) If you cancel the contract, we will reimburse all payments received from you. As Roseberys are unable to provide a postage or packing service the cost of the initial delivery or collection is not returnable. In addition the cost of returning the item if you choose to cancel the contract is payable by you. (v) We may make a deduction from the reimbursement for loss in value of any goods supplied, if the loss is the result of damaged caused by unnecessary handling whilst in your possession. We will make the reimbursement without undue delay, and not later than (aa) 14 calendar days after the day we receive back from you any goods supplied, or (bb) (if earlier) 14 calendar days after the day you provide evidence that you have returned the goods.

(vi) We will make the reimbursement using the same means of payment as you used for the initial transaction, unless you have expressly agreed otherwise; in any event, you will not incur any fees as a result of the reimbursement. We may withhold reimbursement until we have received the goods back or you have supplied evidence of having sent back the goods, whichever is earliest. (b) Liability Roseberys nor the seller will be responsible to you for errors during or after the online only timed auction or failures to execute bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: any loss of connection to the auction being conducted online; a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any connection, computer, mobile device or system. General 17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 18. Where a member of the public causes damage to a lot (or part thereof) the Auctioneers reserve the right to: (a) sell the aforementioned without reserve and to hold that specific individual liable for the amount of any difference between the hammer price and the reserve or low estimate; (b) hold that specific individual liable for the cost of restoration where appropriate; (c) hold that specific individual liable for the full amount of the reserve price or lower estimate as applicable. 19 (a) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 20. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or email if provided in which case it shall be deemed to have been received by the addressee 48 hours after posting. 21. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue. 22. Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 23. English law applies to the interpretation of these Conditions. These terms and conditions are based upon recommended conditions of sale by SOFAA (the Society of Fine Art Auctioneers) and RICS (the Royal Institute of Chartered Surveyors)

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

CATALOGUE SUBSCRIPTION FORM FULL NAME: ADDRESS:

TELEPHONE:

EMAIL:

SUBSCRIPTION OPTIONS Auction Title

Number of auctions annually

Cost of annual Subscription including UK postage

Cost of annual Subscription including Europe postage

Cost of annual Subscription including rest of world postage

Design: Decorative Arts 1860 to Present Day

£37.50

£45

£52.50

Chinese, Japanese & South East Asian Art

£25

£30

£35

Impressionist, Modern, Post-War & Contemporary Art

£25

£30

£35

Fine & Decorative

£37.50

£45

£52.50

Islamic & Indian Arts/ Art of India

£37.50

£45

£52.50

Jewellery & Watches

£37.50

£45

£52.50

Modern & Contemporary British Art

£25

£30

£35

Modern & Contemporary Prints

£25

£30

£35

Print & Multiples

£25

£30

£35

Old Master, 18th & 19th Century Pictures

£37.50

£45

£52.50

Tick to subscribe

Subscription Offer: Buy 2 or more subscriptions save 20% on prices listed Total cost of subscription: Method of Payment: Payment can be made by credit or debit card over the phone or in person, alternatively by bank transfer or cash in person. Payment is accepted via bank transfer to the following account (International bank transfers are subject to a £25 administration fee.): Natwest Bank plc, Bloomsbury Parr’s branch, Sort Code 60-30-06, Account number 36952613, Swift code NWBKGB2L, IBAN GB80NWBK60300636952613. I would/would not like to receive online catalogues and notifications of the sales that I am interested in as indicated on this form (delete as appropriate). Signed:

Date:

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

ABSENTEE BID FORM PLEASE COMPLETE THE FORM IN FULL IN CAPITAL LETTERS AND PLACE YOUR BIDS AT LEAST ONE HOUR PRIOR TO THE START OF THE RELEVANT SECTION OF THE AUCTION

FULL NAME: ADDRESS:

POSTCODE:

EMAIL:

BIDDER NUMBER: TELEPHONE:

Lot number

GBP £ bid price excluding premium

Lot number

GBP £ bid price excluding premium

All bids are entered subject to Roseberys standard terms and conditions of sale and to any special terms stated by the auctioneers to apply to lot(s) which the prospective purchaser hereby acknowledges and accepts. Please see catalogue or website for important information for buyers and our full conditions of sale or ask a member of staff for a copy. I authorise Roseberys to bid on my behalf for the above mentioned lot(s) up to the price(s) stated. I conﬁrm I have read and agree to the buyer’s terms of sale with special attention to the buyer’s premium, additional charges and storage.

Signed:

Date:

AUCTION CALENDAR 2019 November Design: Decorative Arts 1860 to the Present Day Monday 4 November Chinese, Japanese & South East Asian Arts Monday 11 November Jewellery & Watches Wednesday 20 November Old Master, 18th & 19th Century Pictures Thursday 21 November

December Urban & Contemporary Art in association with Artsy Monday 18 November â&#x20AC;&#x201C; Monday 2 December Impressionist, Modern, Post War & Contemporary Art Wednesday 4 December Fine & Decorative Thursday 5 December

Modern & Contemporary British Art: An Online Only Auction Monday 11 November â&#x20AC;&#x201C; Thursday 28 November

70/76 Knights Hill, London SE27 0JD +44 (0)20 8761 2522 clientservices@roseberys.co.uk

www.roseberys.co.uk

70/76 Knights Hill London SE27 0JD +44 (0) 20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk