Roseberys London by Jamm Design Ltd

OLD MASTER, 18TH & 19TH CENTURY PICTURES Wednesday 17 July 2019

OLD MASTER, 18TH & 19TH CENTURY PICTURES Wednesday 17 July 2019 Starting at 12 noon VIEWING Friday 12 July 1pm-5pm Sunday 14 July 10am-2pm Monday 15 July 9.30am-5.30pm Tuesday 16 July 9.30am-5.30pm Wednesday 17 July 9.30am-11.45am 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 38 Back Cover: Lot 146 Inside Front Cover: Lot 89 Inside Back Cover: Lot 258

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

Online bidding available at:

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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. New International Bidders

Alternatively, online bidding is available through www.thesaleroom.com and www.invaluable.com, successful online bidders are charged an additional premium of 5% + VAT. Bidders must register by 9am on the morning of the auction to be able to buy online. You will be asked to complete the registration process prior to approval. • Telephone bidding: A limited number of phone lines for lots in the auction are available for bidders subject to a minimum threshold. A member of staff would telephone you during the auction and bid live on your behalf. Please contact reception if you would like to enquire about booking a phone line. The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over the top estimate. Buyer’s Premium The buyer shall pay the hammer price together with a premium thereon of:

In addition to providing proof of identity, new international bidders must leave a £500 deposit the first time they register and before bidding. Successful bidders will be refunded their deposit once they have paid for their lots. Unsuccessful bidders will automatically be refunded within a week of the auction.

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)

Methods of bidding

VAT

• In person: at the auction room.

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.

• Commission bid: If you are unable to attend the auction, commission bids may be left indicating the maximum amount to be bid excluding the buyer’s premium. All bids must be received at reception at least one hour before the start of the auction. Clients are also able to leave a commission bid via our website on individual lot pages. These bids are actioned on your behalf by our in-house bidding software RoseberysLive, and are not visible to the auctioneer. • Online bidding: You can follow all our auctions live online and bid via the internet using RoseberysLive, our in-house live bidding platform. RoseberysLive is a secure online bidding platform provided by Roseberys to enable our clients to bid online from anywhere in the world. You can register to use the service or view the auction through our website www.roseberys.co.uk. There is no charge to use this service.

The premium price is subject to VAT at the standard rate.

(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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Payment Payment is required immediately after the auction and can be made in the following ways: • Cash: up to the sterling equivalent of 10,000 Euros on the day of the transaction. • Debit and Credit cards: excluding American Express. To protect against card fraud we are unable to make ‘card not present’ transactions online or over the phone for amounts over £1000. To make a payment of over £1000 please make a bank transfer or visit the auction house in person. • Bank transfer: 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. • Online via www.roseberys.co.uk (up to £1,000) Clearance of Goods Roseberys requests all lots are collected within five working days following the auction. After this, storage charges of £2 + VAT per lot will apply. Please contact our Client Services team should you be unable to collect your purchases within this time and we would be happy to discuss alternative arrangements. Delivery Roseberys is unable to pack and ship items but can suggest the following companies: London/Surrey • Capital Fine Art Move: +44 (0) 7957 209523 • Bernard Thornton: +44 (0) 7970 118762 Nationwide/International • Mail Boxes Etc: +44 (0) 20 8649 9777 Specialist Packing • Pack and Send: +44 20 8392 6990 In order to release to a third party carrier you must inform Roseberys in writing of the lot number and carrier name. Please email clientservices@roseberys.co.uk Export of goods Buyers intending to export goods should ascertain whether an export licence is required before bidding. Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. Details can be found on the ACE website www.artscouncil.org.uk or by phoning ACE on 020 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions before bidding. The refusal of any such licences shall not permit the cancelling of any sale nor allow any delay in making full payment for the lot.

Lot 328

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1 After Andrea Mantegna, Italian 1431-1506 Four Dancing Muses, c.1497 etching on laid paper, bears pen inscription, and further inscriptions to verso in pencil, plate 24 x 34.8cm (trimmed) (unframed) Note: for the original work, see Bartsch, XIII.305.18 £400 - 600*

1 2 After Andrea Mantegna, Italian 1431-1506 The Corselet Bearers, from the Triumph of Caesar, c.1498 woodcut engraving on laid paper, sheet 25.7 x 25.7cm (trimmed) (unframed) Note: for the original work, see Bartsch, XIII.236.13 £300 - 400*

3 After Andrea Mantegna, Italian 1431-1506 The Senators, from the Triumph of Cesar suite, c.1484-92 engraving on laid paper, sheet 28.8 x 26.9cm (trimmed) (unframed) Note: for the original work, see Bartsch XIII.234.11 £300 - 400*

3 4

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4 Marcantonio Raimondi, Italian 1480-1527 The Fall of Man [Bartsch 585], & Christ Washing St Peter’s Feet [Bartsch 593], from the suite Small Woodcut Passion, c.1512, after Albrecht Durer copper engravings on laid paper, two, each signed with monogram tablet and numbered 2 and 9 respectively, sheets 12.6 x 10cm and 12.9 x 9.6cm (both trimmed) (unframed) (2) Note: These are part of a series of thirty-seven engravings after Durer's 'Small Woodcut Passion', recognised by Raimondi's use of a monogrammatic tablet. see Bartsch, A. von, 'Le Peintre graveur', Vienne: J V Degen, 1803 £300 - 500* 5 Marcantonio Raimondi, Italian 1480-1527 The Expulsion from Paradise [Bartsch 586], & Christ Crowned with Thorns [Bartsch 602], from the suite Small Woodcut Passion, c.1512, after Albrecht Durer

copper engravings, two, each signed with monogram tablet and numbered 3 and 9 respectively, both printed in three states, sheets 12.5 x 9.8cm and 12.6 x 9.6cm (both trimmed) (2) Note: See lot 4 £800 - 1,200*

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

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6 Circle of Cornelis Engebrechtsz, Dutch 1460-1527 The Life and Passion of Christ: The Flight Into Egypt; The Lamentation; The Presentation; The Crucifixion; The Entombment; Christ Bearing His Cross; and Christ in the Temple oils on panel, seven, tondo, diameter 7.4cm (max) (7) Literature: Kok, J. P. F., Gibson, W., and Bruijnen, Y., â&#x20AC;&#x2DC;Cornelis Engebrechtsz A Sixteenth-Century Leiden Artist and His Workshop, Turnout, Belgium: Brepols Publishers, 2014 Note: Cornelis Engebrechtsz was a Dutch artist from the city of Leiden, whose workshop included his three sons, Pieter Cornelisz, Lucas Cornelisz and Cornelis Cornelisz, as well as Lucas van Leyden. Works by Engebrechtsz (as opposed to his workshop) demonstrate a high level of intricacy, particularly when addressing clothing and textiles, and his ability to capture the emotions of his characters shows superiority over pictures associated with his workshop. Pictures by his workshop, although often produced in close collaboration with the master Engebrechtsz, were often finished more heavily and coarsely. Their work mainly consisted of smaller devotional paintings produced for private use. Although there are known tondo works by Engebrechtsz and his workshop, the tondo format was more associated at the time with use by artists in the southern Netherlands (see Kok, Gibson, Bruijnen, 2014, p.57). ÂŁ5,000 - 7,000* 6

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7 Manner of Tiziano Vecelli, known as Titian, 17th century

8 Manner of Gianfrancesco Penni, 18th century

Abraham Serving the Three Angels

Sinite Parvulos Venire ad me

oil on canvas, bears signature, 72.8 x 98.5cm

oil on canvas, 58 x 110cm

(VAT charged on hammer price)

ÂŁ2,000 - 3,000*

ÂŁ3,000 - 5,000*

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

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9 Hans Sebald Beham, German 1500-1550 Die Heilige Familie (The Holy Family), 1521 woodcut on laid paper, printed monogram, 17.4 x 11.2cm (unframed) Provenance: Christie’s, London, 28th November 2018, lot 91 £800 - 1,200* 10 Circle of Andrea Celesti, Italian 1637-1712 Apollo hanging Marsyas to a tree pen and brown ink and wash on watermarked laid paper, feigned oval, bears inscription on the reverse Historia di apolo incersion del parmesania andrea (celesti?) fecit lano m 1652 mayio ultimo and bears sketch of Apollo and Daphne in pen and brown ink to the reverse with inscription apolo o dafane, sheet 24.4 x 18.2cm (unframed) £300 - 400*

9 11 Giorgio Mantovano Ghisi, Italian 1520-1582 “Gaius Marius in Prison at Minturnae”, after Polidoro da Caravaggio, [Bartsch 26, Boorsch & Lewis 29i or iii] copper engraving on laid, 20.6 x 28.2cm (mounted, unframed) Provenance: Christie’s, Old Master Works on Paper, Prints and Drawings, 28th November 2018, lot 74 £400 - 600*

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12 After Paolo Caliari, known as Paolo Veronese, Italian 1528-1588 The Finding of Moses, 1741 sepia woodcut on laid paper, published by J B Jackson, plate 56 x 38cm (unframed) £400 - 600*

12 13 Hendrick Goltzius, German 1558-1617 Two female allegorical figures copper engraving on laid paper, printed monogram, 21.6 x 15.5cm: together with a mixed folio of Old Master, 18th century and later engravings, etchings and a red chalk drawing, by and after various artists, depicting religious, allegorical, portrait and rural landscapes, 45 x 33cm (max) (a lot) (unframed) £200 - 400* 14 Antonius Wierix, Flemish 1552-1604 S. Petrus, from the Twelve Apostles, after Ambrosius Francken, c. 1585 copper engraving on laid paper, 20 x 14cm: together with eleven other plates from the same suite, each sheet 20 x 14cm (12) (unframed) £200 - 400*

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

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15 Sienese School, late 16th century Saint Agatha holding a torch and an eye with the figure of a devoted patron at her feet oil on panel, 128 x 82.5cm (unframed) £3,000 - 5,000*

15 16 Italian School, early-mid 16th century Portrait of Gerolamo dai Libri (1474-1555), c.1540 oil on panel, inscribed HIERONIMUS A LIBRIS PICT. MINATOR VER, bears further inscription on the reverse, 23 x 17cm £2,000 - 3,000*

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17 (detail) 17 Circle of Giuseppe Cesari, known as Cavaliere d’Arpino, Italian 1568-1640 The Expulsion of Adam and Eve from Paradise (Cacciata di Adamo ed Eva dal Paradiso) oil on unstretchered canvas, 210 x 142cm (unframed) Note: Of the multiple versions by and from the studio of Cesari, the oil on copper version in the Louvre [INV 249] (50.5 x 37.2cm, circa 1597) is considered the first and original painting of this composition, depicting a rather shameful Adam, turned away from the angel. Later versions, stemming from an opinion given by Archbishop Silvio Antoniano in 1601 after seeing the fresco version in the Villa Aldobrandini, show an alternative of Adam facing the angel with his right arm held up, forming a representation less-passive and one of Adam facing his punishment (see Rottgen, 2002, p.340). This version differs in its large size in oil on canvas in comparison with most smaller oil on copper versions, making it reasonable to expect it may have been designed for a specific wall space. That the angel is much closer upon Adam and Eve is an indication that the measurement was pre-determined. Other versions in collections include: Christ Church, University of Oxford, [JBS 135] (oil on copper, 46.5 x 33.5cm, c.1606); private collection, Castel Giuliano, Italy; Wellington Museum, Apsley House, London, [WM 1633-1948] (oil on copper, 49 x 34cm, c.1606) (possibly by the studio of Cesari); and Galleria Sabauda, Turin, [557] (76.8 x 85.3cm, oil on canvas, c.1606). Variations in these versions can be seen in the levels of eroticism displayed by the leaf covering-or-not of the figures, the postures of Eve, and of the extent of foreground and background foliage. see Rottgen, H., ‘Il Cavalier Giuseppe Cesari D’Arpino: Un grande pittore nello splendore della fama e nell’incostanza della fortuna’, Rome: Ugo Bozzi Editore Srl, 2002 £4,000 - 6,000* 17 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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18 After Annibale Carracci, Italian 1560-1609 The Madonna and Sleeping Child with the Infant St John the Baptist oil on canvas, 38.3 x 46.4cm £400 - 600* 19 Follower of Adam Willaerts, Dutch 1577-1664 19

Dutch fleet in battle with the English oil on panel, bears monogram, 41 x 72.5cm Provenance: purchased by the father-in-law of the present owner at Paul Brandt, Amsterdam, 25th November 1969, lot 165. £1,000 - 1,500*

20 20 Attributed to Abraham de Verwer, Dutch 1585-1650 L’Hôtel de Nevers, la tour de Nesle et la Grande Galerie du Louvre, vus du pont Neuf oil on panel, 38.7 x 53cm Note: Abraham de Verwer travelled and spent time in Paris between 1637-39. “In April 1639, Abraham de Verwer wrote to Amsterdam a letter to Prince Frederik Hendrik, stating that he had visited France and made some paintings with views of French cities. There are seven of these paintings known to us today. Shortly thereafter, on October 21st, 1639, the painter received 400 gulden from Frederick Hendrik ‘for two paintings with the view of the Louvre of Paris and for two other views which he delivered to His Highness’.” (Giltaij & Kilch, 1996, p.133). There are seven views along the Seine known, with three other panoramas of Paris in the Carnavalet Museum (CARP0333; P 333), and one further painting was in the Institut Neerlandais, Paris, which closed in 2013. None of these paintings are known to be signed. £3,500 - 4,500*

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21 21 Follower of Frans Francken the Younger, Flemish 1581-1642 Saint Jerome in the wilderness oil on panel, bears indistinct inscription to the reverse of the panel, 39.8 x 31.4cm Note: The depiction of the smaller male figure on the right may be a younger version of the principal subject of this painting 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.

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22 Aegidius Sadeler, Flemish 1570-1629 Pastoral scene with resting herdsmen, woodland and a village etching on laid paper, plate 20.3 x 21cm (unframed) Note: Sadeler was active at the Prague court of Rudolf II, Holy Roman Emperor. £100 - 150*

23 Jacob Matham, Dutch 1571-1631 Market Scene in City with the Parable of the Labourers in the Vineyard in the Background [New Hollstein 158], after Pieter Aertsen, 1603 copper engraving on laid paper, sheet 20.3 x 33.4cm (trimmed) (unframed) Provenance: by repute, originally from the Estate of Seymour Lucas see Leesberg, M., ‘Hendrick Goltzius, The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts 1450-1700’, Ouderkerk aan den IJssel: Sound and Vision Publishers, 2012 £100 - 150* 24 Manner of Sir Peter Paul Rubens, 18th century Scene from the Passion of Christ pen and brown ink on laid paper, bears inscription in Italian on the reverse, 25 x 27cm: together with a mixed folio of drawings and prints, 18th and 19th century, by and after various hands, 45 x 35.1cm (max/sheet) (a lot) (unframed) £200 - 400*

25 25 Christoffel van Sichem the Elder, Dutch 1581-1658 Man with a Plumed Cap, after Hendrik Goltzius, 1607 [New Hollstein 733] woodcut on laid paper, 31.8 x 21.5cm (sheet) (unframed) Provenance: Christie’s, London, 28th November 2018, lot 14 Note further references: Hollstein 135; Bartsch 3 (after Goltzius) (vol. 3, p. 4040); Wurzbach 19 (as C. van Sichem II) £800 - 1,200*

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26 Jacques Callot, French 1592-1635 The Hanging, c.1633 copper engraving on laid paper, from the suite The Miseries and Misfortunes of War, 8 x 18.5cm (unframed): together with twentytwo further engravings by the same artist from the same or related suite, each approx. 8 x 18.5cm (23) (twenty unframed/three framed) £200 - 400* 27 Jacques Callot, French 1592-1635 Les Miseres et les Malheurs de la Guerre, 1633 etchings on laid, an incomplete suite of eleven plates, to include nos 1 (frontispiece), 2, 4-7, 9, 13, 15, 16, 18, and two other related etchings by the same artist, ea. approx. 11.7 x 22cm, (13) (unframed) Provenance: Christie’s, London, 28th November 2018 £1,000 - 1,500* 27 28 After Anthony van Dyck, Flemish 1599-1641 The Countesses: Dorothea; Lucia; Margarita de Carlile; Penelope Domina Herbert; Anna Sophia; Elizabeth Castlehaven; Elizabeth; Anna de Morton; Anna; Rachel, c.1650-60 engravings on laid paper, ten, printed by Pierre Lombart, and published in London and Paris, each plate 35.2 x 24.5cm (10) £200 - 400*

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

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29 John Ogilby, British 1600-1676

30 John Ogilby, British 1600-1676

Egiptische Piramiden and de Stadt Benin, 1670

The Hottentots Cloathing and Their armes, 1670

etchings on laid paper, two, both from the English translated version of Olfert Dapper’s Africa, published in London, each plate 26.7 x 35.9cm, (unframed) (2)

copper engraving on laid paper, 25 x 34.3cm, (unframed)

Provenance: by repute, originally from the Estate of Seymour Lucas

£100 - 150*

Provenance: by repute, originally from the Estate of Seymour Lucas

£200 - 300*

29 31 After Rembrandt Harmenszoon van Rijn, Dutch 1606-1669 Christ returning from the Temple, with his parents re-strike etching with drypoint on Arches laid paper,bears signature and date within the plate, possibly printed by Charles AmandDurand (1831-1905), plate 9.5 x 14.2cm Provenance: with Centaur Sculpture Galleries, according to the label attached to the reverse of the frame Note: Charles Amand Durand (1831-1905) was a French reproductive engraver who was fascinated by Old Master wood and copper plate engravings. Durand recreated exact replicas of the original first and second state prints of artists such as Rembrandt, Durer, and Beham, using techniques such as photogravure, heliogravure, and etching. His replicas produced images that recaptured much of the clarity and vibrancy of the early states that had become lost with repeated printing. Durand’s reproductions were well-received by collectors and institutions, and versions of them were acquired by the Bibliotheque Nationale de France and the Louvre Museum. George Duplessis, of the Cabinet des Estampes at the Bibliotehque Nationale, facilitated the printing of portfolios of Durand’s work. £300 - 500* 16

32 Wenceslaus Hollar, Czech 1607-1677

Tomb of Sir Simon Burley, c.1658 [Pennington 2254] etching on laid paper, ‘First State’, as published in Sir William Dugdale’s “History of St. Paul’s Cathedral” in 1658, printed in London, 33 x 20.2cm (sheet): together with three other etchings on laid by the same artist depicting- Tomb of Roger Nigri, Tomb of St Erkenwald in St Paul’s, and the title page for ‘A View of the Monuments Situate in and about the Quire, Side-iles, & Chapels Adjacent’, on laid, printed c. 1657/8, sheet ea. 33 x 20.2cm, (4) (unframed) Note: Tomb of Sir Simon Burley was commissioned for Sir William Dugdale’s, History of St. Paul’s Cathedral, first published in 1658. Wenzel Hollar designed the entire composition, rendering burley’s coats-of-arms in the upper portion and depicting the actual architecture of the tomb in St. Paul’s in the remaining two thirds of the plate. £120 - 180* 33 Wenceslaus Hollar, Czech 1607-1677 Parliamentvm Londinense (Sitting of Parliament in London), 1641 etching on laid paper, plate 26 x 28cm, (unframed) Provenance: by repute, originally from the Estate of Seymour Lucas £150 - 200* www.roseberys.co.uk

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34 Adriaen van Ostade, Dutch 1610-1685 Mother with two Children, c.1675 etching on laid paper, third state, 9 x 6.6cm (mounted/unframed) Provenance: Christie’s London, Old Master Works on Paper: Prints and Drawings, lot 20, 28 Nov 2018 £1,000 - 1,500* 35 Jan Fyt, Flemish 1611-1661 The Set of the Dogs, 1642 etchings on laid paper, the complete set of eight etchings including the title sheet, dated, 18 x 24.5cm (sheet/max) (8) (unframed) Provenance: Christie’s London, Old Master Works on Paper: Prints and Drawings, lot 87, 28th November 2018 £800 - 1,200* 34

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

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36 Follower of Jacques d’Arthois, Flemish 1613-1686

37 Circle of Ludolf Backhuysen the Elder, Dutch 1630-1708

A wooded landscape with a sportsman and his dog on a sandy road in the centre

Shipping with figures on a jetty and a frigate moored off shore

oil on canvas, 24.5 x 35.5cm

oil on panel, 43 x 67cm

£500 - 800*

(VAT charged on hammer price) £800 - 1,200*

37 38 Studio of Jacob Jordaens, Flemish 1593-1678 A Bearded Man and a Woman with a Parrot: “Unrequited Love” oil on canvas, 87 x 68.5cm Provenance: Sotheby’s, London, Old Master Paintings, 16 November 1966, lot no not known Note: There are at least two known versions of this picture by Jordaens, one in the Liechtenstein Collection, Vienna, and one which was auctioned at Sotheby’s, New York, 29 January 2009, lot 15. There are also two further known studio versions, one which sold in the Mauerbach Auction at Christie’s, Vienna, 29 October 1996, lot 72, and another which was auctioned at Christie’s, Amsterdam, 13 October 2009, lot 57. This version and the Sotheby’s 2009 version mimic one another, placing the figures in a doorway, with two cherries attached in the lady’s hand; the Liechtenstein and Mauerbach studio version both place the figures in a window setting, with variations to the cherries. The Mauerbach studio version has previously been titled ‘Ill-Matched Couple’. The male model is most likely Adam van Noort, Jordaen’s teacher and father-in-law, whilst the female model is likely to be Jordaen’s eldest daughter, Elizabeth, born 1617. Literature: D’Hulst, R.-A., 1993, p.176 & p.178; cf. this version to D’Hulst, 1993, p.178 cat. no. A54b (Liechtenstein Collection); D’Hulst, R.-A., 1982, pp.281-83 £8,000 - 12,000*

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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.

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39 Follower of Cornelis van Poelenburgh, Dutch 1594-1667

Bacchanal procession of putti and angels oil on canvas, 44.6 x 59cm £800 - 1,200* 40 After Govert Flinck, Dutch 1615-1660 Abraham Blessing Jacob oil on canvas, 114.5 x 141.5cm £500 - 800*

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41 41 Follower of Charles le Brun, French 1619-1690 The Assassination of Tarquin the Elder, Fifth King of Rome oil on canvas, 65 x 81cm ÂŁ1,200 - 1,800* 42 Circle of Pietro Bellotti, Italian 1625-1700 Portrait of an old woman spinning thread with two children oil on canvas, bears inscription on the reverse, 51 x 40.8cm Provenance: Archduke Rainer Joseph of Austria, Viceroy of the Kingdom of Lombardy-Venetia (1783-1853); by descent to the present owner ÂŁ2,000 - 4,000*

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

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45 Jan de Bisschop, also known as Johannes Episcopius, Dutch 1628-1671 An Angel on the Wing, after Giuseppe Cesari

43 43 Johannes Nieuhoff, Dutch 1618-1672 Castrum a Meinjaceen, 1671 engraving, 30.2 x 38.4cm (sheet): Italian School, 18th centuryOveliscus Ramessaeus; copper engraving on laid, 46 x 33cm: together with a mixed folio of prints to include a lithograph by Sir William Nicholson of Don Quixote, various sizes, 41 x 57.5cm (max) (a lot) (unframed) Note: ‘Castrum a Meinjaceen’, now known as Canton, can also be seen in the National Maritime Museum, Greenwich London ref: PAH2765 £150 - 200* 44 Attributed to Philips Wouwerman, Dutch 1619-1668 Horse and rider brush and grey brown ink over pencil on buff-coloured laid paper, 15 x 20cm £250 - 350*

etching and engraving on laid paper, signed with monogram and inscribed within the plate, printed by Gerard de Lairesse, and published as plate 9 in Paradigmata Graphices Variorum Artificum per Joh. Episcopium ex Formis Nicolai Visscher, image 16.5 x 22.8cm: together with three other etching and engravings by the same artist depicting male nudes and deities, each signed with monogram and inscribed within the plate, each from the same publication, as plates 6, 10 and 13, plate 12.4 x 24.3cm (max) (4) £500 - 700* 46 Johann Heinrich Roos, German 1631-1685 Study of resting shepherds with a goat and a dog pen and brown ink, red crayon and grey wash on laid paper, signed with initials in brown ink, further inscribed in pencil to the mount, sheet 10 x 23.9cm (unframed) £150 - 250* 47 After Jan Vermeer & Carel Fabritius, Dutch 1632-1675 & Dutch 1622-1654 Jan Vermeer of Delft and Carel Fabritius: Photogravures of all their known Paintings a loose folio of photogravures, thirtyseven of the original suite of forty-two plates, lacking plates 1, 29, 37, 39, 41, published by Scheltema and Holkema’s Boekhandel, Amsterdam, 1909, to also include a biographical and descriptive text booklet by Dr C Hofstede de Groot, translated by Ada E H Wyche and two individual text sheets, each plate 59.7 x 45.3cm: together with six further engravings and photogravures by various artists depicting portraits and landscape scenes, image 59.5 x 45.5cm (max) (a lot) (unframed) £200 - 400*

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

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48 48 Follower of Philippe de Champaigne, French 1602-1674 Portrait of a gentleman standing three-quarter length in a black coat, his left hand holding open a book with a landscape beyond oil on canvas, 136.5 x 110.5cm (VAT charged on hammer price) Provenance: Sotheby’s, London, 15th April 1999, lot 344 Note: Philippe de Champaigne, born in Brussels and taught by the landscape painter Jacques Fouquieres, worked for both Marie de Medici and Cardinal Richelieu, and was a founding member of the Academie Royale de Peintre in 1648. His oeuvre includes portraits of the French court and nobility as well as Jansenist figures. see Pericolo, L., ‘Philippe de Champaigne’, Tournai: La Renaissance de Livre, 2002; Dorival, B., ‘Supplement au Catalogue raisonne de l’oeuvre de Philippe de Champaigne’, Paris: Chez l’auteur, 1992 £1,500 - 2,000* 24

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49 Follower of Giacomo del Po, Italian 1654-1726 Portrait of Ceres oil on canvas, oval, 68 x 51cm (VAT charged on hammer price) £1,500 - 2,000* 50 Follower of Sir Godfrey Kneller, British 1646-1723 Portrait of a lady half-length oil on canvas, oval, 76 x 63.5cm (unframed) £250 - 300* 51 Follower of Sir Godfrey Kneller, British 1646-1723 Portrait of a lady, quarter length turned to the left, feigned oval oil on canvas, 75.8 x 63.5cm £800 - 1,200*

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

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52 52 Flemish School, mid-late 17th century Abraham with The Three Angels oil on copper panel, 54.5 x 72cm £1,500 - 2,000* 53 Italian School, late 17th/early 18th century Angels with the instruments of the Passion oil on copper panels, four, in shared frame, ea. 13 x 10cm £300 - 400* 54 Manner of Giacomo Francesco Cipper, mid 19th century A travelling hurdy-gurdy player and dancing dog performing for villagers oil on panel, 74 x 63cm £600 - 800* 54 26

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56 55 German School, early 18th century Portrait of a lady in a red dress, seated three-quarter-length turned to the left oil on canvas laid down on panel, 29.5 x 20.3cm £250 - 300*

56 Attributed to Giueseppe Gambarini, Italian 1680-1725 Sleeping girl seated in an interior with a resting dog oil on canvas, 28 x 19.5cm £1,500 - 2,000*

57 John Senex, British 1678-1740 A New Map of India & China from the Latest Observation, 1721 hand-coloured engraved map on laid paper, published by the East India Company, London, 49.8 x 59.2cm £150 - 200*

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

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58 Pieter Schenk the Elder, German 1660-1718/19

60 Nicolas Le Sueur, French 1691-1764

Marine and group figure in interiors and exterior settings, some relating to Amsterdam

La Messe, after Polidoro da Caravaggio, c.1730s

copper engravings on laid paper, fifty-four, each sheet approx. 16 x 18.2cm, (54) (unframed)

chiaroscuro woodcut and etching on laid paper, etched by Comte de Caylus, plate 26.5 x 32.1cm, (unframed)

Provenance: purportedly purchased from J Janssens £300 - 400*

Provenance: by repute, originally from the Estate of Seymour Lucas

59 Italian School, late 17th/early 18th century Homer’s Odyssey, Book VIII: The Bard Demodocus sings of Troy black and white chalk on blue coloured laid paper, bears inscription in pen and brown ink, sheet 24.7 x 38.8cm, (unframed) Note: With Odysseus’ identity still concealed, the bard Demodocus sings about the Battle of Troy including between Odyseus and Achilles, moving Odysseus to tears, by which he can be seen concealing his tears behind his cloak. £200 - 300*

£150 - 200* 61 Giovanni Antonio Canal, il Canaletto, Italian 1697-1768 Veduta immaginaria di Venezia: La casa con l’iscrizione and La casa con il peristilio, (Imaginary view of Venice: The House with the Inscription and The House with the Peristyle), [B.13 & 14], 1741 etchings, two adjoined sheets, total size 28 x 42.6cm Provenance: Sotheby’s, London, 27th September, 2011, lot 2 £1,000 - 1,500*

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62 French School, mid 18th century

64 Jean-Etienne Liotard, Swiss 1702-1789

Studies of working men and women, c.1740

Le Chat Malade, after Jean-Antoine Watteau, 1731

watercolour and pen and brown ink on laid paper, sheet 14.5 x 9.5cm (max) (unframed) (4)

counterproof etching on laid paper, printed collectors stamp verso, 38.5 x 28.5cm, (unframed)

£600 - 800*

£800 - 1,200*

Provenance: Christie’s, London, 28th November 2018, lot 85

63 Francesco Polanzani, Italian 1700-1783

65 Jean-Etienne Liotard, Swiss 1702-1789

Jacobus Callot, after Anthony Van Dyke, c. 1748

Rene Herault Conseiller d’Etat Lieutenant General de Police, 1731

etching, with twelve other etchings of Portrait heads of male dignitaries, after Van Dyke, ea. 15 x 18.9cm (sheet/approx.): Jean-Pierre Norblin de la Gourdaine, French 1745-1830- Self portrait; together with a quantity of etchings and engravings by and after various artists, some after Rembrandt printed later, depicting portrait heads, figurative and character studies, and Mise-en-scene, 18 x 12.5cm (max/sheet) (a lot) (unframed)

etching with engraving on laid paper, with watermark, 39.5 x 30.3cm (sheet), (mounted, unframed)

£200 - 300*

Provenance: Christie’s, London, 28th November 2018, lot 14 £800 - 1,200* 66 Circle of Charles-Andre van Loo, French 1705-1765 Study of a man’s head black and white chalk on grey painted laid paper, 36.2 x 26cm (unframed) £120 - 180*

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

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67 After Francois Boucher, French 1703-1770 La Fille au Chat pastel, bears label attached to the reverse of the frame, 39.8 x 31.8cm (VAT charged on hammer price) £300 - 400* 68 Manner of Francois Boucher, late 18th/early 19th century A Summer Pastoral oil on canvas, 49 x 66.3cm £300 - 400* 69 Follower of Balthasar Beschey, Flemish 1708-1776 Figures by cottages with a palace in a wooded river mountain landscape

oil on copper panel, 30 x 34cm £200 - 300*

68 30

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70 French School, mid 18th century The Presentation at the Temple oil on paper laid down on canvas, 26.8 x 22cm ÂŁ1,200 - 1,800* 71 Johann Albrecht Dietzsch, German 1720-1782 Busy tavern scenes gouache on paper, a pair, both signed, ea. 22.5 x 16.5cm., (2) ÂŁ800 - 1,000*

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

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72 72 Follower of Jacob de Wit, Flemish c.1695-1754

73 Lombard School, mid-18th century

Trompe l’oeil of a bas relief of putti with musical instruments and books

Portrait of a gentleman, half-length in a green coat holding a magnifying glass; Portrait of a lady, half-length in a red and white dress and hat holding a fan

oil on canvas, 56 x 124cm Provenance: Sotheby’s, London, 24th April 2008, lot 482

oil on canvas, a pair, each 80.5 x 68.5cm (2) Provenance: Sotheby’s, London, January 19, 2017, lot 191

£1,500 - 2,500*

£1,000 - 2,000*

73 32

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74 Italian School, 18th century Saint Mary Frances of the Five Wounds oil on panel, inscribed indistinctly to the reverse of the panel, 26 x 20.3cm, (unframed) Note: Mary Frances was an Italian member of the Third Order of St Francis, received into the Order on September 8, 1731. She was declared Venerable by Pope Pius VII on May 18, 1803, was beatified by Pope Gregory XVI on November 12, 1843, and canonised by Pope Pius IX on June 26, 1867. She was the first woman from Naples to be declared a saint by the Catholic Church. £300 - 500* 75 British School, 18th century A portrait miniature of a young gentleman, standing quarter-length turned to right in a landscape

tondo, 6.5cm dia £200 - 300* 76 Samuel Cotes, British 1734-1818 A portrait miniature of a lady, seated halflength turned to the left in a white dress with purple sash signed and dated 1794, oval, 9 x 6.5cm £300 - 400*

77 British School, late 18th century Portrait a gentleman traditionally held to be Mr Jarritt, half-length turned to the right in a black coat and white stock oil on canvas laid down on panel, oval, 26.5 x 21.5cm (framed) £300 - 500*

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

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78 78 George Romney, British 1734-1802 Portrait of John Smith, merchant of Westminster, seated three-quarter length in a brown coat and white stock turned to the right holding a snuff box in his left hand oil on canvas, 127.5 x 101.5cm Literature; Kidson, 1196a Provenance: by descent to Sir Thomas Spencer Smith, Bt; ... Sabin Galleries London 1960 and 1970; private collection where purchased by the present owner Exhibited: ‘English Portraits Mainly Eighteenth Century’, Sabin Galleries London, 1960, no.21; ‘English Portrait 1500-1830’, Sabin Galleries London, 1970, no.31

Note: According to Kidson, eight appointments are recorded between 1782-83 for a Mr Smith, with “Mr Smith of Westminster’ paying Romney 40 guineas for his father’s portrait on 21 April 1783’ (Kidson, p.535). Kidson is aware of two known versions of this painting, but believes, as Mr Smith had three sons, there is the possibility of three versions for each son. The measurements of this picture and the Sabin label applied to the reverse of the frame correspond to version 1196a, which Kidson describes as ‘virtually indistinguishable’ from the other known version, 1196, now in the Barber Institute of Fine Arts, Birmingham, item no. 52.4. Literature: Kidson, A., ‘George Romney: A Complete Catalogue of his Paintings, Vol. I-III, New Haven and London: Yale University Press, 2015 £2,500 - 3,500*

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79 Follower of Richard Wilson RA, British 1713-1782 Landscape with a chateau in the background oil on panel, 27.1 x 38.2cm ÂŁ200 - 300* 80 Manner of Francesco Guardi, 19th century Venetian scene with gondolas and shipping oil on canvas laid down on panel, 20.5 x 14.5cm ÂŁ300 - 400*

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

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81 British School, mid 18th century Seated woman with man in classical interior, possibly a visiting dentist, c.1740-45 pen and ink and wash on laid paper, 15.9 x 17cm (unframed) ÂŁ250 - 350*

82 82 Charles-Nicholas Cochin, French 1715-1790 La Fontaine; La Blanchisseuse, after Chardin copper engravings on laid paper, two, both 27.7 x 31.1cm: together with two other copper engravings by Nicolas de Launay and Pierre-Philippe Choffard, entitled Le Petit Jour, sheet 35.5 x 25cm, and The Reprimand, image 39.2 x 27.5cm (4) ÂŁ100 - 150*

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84 83 Manner of Francesco Guardi, Santa Maria della Salute, & San Giorgio Maggiore from the water, Venice

84 Giovanni Battista Piranesi, Italian 1720-1778

pen, ink and wash on laid, a pair, in feigned oval design, ea. 18.3 x 27cm (2) (unframed)

etching, image 13.1 x 27cm: together with three further etchings by the same artist, c.1748, depicting Rovescio del Tempio di Pola in Istria, Sepolcro delle trè fratelli Curiati in Albano, and Amphitheatre di Verona, each image approx. 13.1 x 26.5cm (trimmed) (unframed) (4)

£200 - 300*

Sepolcro di Metela detto Capo di Bove, c.1748

£300 - 400* 85 Thomas Major ARA, British 1720-1799 Soleil Levant’ & ‘Claire de la Lune, after Jan Van Der Meer II etching and engravings on laid, two, published London June 1752 & February 1753, 35.2 x 47cm & 45.2 x 61.5cm (sheet): together with a quantity of etchings by Maurice Toussaint, French 1882-1974, and similar artists depicting late 19th/early 20th century views of Oxford and river landscapes, 35.7 x 53cm (sheet/max), (9) (unframed) £180 - 220*

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

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86 French School, mid/late 18th century Cavalry saving a lady from her demons pen and ink and wash en grisaille, bears collector’s stamp verso, sheet 27.4 x 17cm (unframed) £100 - 150* 87 Attributed to George Moutard Woodward, British act.1760-1809 Resolv’d to turn away Betty - having form’d a more desirable connection with Jenny pen and black ink and watercolour on buff coloured laid paper, bears inscription, 23 x 11cm Provenance: with Lauri Stewart Fine Art, London, according to label attached to the reverse of the frame £100 - 150* 86

88 Circle of Paul Sandby RA, British 1731-1809

A Capriccio landscape with a waterfall, herdsman and cattle watercolour and bodycolour on laid paper, sheet 29.4 x 40.1cm (unframed) Provenance: Christie’s South Kensington, Old Master and British Drawings and Watercolours, December 2, 2014, lot 174 £800 - 1,200* 38

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89 George Stubbs ARA, British 1724-1806

A Horse Affrighted by a Lion, 1777 etching with engraving on wove paper, printed and published by George Stubbs in four states, sheet 34.3 x 46.2cm (trimmed) (unframed) Ref: Lennox-Boyd, 1989, 59; BM 1853-12-10-846 Literature: Lennox-Boyd, C., Dixon, R., Clayton, T., ‘George Stubbs: The Complete Engraved Works’, Abingdon: Stipple Publishing Limited, 1989; Taylor, B., ‘The Prints of George Stubbs’, London: The Paul Mellon Foundation for British Art, 1969 Note: According to Lennox-Boyd this was published in four states, with the first state being presumed before all inscriptions, and earlier impressions being on laid paper. Lennox-Boyd indicates that the third and fourth states ‘differ only in the word order of the attribution’, with the fourth state using the more conventional ‘Painted and Engraved’ format instead of ‘Engraved and Painted’ as which is found on third state impressions. This example is most probably a later state (third or fourth), as it is on wove paper. And although LennoxBoyd indicates fourth state impressions ‘seem to be more common’, as it has been trimmed within the plate mark omitting any inscriptions, it is not possible to rule out a third state impression over a fourth state. A Horse Affrighted by a Lion (1777) is considered Stubbs’ first independently published print, and was sold direct by Stubbs rather than through a distribution network of print sellers (Lennox-Boyd, p.38). Over a thirty year period Stubbs repeatedly approached the subject of the horse being frightened by or menaced by a lion, but it is this first independently published print of Stubbs which ‘aspired to be the definitive interpretation of the theme’ (Lennox-Boyd, p.40). The subject offers a more seriousness of the subject through the manner in which the print is produced: although using etching, Stubbs imitates line engraving, a presentation technique more ‘appropriate for the reproduction of history paintings’ (LennoxBoyd, p.41). £4,000 - 6,000* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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90 British School, late 18th century

91 After Pierre-Joseph Redoute, Belgium 1759-1840

92 Sydenham Teast Edwards, British c.1768-1819

Figures by Lodore Falls, Derwentwater, Cumberland

Pecher a fruits lisser; Tulipa culta - Tulipe cultivee

Plates 374 & 357 from the Botanical Register, June 1819

watercolour, 30.2 x 43.8cm

hand-coloured stipple engravings, two, engraved by Victor and Langois, plate 27 x 21cm and 27.2 x 22.5cm respectively, (unframed) (2)

hand-coloured copperplate engravings, Hart (del), Smith (sc), dated, published by J Ridgway 170 Piccadilly, 23.3 x 29cm & 28.7 x 23.2cm (sheet): together with a large quantity of zoological, ornithological and botanical lithographs and engravings, mostly 19th century, many hand-coloured, 33 x 39.5cm (max) (a lot ) (unframed)

Provenance: with Vicars Brothers, Dealers in High Class Paintings & Drawings, Printsellers & Publishers, 12 Old Bond St., London, according to the label attached to the reverse of the frame £200 - 300*

Exhibited: Sotheran’s of Sackville Street, ‘An Exhibition of Coloured Engravings’, 9 Feb. - 6 March 1987, cat. nos. 85 and 96 respectively; an exhibition catalogue and associated price list accompanies this lot

£100 - 200*

£100 - 200* 93 European School, late 18th century Studies of blue Hoopoes hand-coloured engravings on wove paper, two, images 22.8 x 30.6cm and 23.3 x 31.5cm (2) £100 - 150* 94 Neapolitan School, early 19th century 92

Torre distree dal’eruzione del 1795 gouache on paper, inscribed L’Anticho Archives covo de Tarento Napoli and dated Febbraio 1820, bears inscription and stamps on the reverse, Lausanne, 10.4 x 14cm (unframed) £80 - 120* 95 British School, late 18th century Workman with a barrow by an early industrial building pen and grey and brown ink and wash on laid paper, image 24.2 x 30.2cm: Follower of George Barret Jr., British 1767-1842- Landscape with a tower; pen and brown ink on laid paper, bears signature, image 17.5 x 22.7cm: Follower of Francis Towne, British 1739-1816- Alpine lake scene; pen and brown ink, image 18.3 x 23.4cm: Attributed to Peter le Cave, British 1769-1811- Cart and horses by an old thatched cottage; pen and ink and watercolour, sheet 12 x 19.5cm: School of John Ruskin, British 1819-1900Three scenes in the North Italian lakes; sepia watercolours, image 9.5 x 16.2cm (max) (7) £150 - 200*

93 40

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96 After Francesco Goya, Spanish 1746-1828 Los Desastres de La Guerra (The Disasters of War) book with 82 engravings, edition number 195 of 500, published by Hugo Schmidt Verlag, Munchen 1921, hard cover binding, 31.5 x 31cm (book) £500 - 700* 97 Francesco Piranesi, Italian 1756-1810 Del Castello dell’ Acova Givilia etching on laid paper, 29 x 26.5cm and 14 x 19cm (plates) on shared sheet 56.5 x 41cm: Thomas Bowles the Younger, British 16951767- A View of the Bridge on the Grand Reggio; and the Church of St Jeremiah to the Great Canal at Venice, after Cimogli; copper engraving on laid paper, published 12th May 1794 by Laurie & Whittle, 53 Fleet Street, London, 27 x 43cm (plate): Thomas Bowles the Younger, British 1695-1767- A View of the Church & Place of ye Minor convential [sic] Monks at Venice..., after Marieschi; copper engraving on laid paper, 27 x 43cm (plate), (3) (unframed)

£100 - 150* 98 Michael Sloane, British fl. 1796-1802 Apprehension of Robespierre, July 27, 1794, after Jean Jacques Francois Le Barbier stipple engraving on laid paper, published by Schiavonetti, London, January 1, 1798, accompanied by associated sections of the sheet, image 31.2 x 43.5cm (unframed) Provenance: by repute, originally from the Estate of Seymour Lucas £100 - 150* 99 After John Keyse Sherwin, British 1751-1790

Captain James Cook, FRS, after Nathaniel Dance RA copper engraving on wove paper, with Captain Cook holding a partially rolled map of the New World and Western Old World, c.1795, image 23.8.5 x 18.9cm, (unframed) £200 - 300*

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

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100

100 Hugh Douglas Hamilton, Irish c.1740-1808 Portrait of Miss Anne Hale, half-length turned to the left in a blue dress and hat, Miss Charlotte Hale, half-length turned to the right in a pink dress and hat and portrait of a gentleman believed to be Mr William Hale, half-length turned to the left in a blue coat pastel, ovals, three, two which are signed and dated 1770, ea. 26 x 20cm., (3) Provenance: Leger Galleries, Old and Modern Masters, Early English Watercolours, London, according to the labels attached to the reverse of each of the frames Note: Hugh Douglas Hamilton studied under Robert West at the Dublin Society School of Drawing. His work mainly focused on oval portraiture in pastel and crayon. Starting in 1764, he travelled and worked in both London and Rome before returning to Dublin in 1792, where he continued to work up until retiring in 1804, before his death in 1808. see Jeffares, N., 'Dictionary of pastellists before 1800', London: Unicorn Press Publishing Group, 2006. ÂŁ3,000 - 5,000*

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101

101 After Elisabeth-Louise Vigee Lebrun, French 1755-1842 Queen Marie Antoinette oil on canvas, 124.4 x 92cm: After Louis-Michel van Loo, French 1707-1771 King Louis XV, in full ceremonial costume oil on canvas, 124.4 x 92cm (VAT charged on hammer price) Provenance: Jamarin, Champs-Elysees, Paris; property of Christian Nebehay; Sothebyâ&#x20AC;&#x2122;s, December 7, 2004, lot 584 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.

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102 102 Thomas Rowlandson, British 1756-1827

103 Follower of Alexander Nasmyth RBA, Scottish 1758-1840

Pile Arms

Highland landscape with cottages woodland, a stone bridge and a river, possibly Loch Katrine

etching and aquatint with hand-coloured gilding, published May 20, 1799, Ackermann’s Gallery, 101 Strand, London, 24.7 x 19.8cm: together with a collection of prints, watercolours and other works on paper by and after various artists depicting military subjects, various sizes, (15)

oil on canvas, bears old inscription on the stretcher, 36 x 45cm £400 - 600*

Provenance: six pictures with The Parker Gallery, London, according to the label attached to the reverse of the frames £250 - 350*

103 44

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104 Follower of Sir Henry Raeburn RA, Scottish 1756-1823 Portrait of a lady, seated halflength in a brown dress with white collar and a landscape beyond oil on canvas, bears signature, 73.5 x 61cm £200 - 300*

104 105 British School, late 18th/early 19th Century Portrait of Lavinia, Countess Spencer and her children watercolour on paper laid down on board, bears inscriptions J:C:Vils Althorp Lava Counts Spencer Ricd Spencer and Ly Sarah Spencer, 38.5 x 29.5cm Notes: Lavinia (1762-1831), eldest daughter of Charles Bingham, 1st Earl of Lucan and Margaret Smyth, married George Spencer, Viscount Althorp in 1782 and had 8 children. In the present work she is depicted with her three eldest children: John Charles (1782-1845), Sarah (1787-1870) and Richard (1789-1791) Provenance: From the Estate of Veronica, Dowager Countess of Lucan (1937-2017); Bonham’s, London, 3rd October 2018, lot 4 The proceeds from this lot will go to the charity Shelter £700 - 1,000*

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

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106

107

106 Attributed to Thomas Rowlandson, British 1756-1827

108 Mitchelson of Middleton, British, late 18th/early 19th century

A Pleasant Surprise

British Cavalry, A.D. 1800; Austrian Cavalry, A.D. 1800

pen and brown ink and watercolour on wove paper, with integral line and wash feigned mount, sheet 37 x 48.5cm £400 - 600*

watercolours over pencil, a pair, both bearing inscribed applied paper labels to margins, 26.4 x 33.8cm and 33 x 40.2cm (2) £300 - 400*

107 French School, late 18th/early 19th century

109 William Frederick Wells, British 1762-1836

Woodland study with deer by a pond

Cottage in a wooded country landscape with a church tower in the distance, after Thomas Gainsborough FRSA

red chalk on wove paper, bears collector’s seal, image 14 x 21.8cm £200 - 400*

lithograph on wove paper, published as the Act directs, January 1, 1802, sheet 23.7 x 30.6cm, (unframed) £100 - 150*

108

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110 Lieutenant Thomas Yates RN, British 1765-1796 The Commissioners’ Yacht sailing through the Fleet at Spithead, 1794 watercolour on laid paper, signed and dated, further inscribed and titled to the mount, 19 x 27cm £200 - 300*

110

111 Samuel Owen, British 1769-1857

111

Fishing Smack of a Southern Port watercolour, 16 x 21.7cm: together with four further watercolours by the same artist, three signed, image 20.6 x 31cm (max) (5) Provenance: ‘Fishing Smack of a Southern Port’ with David E Green, MBE, according to the label attached to the reverse of the frame £600 - 1,000* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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112 112 Joseph Browne, British act 1765-1783 An English frigate and other shipping in stormy seas, 1780 oil on canvas, signed and dated, 76.2 x 64cm Provenance: Christie’s, London, 11th May 2000, lot 367 £1,500 - 2,500*

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113 113 Thomas Whitcombe, British c.1763-1824 British Man-o-war, possibly HMS Defiance, in choppy seas with other shipping and a headland beyond oil on canvas, signed and dated 1786, 89 x 149.5cm ÂŁ7,000 - 9,000*

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114 114 After Joseph Mallord William Turner RA, British 1775-1851 The Temple of Jupiter Panhellenius in the Island of Aegina oil on canvas, 38.5 x 58cm Provenance: with Wyvern Gallery, Westbury, Wiltshire, according to label attached to the reverse of the frame ÂŁ800 - 1,200*

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115 115 Georges Michel, French 1763-1843 Les moulins à vent oil on canvas, 83 x 114cm Provenance: Christie’s, London, 11 December 2018, lot 9 Note: Born in Paris in 1763, Georges Michel remained relatively obscure in art circles throughout his life, until his death in 1843. Nonetheless, he inspired French painters such as Vincent Van Gogh and Jules Dupre, particularly through his plein air approach to painting. £10,000 - 15,000*

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116

118

116 Charles Turner ARA, British 1773-1857

118 After Joseph Mallord William Turner RA, British 1775-1851

Mr James Gillray

Dover

mezzotint engraving on laid paper, feigned oval, inscribed From a Miniature painted by himself & Engraved by Chas Turner, published April 19, 1819, by G Humphrey, 27 St James’s Street, plate 39.4 x 30.3cm, (unframed)

etching and engraving on chine applique wove paper, published in 1851 by J T Willmore ARA, image 40.5 x 59.5cm (unframed)

£500 - 700*

119 John Varley OWS, British 1778-1842

£200 - 300*

117 Circle of Thomas Girtin, British 1775-1802

Figures crossing an old stone bridge over a river with cottages, woodland and mountains in the distance, possibly North Wales, 1809

Durham

watercolour, signed and dated, 19 x 59cm

black ink and wash on laid paper, inscribed in ink and pencil, 23.6 x 46cm (unframed)

£800 - 1,200*

£120 - 180*

119

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120 Bartolomeo Pinelli, Italian 1781-1835 Raccolta di Cinquanta Costumi Pittoreschi, 1809 etchings on laid paper, first edition, published by Lorenzo Lazari, forty-eight out of fifty plates (excludes plates 13 and 44) plus engraved title page, in original boards, each plate approx. 21 x 30.5cm, (book) £500 - 700* 121 Follower of Samuel Prout OWS, British 1783-1852 Palazzo Contarini Gran Canale, Venice ink and watercolour, bears signature, dated February 1874 and inscribed Nancy Connellan, image 42.3 x 29.2cm £100 - 150* 122 John Eagles, British 1783-1855 Breaking clouds over valley watercolour, signed in ink, 25.2 x 35.7cm: together with two further watercolours by the same artist, depicting light streaming through broken clouds in the Welsh hills, one inscribed and signed verso in ink, 21 x 32.4cm (max), (3) (unframed)

120

£300 - 500* 123 Thomas Miles Richardson Snr, British 1784-1848 A View of a Village among Trees, Scene in the Lake District, View from the west of the Gatehouse of St Mary’s Abbey, York, Ravensworth Castle, near Gateshead, Co. Durham, A House among Trees, Study of a Building beside a River; pencil and wash, four, brown wash, one, and pencil, one, some on tinted paper, 21.8 x 28.2cm (max) (6) Literature: ‘Watercolours and Drawings by Thomas Miles Richardson, Senior (1784-1848)’, Guy Peppiatt Fine Art, 2012, cat. nos. 8, 17, 18, 40, 43, 52, illustrated; a copy of this catalogue accompanies this lot £200 - 300*

121

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124 R Mayers, British, early-mid 19th century Sportsman with gun, Gillie, horse & dogs oil on canvas, signed, 81.2 x 51cm (framed) Provenance: with Leslie & Peel, Dealers in Fine Paintings, Brasted, Kent, according to label attached to the reverse £400 - 600*

124

126

125 125 British Provincial School, early19th century

126 British Naive School, early 19th century

Study of a cockerel and three hens

Gloucestershire Old Spot pig

oil on panel, 17.7 x 25cm

oil on card, 27 x 35.5cm (framed)

£150 - 250*

Provenance: by repute, from Glamis Castle, Angus, Scotland £300 - 400*

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127 127 British School, early 19th century Portrait of an elderly man, quarterlength turned to the right in a black coat oil on canvas, 59 x 49cm £300 - 400*

128

128 E Walton, British, early/mid 19th century Still life of apples, grapes, oranges, walnuts, pears and a Delft vase, 1868 oil on panel, signed and dated, 66 x 52.5cm £250 - 350* 129 European School, early/mid 19th century Still life of peaches and vine leaves on a marble ledge oil on canvas laid down on panel, 37.6 x 30.6cm £250 - 300* 130 European School, early 19th century The Crucifixion of Christ oil on canvas, 66.6 x 52.3cm £200 - 400* 129 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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131 131 British School, early-mid 19th century Othello and Desdemona; The Rape of Proserpina; & The Coronation of the Virgin oils on panel, a suite of three, one bears label for W Saltmarsh, Looking Glass Manufacturer, 79 Coleman Street, 21 x 15cm ea., (3) ÂŁ200 - 400* 132 British School, early-mid 19th century Views of a harbour, possibly Folkestone, Kent oil on board, a pair, both signed with initials WLM, 20.3 x 30.4cm., ea., (2) ÂŁ600 - 800*

132

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133 133 John Partridge, British 1790-1872 The Lady Constantia Lowther aged five, 1836 oil on canvas, dated 36, 101 x 126cm Note: Partridge, born in Glasgow in 1790, initially studied under Thomas Philips RA before entering the Royal Academy Schools in 1816. Between 1823-27 he travelled to Italy to further his development, and soon after returning to London, moved to Brook Street, off Grosvenor Square, in order to be closer to a host of wealthy patrons and sitters. Partridge gained royal patronage in 1836 through a commission from King Leopold I of Belgium. This led to an invitation in 1838 to paint Queen Victoria, which in turn led to further successive paintings of the Queen and of Prince Albert, and in 1843, he became appointed Portrait Painter Extraordinary to both Her Majesty and Prince Albert. Lady Constantia Lowther aged five, painted in 1836, was commissioned by her father The Honourable Henry Cecil Lowther DL JP, a Conservative politician and second son to William Lowther, 1st Earl of Lonsdale. Prior to Partridgeâ&#x20AC;&#x2122;s death in 1872 he donated several portrait paintings to the National Portrait Gallery in London, where many still hang today. ÂŁ3,000 - 5,000*

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137 Lieutenant J Lester, British, early-mid 19th century View of Fort Bukkurs and River with the Island of Said Bugle and Deen Bugle taken from the southern side of the River Indus

134 Italian School, early-mid 19th century Venditore di Pomi Cotogni Cotti al forno; Gioco della Morra; Venditore di Merci watercolours, three, each inscribed, each 26 x 18.5cm (3) £300 - 400* 135 Captain R Mecham, British, early/mid 19th century Government House Barrackpore; Kotagherry House in the Nilgiri Hills watercolours, two, both signed, both bear original inscribed labels attached to the reverse of each of the frames, 22.8 x 30.1cm and 23 x 30.3cm (2) Provenance: Sotheby’s, London, 19th January 2017, lot 102 £300 - 400*

134

136 Luigi Rossini, Italian 1790-1857 Veduta della Rovina di S Paolo fuori le mura, in linea traverseale per dare l’idea delle cinque grandi navate, 1823 etching, plate 47.6 x 55.4cm: together with two other etchings by the same artist entitled Avanzi del Tempio di Giove Statore nel Foro Romano, 1821, 45.5 x 37.5cm, and Arco di Druso e Porta Capena, 1820, 39 x 45.5cm, (3) £300 - 500*

watercolour over pencil, heightened with white on wove paper, signed, inscribed and dated March 1850 on the reverse, 27 x 71.5cm: together with three other works by the same artist, to include those entitled View of the Islands of Sad Beyla and Deen Beyla (sic), part of the Residency at Sukkur/Victoria on the Indus; watercolour over pencil, heightened with white on wove paper, signed, signed, inscribed and dated Feb 1850 on the reverse, 25.5 x 34cm., View of Fort Bukkur and the Islands of Said Beyla and Deen Beyla (sic) April 1850, watercolour over pencil, heightened with white on wove paper, signed, inscribed and dated April 1850 on the reverse, 22 x 32cm., and a moonlit scene of the islands around the River Indus, watercolour over pencil, heightened with white on wove paper, 16.5 x 25cm (4) Provenance: Sotheby’s, London, 19th January 2017, Lot 101 Note: The above scenes depict views around the River Indus, Pakistan. Sadhu Belo is an island in the Indus River near Sukkur. It is an island downstream of Fort Bukkur and separated from it by a short stretch of river. The island has two inlets, Sadh Belo and Din Belo £400 - 600*

136 58

137 www.roseberys.co.uk

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138 Circle of Ward and Hughes, British act. 1836-1920 Stained glass window designs, c.1867 watercolours, with black ink over traces of pencil, and one pencil with red ink, one dated 1867, a collection of designs, all shaped, one inscribed Kensington Church on the reverse in pencil, 44.3 x 24.6cm approx., (21) (unframed)

139 139 Johann Ludwig Bleuler (also known as Louis Bleuler), Swiss 1792-1850 Vue de la ville d’Andernach gouache, signed and titled to the margin, image 36 x 50cm Provenance: with Hermann Abels, Cologne, according to the label attached to the reverse of the frame

140 Johann Ludwig Bleuler (also known as Louis Bleuler), Swiss 1792-1850 Vue de la ville d’Arnheim, vers Bornel gouache, signed and titled to the margin, image 36 x 50cm £500 - 700*

£500 - 700*

£100 - 150*

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

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141 141 After Pierre La Mesangere, French 1761-1831 Le Bon Genre: Observations sur les modes et les usages de Paris, Albert Levy 1931 reprint Albert Levy 1931 reprint folio from an edition of 750, comprising of 115 hand-coloured engravings (114 included), engraved by E Doistau, printed by R Tanburro and hand-coloured by J Saute, and a 24-page booklet of printed text of explanations relating to each print, printed by Vassal et Essling, Paris, after the 1827 edition published by La Mesangere, each plate 20 x 25cm (hardback folio) Note: Le Bon Genre is a series of prints illustrating Parisian society and fashion in the early 1800s, published by La Mesangere. In addition there are references to the fashions of the English, produced in a ridiculing manner. This particular version, a reprint from 1931 including a 24-page booklet, is, like the original versions, still quite rare, to find. ÂŁ2,000 - 3,000*

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142 142 British School, late 18th/early 19th century A Rheumatic Joint in the Tail; The New Parliament Pudding or John Bull’s Treat hand-coloured lithographs on wove paper, two, the first printed by Alfred Ducote Lithography, 70 St Martin’s Lane, and published by Thomas McLean, 26 Haymarket, December 1, 1835, the second published by Thomas McLean c.1832 in McLean’s Monthly Sheet of Caricatures, no. 37, sheet 29.7 x 39.8cm and 26.7 x 39.8cm respectively, (unframed) (2) £100 - 150* 143 William Heath, British 1795-1840 McLean’s Monthly Sheet of Caricatures hand-coloured lithographs, twenty-three, mostly printed in 1833 by Alfred Ducotes Lithography, 10 St Martin’s Lane, and published by Thomas McLean, 26 Haymarket, sheet 39.3 x 27.4cm (max) (unframed) (23)

143

£300 - 500*

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144 William Heath, British 1795-1840 Miss-Ann-Thropy; Looking at an Ass; There is None So Blind As Him Who Will Not See; No Genius hand-coloured etchings, four, each published by Thomas McLean, 26 Haymarket, one on February 12, 1889, plate 26.2 x 37.2cm (max) (unframed) (4) Â£300 - 400*

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145 George Cruickshank, British 1792-1878 The Afterpeice (sic) to the Tragedy of Waterloo - or - Madame Francoise & her Managers!!! hand-coloured etching on wove paper, published by William Hone, 55 Fleet Street, November 9, 1815, plate 21.8 x 33cm, (unframed) ÂŁ150 - 250*

145

146 Robert Seymour, British 1798-1836 Enough to Make an Angel Swear or- Real Birds Plucking the Sham, c.1830s hand-coloured etching on wove paper, published in London by Thomas McLean, 26 Haymarket, plate 34.8 x 24.7cm, (unframed) ÂŁ200 - 300*

146

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147 David Roberts RA, Scottish 1796-1864 Karnak; Portico of the Temple of Kalabashi; Hadjar Silsilis; Bazaar of the Silk Mercers, Cairo; View from Under the Portico of the Temple of Edfou, Upper Egypt; Grand Approach to the Temple of Philae, Nubia; & Dendera hand-coloured lithographs, seven, all with printed titled, published by F G Moon, 20 Threadneedle St., between 1847-48, each image 38 x 52cm (7) Provenance: with the Parker Gallery, London, according to labels attached to the reverse of each of the frames ÂŁ1,000 - 1,500*

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151 Attributed to William Evans OWS, British 1798-1877 Cricket at Eton watercolour, bears printed inscribed paper label to the reverse of the frame, 21.6 x 33.2cm £200 - 300* 152 Edward Calvert, British 1799-1883 149

148 David Roberts RA, Scottish 1796-1864 At Luxor, Thebes; Approach to the Temple of Wady Saboua, Nubia; Part of the Ruins of a Temple on the Island of Bigge, Nubia; Temple of Dakke, in Nubia; & Abyssinian Slaves at Korti hand-coloured lithographs, five, each titled within the print, and published by F G Moon, 20 Threadneedle St., between 1846-47, image 30.5 x 35.8cm (max): together with William Alfred Delamotte, British 1775-1863- Crossing the Desert, Arabs Waiting, 1847; hand-coloured lithograph, printed by C Chabot, Skinner Street, image 25 x 30.9cm (6) £200 - 300*

150

149 Attributed to Sir William Charles Ross RA, British 1794-1860 Portrait of Augusta Ada Countess Lovelace, seated half-length watercolour, oval, bears inscription on the reverse of the frame, 22 x 16cm: British School, early 19th centuryPortrait of a lady seated three-quarter length turned to the left; pencil with touches of watercolour, 21 x 14cm., (2) £400 - 600*

150 Attributed to George Richmond RA, British 1809-1896 Portrait of a gentleman, head and shoulders turned to the left black chalk and touches of red and white on buff paper, 56.8 x 41.5cm Provenance: with Sim Fine Art, according to the label attached to the reverse of the frame

The Brook, [Lister 12c], & The Return Home, [Lister 14b] wood engravings on thick wove paper, two, from Calvert’s Memoir, 1893, of an edition of 350, plates 5.1 x 8.9cm and 4.2 x 7.7cm (framed) (2) Note: Calvert was an admirer of William Blake, and was a member of the Brotherhood of the Ancients alongside Samuel Palmer and George Richmond. ‘The Brook’ was originally executed in 1829; ‘The Return Home’ was originally executed in 1830. They were both first published on thick wove paper in the ‘Memoir’, 1893, in editions of 350, and were later published on India paper laid down on cartridge paper in the Carfax Portfolio, 1904, in editions of 30. see Lister, R., ‘Edward Calvert’, London: G Bell and Sons, Ltd, pp.104-106, cat. nos. 12 and 14 £300 - 400*

£200 - 300*

152 66

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153 Karl Petrovic Beggrov, Russian 1799-1875 View of Sadovaya Street in Saint Petersburg (Rue dite des Jardins) lithograph, 34.2 x 46.6cm £200 - 300* 154 Constantin Guys, Dutch/French 1802-1892 A three-horse drawn carriage pencil on buff coloured paper, 11.5 x 15.5cm Provenance: Collection Nadar, according to two stamps to the sheet £100 - 200* 155 Welby Brown Jackson, British 1802-1890 Calcutta, Government House South Front, 1863 watercolour, signed with initials, titled and dated on fragment of sheet attached to the reverse of the mount, sheet 34.7 x 50.6cm (unframed) £400 - 600*

153 156 Circle of William Leighton Leitch RI, Scottish 1804-1883 View of All Saints Church, Hastings Old Town and beyond watercolour and wash, inscribed in pencil, 22.5 x 51.5cm: together with five further British School early 19th century watercolours and one drawing by various artists, depicting ruins, a riverscape and hillside, 24 x 36cm (max) (5)

157 E von Bausch, Munich School, mid 19th century Portrait of a peasant lady, seated half-length in a white dress and embroidered head piece oil on canvas, signed indistinctly, 75.5 x 54cm £800 - 1,200*

£120 - 180*

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

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159 C E Mabrose Jr, British, mid 19th century View of Bridge Street, London oil on canvas, 71 x 49cm (framed) £500 - 700* 160 Follower of Franz Xaver Winterhalter, German 1805-1873 Portrait of Prince Albert, wearing the robes of the Order of the Garter and the collars of the Order of the Garter, the Bath and the Golden Fleece oil on canvas, 59 x 46cm Note: The original painting dating from 1843 is held at Windsor Castle and is part of The Royal Collection (RCIN 404387). Winterhalter was initially invited to come to London in 1842 to paint the royal couple, Queen Victoria and Prince Albert. 158 158 Alfred Joseph Woolmer RBA, British 1805-1892

Literature: Aurisch, Chabanne, von Stockhausen, Straub, 2015, p.120 £1,200 - 1,800*

Evening on the Coast oil on canvas, feigned oval, signed, bears one inscribed and two printed labels attached to the stretcher and the reverse of the frame, canvas 81.3 x 42.7cm, image 53.5 x 42.5cm £800 - 1,000*

159 68

160 www.roseberys.co.uk

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161 Theodore De Schietere and Eugène Joseph Verboeckhoven, Belgian b.1807 & Belgian 1798-1881 Figures with a horse along a wooded path with cottages, a lake and mountains beyond oil on paper laid on canvas, signed and inscribed, 31.8 x 45cm Provenance: Sotheby’s, London, 31st October 2017, lot 31 £400 - 600* 162 Giovanni Serritelli, Italian 1809-1882 Nocturnal view of fishermen in a harbour oil on canvas, signed, 62 x 89.5cm (unframed) £1,000 - 1,500* 163 European School, mid 19th century Fisherman on a shore and a rider with two horses black chalk and watercolour heightened with white on buff coloured paper, a pair, one signed indistinctly, 18.5 x 27cm., ea. (2) £150 - 200* 164 Italian School, mid 19th century Carta Topografica di Roma e Comarca Disegnata ed Incisa dell' officio del Censo alla scala di 1 a 80,000 l'anno XVII del Pontificato di N. Signore, Pio Papa IX. per ordine dell' Emo. e Rmo. Presidente Card. Giuseppe Bofondi, c.1864;

161 165 British School, mid 19th century Botanical Study watercolour over traces of pencil, inscribed and dated 11 Sept 1848 in pencil, 28.2 x 22.5cm: together with a small quantity of pencil drawings by the same hand of botanical and figurative allegorical drawings by the same artist, many inscribed and dated c.1850, 24 x 30.2cm (sheet) (a lot) (unframed) £120 - 180* 166 Eliza Parker, British mid 19th century Old man seated by the side of a country lane, 1836 black and coloured chalks on grey buff, signed and dated in ink, 18.6 x 26.5cm: together with nine further black and coloured chalks on grey buff by the same artist, depicting rural scenes, seascapes and a view of Dusseldorf from the river, in the style of ‘Mr Bright’ as inscribed by the artist, most signed in ink, 21.5 x 33cm (10) (unframed) £150 - 200*

engraved maps, incomplete, to include: frontispiece; Civita-Vecchia; CivitaCastellana; Arsoli; Palo; Roma; Subiaco; Nettuno; Cisterna; with boards, sheet 50.8x67.5cm (bound folio) Note: The frontispiece description indicates these maps were published by order of Cardinal Giuseppe Bofondi from the eighteenth year of the Pontificate of Pope Pius IX, dating them to c.1864. £100 - 150* 162 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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167 167 Marieges, French, mid 19th century Shipping Scenes oils on panel, a pair, ea. 15 x 21cm., (2) £100 - 200* 168 British School, mid 19th century Shipping scene beneath stormy skies oil on canvas, 40.7 x 50.8cm 168

£200 - 300* 169 Italian School, mid-19th century Three Neapolitan fishermen on a quayside oil on canvas, signed indistinctly, 68 x 55cm £300 - 400* 170 British School, mid 19th century Portrait of Martin Thackeray oil on canvas, oval, bears inscribed paper labels to the reverse of the stretcher, 73 x 60cm Note: Martin Thackeray (1783-1864) held the position of Vice-Provost of King’s College, Cambridge. He was also a brother of novelist William Makepeace Thackeray. Provenance: the family of the present owner; thence by descent £300 - 500*

169

171 Circle of Alfred H Green, British act 1844-1878 Two figures with a horse by a woodland path oil on canvas, 45 x 35cm

£100 - 150*

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172 William Underhill, British act 1848-1871 Hagar and Ishmael oil on canvas, bears inscribed label attached to the stretcher, 128 x 101.5cm £1,500 - 2,500* 173 William Walker Morris, British act 1850-1871 The days bag oil on canvas, signed, 60.5 x 45cm (unframed) £100 - 150* 174 John Rogers Herbert RA, British 1810-1890 The Holy Family on the Return from Egypt oil on panel, signed indistinctly, 37.2 x 68.5cm (unframed) Provenance: Bonhams, London, British and Continental Pictures, November 29, 2011, lot 102, illustrated p.30 Note: John Rogers Herbert RA began painting professionally in 1828, after the death of his father prevented him from continuing to study at the Royal Academy Schools. Prior to converting to Catholicism circa 1840, he would mainly produce book illustrations and portraits, including a portrait of Princess Victoria (1834). Thereafter, his work focused more on religious and historical depictions, and he became a leading inspiration for the original members of the Pre-Raphaelite Brotherhood. £2,000 - 3,000*

172 175 British School, mid 19th century A study for The Flight into Egypt oil on paper laid down on board, 15 x 27.5cm: together with two further oils on paper by the same artist depicting a landscape subject and a battle scene, 27.5 x 38.5cm and 25.5 x 34.5cm (unframed) (3) £200 - 300*

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

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176 Edmund John Niemann, British 1813-1876 River landscape with a figure on a pathway oil on canvas, signed, 25.5 x 41cm £200 - 300*

176 177 Manner of Abraham Hulk Snr, late 19th century

178 John Syer Snr RI, British 1815-1885

179 Gerald Chrehay, Belgian 1816-1897

Rocky coastal seascape

Lane Scene near Bath with Cottage & Figures, 1849

View of a farmyard with woman feeding chickens;

oil on mill board, signed with initials, dated indistinctly, 27 x 26.5cm

oil on canvas, signed and dated 1890, 39 x 58.5cm

oil on canvas, 50.5 x 76.3cm £250 - 350*

Provenance: Christie’s, London, July 1931, according to label attached to the reverse

£200 - 300*

£600 - 800*

178 72

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180

180 Edmund Gustavus Muller, British 1816-1888 Female figures sorting fishing nets in a barn with lambs oil on board, arched top, signed, 84 x 46cm Note: Edmund Gustavus Muller was a Bristol based artist, son to the curator of the Bristol Art Gallery, and brother to artist William James Muller. £200 - 300* 181 British School, mid 19th century Study of a dog oil on canvas, image 18.2 x 17.9cm £300 - 400* 182 Thomas Colman Dibdin, British 1810-1893

181

Keswick from Castle Rock Cumberland; Derwent Water, Cumberland hand-coloured lithographs, two, both printed and published by M & N Hanhart, London, each sheet 28 x 37.8cm: together with a tinted lithograph by the same artist entitled The Bowder Stone, Borrowdale, printed and published by M & N Hanhart, London, sheet 28 x 37.3cm, (unframed) (3) Provenance: by repute, originally from the Estate of Seymour Lucas £100 - 150*

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183 Salomon Corrodi, Italian 1810-1892 Via Appia with Rome in the Background, on the left Villa Pamplo, St Peter’s, the Aquaducts and the Mountain of Salina & Napoli on the Ponleppe the Castle of Queen Giovanna, Castel dell’Ovo, Vesuvius watercolours, a pair, both signed, both bear inscribed labels attached to the reverse of the frames, 17 x 11cm., ea., (2) £800 - 1,000* 183 184 Georg Heinrich Busse, German 1810-1868

185 William Callow RWS FRGS, British 1812-1908

186 Edward Lear, British 1812-1888

Apollo unter den Hirten, after Joseph Anton Koch

Goodrich Castle on River Wye

Sunset over a desert landscape

watercolour, image 16.7 x 24.6cm

pencil heightened with white on buff paper, sheet 7.1 x 15.9cm

£100 - 200*

Provenance: with Martyn Gregory, London, stock no. VA 343

etching on chine applique, plate 31.5 x 45cm: together with a large folio of loose prints by and after various artists depicting a range of landscapes, portraits and figural works, various sizes (unframed) (a lot/folio)

Note: This studio sketch dates from the artist’s time in Rome. £300 - 400*

£300 - 400*

186 74

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187 187 Jean-Francois Millet, French 1814-1875

190 189 John Tallis, British 1817-1876

La Bouillie, [Delteil 17], 1861

Bishopsgate Street Without; Westminster Bridge Road; Newington Causeway; St John’s Street; Newgate Street

etching on chine applique wove paper, signed and dated within the plate, fourth state of five, inscribed Gazette des Beaux-Arts only to margin, published by the Gazette des Beaux-Arts, image 15.4 x 13.2cm (unframed) Note: As with the fourth state impressions this etching bears the inscription ‘Gazette des Beaux-Arts’, although, unusually, the inscription ‘Impe A. Delatre, Paris’ is omitted. See: Delteil, L., ‘Peintre-Graveur Illustre (XIXe et XXe siecles), Vol. 1’, Paris: Chez l’Auteur, 1906

steel engraving strip maps and street plans with hand-coloured vignettes on wove paper, five, published by John Tallis c.1838-40, from Tallis’ Eighty-Eight London Street Views, ea. sheet approx. 13.8 x 44.3cm, (unframed) (5) Note: various issues of some of the same published street views exist as Tallis attempted to make corrections every month to the publications of these maps.

£300 - 500*

£100 - 150*

188 Edward Matthew Ward RA, British 1816-1879

190 Attributed to Louisa Anne Beresford, Marchioness of Waterford, British 1818-1891

Figures in an interior, possible a study for a scene from the English Civil War pen and brown ink and wash heightened with white on paper, signed and dedicated to Mrs Pender, 35 x 43cm Note: Mrs Pender was the wife of Sir John Pender, the financier of the company which laid the first of the transatlantic cable from Valencia Island to Newfoundland £100 - 150*

Christ and a kneeling male figure in a landscape pen and brown ink, charcoal and pencil on wove paper, inscribed in pencil to the reverse of the mount, 24.5 x 14.8cm Note: Louisa Anne Beresford was a Pre-Raphaelite watercolourist and philanthropist. She was tutored by Dante Gabriel Rossetti and attended classes held by John Ruskin.

192 191 Louisa Anne Beresford, Marchioness of Waterford, British 1818-1891 Woodland landscape watercolour, inscribed in pencil to the reverse of the mount, 17 x 12.2cm, (unframed) Provenance: with Abbott and Holder, London Note: Louisa Anne Beresford was a PreRaphaelite watercolourist and philanthropist. She was tutored by Dante Gabriel Rossetti and attended classes held by John Ruskin. £100 - 150* 192 Carl Haag, German 1820-1915 Portrait of an Afghani gentleman standing-full length smoking a pipe watercolour, signed and dated 1854, 34.5 x 24cm Provenance: Abbott & Holder, Barnes, where purchased by the present owner c.1972 £800 - 1,200*

£200 - 300*

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

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193

196

193 Alfred Morgan, British act.1862-1904 Preparatory study for Angel Gabriel Appearing To The Shepherds, c.1876 pencil, gouache with touches of watercolour, signed, 22.5 x 45cm

195 Circle of Henriette Ronner-Knip, Dutch 1821-1909

197 Sir Charles D’Oyly, 9th Bt., British 1822-1900

Study of a cat with her kittens

watercolour heightened with white on wove paper, signed and dated 1852, 33 x 49.5cm: together with four other works by the same artist, to include; the Sutlej of Wangtoo; watercolour, heightened with white on wove paper, signed and dated 1852, 41 x 29.5cm; Villagers on a hillside with mountains beyond; watercolour, heightened with white on wove paper, 36 x 50.5cm; Donkeys traversing a mountain pass; watercolour, heightened with white on wove paper, signed, 23 x 32.5cm and a shipping scene on a river; watercolour, over pencil, heightened with white on wove paper, signed, 23.5 x 34cm., (5)

black chalk on yellow brown coloured wove paper, signed indistinctly with initials, 31.2 x 49.5cm

£300 - 400* 194 Henry Constantine Richter, British 1821-1902 Upupa Epops, Linn., after John Gould, 1873 hand-coloured lithograph on wove paper, printed by Walter, and published by John Gould and Henry Constantine Richter for Gould’s Birds of Great Britain, plate 12, Vol. II, 1862-73, accompanied by informational printed text page, sheet 55.2 x 36.6cm, (unframed) Provenance: Henry Sotheran Limited, London, where purchased 28th July 2005; as copy of the original receipt accompanies this lot £300 - 400*

Provenance: Bonham’s, Knightsbridge, where purchased by the present owner c.1970s £100 - 200* 196 Richard Henry Fuller, American 1822-1871 Harbour in moonlight watercolour heightened with white on paper, signed, 30 x 45cm £300 - 400*

Barrackpore

Provenance: Sotheby’s, London, January 19th 2017, Lot 62 Note: In 1772 the first British barracks were built in Barrackpore (now Barrackpur) in India. Situated 20km north of Kolkata, the town provided alternative accommodation for the Governor-General and Viceroy in the Government House and the Government Estate, here depicted in the lead watercolour £1,000 - 1,500*

197 76

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198 Myles Birket Foster RWS, British 1825-1899 A courtyard in the Alhambra, Grenada watercolour, signed with monogram, image 22.9 x 17.5cm Provenance: Christie’s, London, 11th July 2018, lot 42 £1,500 - 2,500* 199 Myles Birket Foster RWS, British 1825-1899 A Balcony on the Grand Canal watercolour, signed with monogram, 20.3 x 30cm Provenance: The Barn Gallery, Powick, Worcester, according to label attached to the reverse of the frame; Sotheby’s, London, 13th December 2018, lot 36 £2,000 - 3,000*

198

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

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200 200 William Gale, British 1823-1909

201 Carl Theodore Melchoir, Danish 1826-1898

Young lady in an ancient wood with a squirrel on a branch

Milkmaid and boy with a dog and a cow in a barn

oil on canvas, signed with monogram, image 39.5 x 77.6cm Note: William Gale was a painter of the Pre-Raphaelite School, who exhibited annually at the Royal Academy between 1844-93, but was never elected a member.

oil on canvas 48.5 x 60.5cm ÂŁ800 - 1,200*

ÂŁ800 - 1,200*

201 78

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202 British School, 19th century British Man-o-war under full sail oil on canvas, 35.5 x 50.7cm (unframed) £100 - 150* 203 Attributed to Carl Frederick Bartsch, Danish 1829-1908 Cattle being herded by a cottage on a country track oil on canvas, 34.2 x 47.5cm £300 - 400*

203

204 William Strutt RBA FZS, British/Australian 1825-1915 Boy with a lion oil on canvas, signed, 36 x 25.8cm Note: William Strutt would produce ‘countless’ studies of the lions at London Zoo, exhibiting his first lion painting at the Royal Academy in 1888, and later becoming Fellow of the Royal Zoological Society in 1898 (Curnow, 1980, p.61). ‘His Majesty’ [Curnow 128], a lion painting exhibited at the Royal Society of British Artists in 1890 (cat no 382), depicts a similar looking lion in an almost identical pose. see Curnow, H., ‘The Life & Art of William Strutt’, Martinborough, New Zealand: Alister Taylor Publishers, 1980 £3,000 - 5,000*

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

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206 European School, mid-late 19th century Bather with a putto by an ornamental pond watercolour, signed indistinctly, 29 x 13.5cm £150 - 250* 207 A B Fforde,European Colonial School, mid-late 19th century Near Jijuri, Western India

205

206

205 Sir John Everett Millais 1st Baronet PRA, British 1829-1896 Going to the Park, 1872 chine applique etching, for the Art-Union of London by the Etching Club, 36.5 x 26.5cm (sheet): together with a bound incomplete folio for the ArtUnion of London by the Etching Club of chine applique etchings by various artists to include T Creswick, J C Horsley, Seymour Haden, R Redgrave J C Hook among others, and other etchings by various hands, c.1872, 36.5 x 26.5cm (max/sheet) (incomplete set) (bound/unframed)

Brush and black ink on buff coloured paper, signed, inscribed and dated 1883, 31 x 50cm: together with two other watercolours by different artists, one of travellers on a mountain track, signed with monogram LC, 13 x 11cm., the other of a view of Kumeraldung, bears inscription in pencil on the mount, 39 x 25cm., (3) Provenance: Sotheby’s, London, 19th January 2017, lot 63 £400 - 600*

£250 - 350*

207 80

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209

208 British School, mid/late 19th century Mother and child and other studies pencil on buff coloured laid paper, three on shared mount, one with pencil inscriptions, sheet 14.6 x 9.3cm (max): Theodor Volmar, Swiss 1847-1939Study of a drummer boy and a dancing dog; watercolour, signed, sheet 10.1 x 13.9cm (4) (unframed) £80 - 120* 209 European School, mid/late 19th century Figures along a Parisian boulevard watercolour over pencil on paper, signed with monogram, 30 x 48cm £250 - 300* 210 European School, mid/late 19th century Neptune and a woman with child on a rocky shore gouache en grisaille, image 40.5 x 24.3cm £200 - 300*

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

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212

211 211 British School, mid/late 19th century

212 British School, mid/late 19th century

Portrait of a girl, head and shoulders turned to the left wearing a black headband

The Narcissus

213 P K van Doornik, Belgian, mid/late 19th century

oil on canvas, signed with monogram, 46.1 x 35.7cm

Treelined path with man and cart

oil on canvas, signed with monogram JDK, 47 x 43.5cm (unframed)

Note: The distinctive Arts and Crafts brooch in this interesting painting is in the manner of the artist/designers Arthur and Georgie Gaskin or Jessie Marion King.

oil on canvas, signed, 70.2 x 43.7cm

£300 - 500*

£200 - 300* 214 British School, mid/late 19th century

216 Walter Langley, British, mid/late 19th century

Figure by a cottage with a stream and woodland

Highland cattle watering in a loch with a castle and woodland

oil on canvas, 41 x 61.3cm

215

£150 - 250*

oil on canvas, signed, 50.5 x 76cm (framed)

215 Munich School, mid/late 19th century

£400 - 600*

Portrait of a young woman quarter-length in a red scarf

217 Charlotte Isa James SWA, British exh.1867-1881

oil on panel, 27 x 20.5cm

Apple Blossom

£300 - 400*

watercolour on ceramic plaque, tondo, signed with initials, further signed, titled and inscribed to verso, 18.4cm diameter £200 - 300*

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218 Henry Moore RA RWS, British 1831-1895 Coastal seascape watercolour, signed and dated 1880, inscribed verso, 31 x 54.5cm £1,200 - 1,800* 219 Attributed to Charles Cattermole RI, British 1832-1900 Two figures with a horse in a stable

218

watercolour on textured paper, bears inscribed paper label attached to the reverse of the frame, image 58 x 80cm

220 Arthur Hughes, British 1832-1915

£100 - 150*

oil on panel, signed, further titled and inscribed to the reverse of the board, 29.5 x 40.5cm

The Trespasser

Provenance: the studio sale of the artist, part of lot 48; bought for 4gns. by Levy Note: Arthur Hughes studied under Alfred Stevens in 1846 at the School of Design, Somerset House, and was associated with the Pre-Raphaelite Brotherhood. He is most notable for one of the most popular Pre-Raphaelite paintings, ‘April Love’ (1855-56), in the Tate Collection (N02476). See Roberts, L., Arthur Hughes: His Life & Works: A Catalogue Raisonne, Suffolk: Antique Collectors’ Club Ltd, 1997, cat no.529, p.249 £800 - 1,200*

220

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221 Arthur Hughes, British 1832-1915 The Paddler's Diamond; Knightliness; Trade; Handsome is as Handsome does, c.1871 pen and black ink on paper, four, original artwork for illustration for Lilliput Revels (Matthew Brown, in Good Words for the Young, November 1869, March, November 1870-April, June, October 1871) and for Lilliput Lectures (Matthew Browne, in Good Words for the Young, November 1870-February, August, September 1871), ea. signed with monogram, ea. bearing inscription, ea. 23.5 x 18cm: together with one further untitled pen and ink drawing, signed with monogram, bears inscription, 21.5 x 18cm (5) See Roberts, L., Arthur Hughes: His Life & Works: A Catalogue Raisonne, Suffolk: Antique Collectorsâ&#x20AC;&#x2122; Club Ltd, 1997, cat nos. B24 and B29 ÂŁ800 - 1,200* 84

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222 Félicien Joseph Victor Rops, Belgian 1833-1898 L’idole (Les sataniques) pencil and wash on paper, bears collector’s stamp on the reverse of the sheet, 46 x 30cm Provenance: The sale of Félicien Rops collection, Simonson, 26th September 1987, lot 65; Sotheby's, Amsterdam, 25th October, 1999, lot 120; Private Collection London; Sotheby's, London, 14th November, 2007, lot 290 £800 - 1,200*

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

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223

224

223 James Abbott McNeill Whistler, American 1834-1903

225 James Abbott McNeill Whistler, American 1834-1903

Little Putney No. 2 (Kennedy 180)

Billingsgate, [Kennedy 47], 1859

etching on laid paper, third state, signed with butterfly monogram and titled within the plate, plate 12.5 x 20cm: Mortimer Menpes, Australian 1855-1938- Limehouse, c.1890, from the series The Grey River; etching, signed in pencil, and signed and inscribed within the plate, plate 10.6 x 14.8cm, together with a vignette etching in a shared mount, signed in pencil, plate 6 x 10cm (2)

etching and drypoint on Arches paper, signed and dated within the plate, ninth state, published in P G Hamerton’s Etching and Etchers, 1880, plate 15.2 x 22.4cm

Provenance: Whistler; with Thos Agnew & Sons Ltd., stock No. 44037, where purchased by the family of the current owner in 1981; thence by descent: Menpes; with William Weston Gallery, London, stock no. 6618/I, where purchased by the family of the current owner in 1982; thence by descent £300 - 400* 224 James Abbott McNeill Whistler, American 1834-1903 Old Westminster Bridge, [Kennedy 39i/ii], 1859

225

226 James Abbott McNeill Whistler, American 1834-1903 Millbank, [Kennedy 71], 1861 etching on ivory laid Japon paper, an impression, fifth state, published in A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects, 1871, plate 10.1 x 12.4cm: James Abbott McNeill Whistler, American 1834-1903- Evelyne, [Way, 110; Levy, 159], 1896; lithograph, image 19.3 x 14.2cm Provenance: Millbank, with Garton & Cooke, London; where purchased by the family of the current owner in 1986; thence by descent £200 - 300*

etching on laid paper, signed and dated within the plate, a proof impression in the first state, plate 7.4 x 19.7cm

227 Bryan Whitmore, British 1836-1903

Provenance: with The Fine Art Society, London; where purchased by the family of the current owner in 2009; thence by descent

watercolour, signed, 40.3 x 65.3cm

£300 - 500*

226

£700 - 900*

Beached fishing boats at low tide

Provenance: with The Wren Gallery, Blackheath, London, according to the label attached to the reverse of the frame £100 - 150*

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228

229

228 Sir Lawrence Alma-Tadema OM RA, British 1836-1912

229 After Sir Edward John Poynter, 1st Baronet GCVO, PRA, British 1836-1919

Past and Present Generations

Helen and Hermia from A Midsummer Night’s Dream, 1899

photogravure, signed in pencil, printed in Berlin, and published by Mssrs Arthur Tooth & Sons, London, 1895, plate 38.2 x 22.8cm: After Arthur Augustus Dixon, British 18721959- The Sleeping Minstrel; photogravure, produced by C W Faulkner & Co. Ltd., London, E.C., and published by Bovril, Ltd., plate 50.5 x 63.5cm: After Sir John Everett Millais PRA HRI HRCA, British 1829-1896The Proscribed Royalist; hand-coloured engraving, etched by William H Simmons, and published by E Gambart & Co., 1858, in London and Paris, image 63.5 x 44.5cm: After Sir Frederic Leighton, 1st Baron Leighton, PRA, British 1830-1896- Farewell; chine applique photogravure, printed in Berlin, and published by Mssrs Arthur Tooth & Sons, London, 1894, plate 75.2 x 36.7cm (4)

etching on chine colle, by William Heydemann RA, signed with monogram and dated within the plate, published by H. Virtue & Company, London, two examples of the same print, ea. 44 x 50cm., (2) (unframed)

Provenance: with The Maas Gallery, London, according to labels attached to the reverse of three of the frames

£300 - 500*

Note: See ‘Victorian Engravings’, Maas Gallery, (1st to 22nd Dec. 1999), pl. 94, p. 60. £100 - 150* 230 After Gustave Doré, French 1832-1883 The Christian Martyrs, also known as The Night in the Cirque, 1871 engraving, fragments, 56 x 67cm (incomplete sheet): together with a large quantity of 19th century engravings, lithographs, and albumen prints stuck down on card, some trimmed, by and after the same artist, various sizes, (a lot) (unframed/folio)

£100 - 200*

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

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231 Lady Anne Blunt, British 1837-1917 View from a window watercolour, dated Nov 26/67, bears inscription, 38 x 28cm £100 - 200* 232 Franz von Defregger, Austrian 1835-1921 Portrait of a girl quarter-length in a brown apron and white shirt oil on panel, signed, 15.8 x 11.7cm £400 - 600* 233

233 Niels Christian Hansen, Danish 1834-1922 Coastal scenery with fisherman’s houses, 1894 oil on canvas, signed and dated, 51.7 x 68.5cm £400 - 600* 234 Circle of Stanislas Victor Edouard Lepine, French 1835-1892

234

Paysage oil on panel, bears signature, bears inscription verso, 21.5 x 41cm Provenance: Jacques Spreiregen; Christies 9th July 1965, lot 3 Exhibited: Rouen, Musée des Beaux Arts, Choix d’un Amateur: Collection de M. Jacques Spreiregen, 1960, no. 42 £1,000 - 1,500*

236 235 Follower of Ransome Gillet Holdredge, American 1836-1899

236 Duncan Cameron, Scottish 1837-1916

Teepees in a landscape in winter

Harvest Field near Brig-o-Turk, 1880

oil on canvas, bears signature, 55 x 89cm

oil on canvas, signed and dated, 58 x 88.5cm

£400 - 600*

£500 - 800*

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237 Mary E Williams, British b.1838 Spring, Summer, Autumn oil and oil gilding on canvas, three, ea. bearing inscribed labels attached to the stretcher, 39.6 x 70.2cm (3) Note: Mary Williams, a decorative artist who painted on various supports from china to firescreens, exhibited at the Society of Women Artists. In 1903 she was Honorary Secretary of the Dress Designers’ Society, whose president was Walter Crane. She lived in Bedford Park, Chiswick, in the 1880s, known as ‘the world’s first garden suburb’, developed by Jonathan Carr to designs by Godwin. £300 - 500*

237

238 Michelangelo Meucci, Italian 1840-1909 Trompe l’oeil of hanging birds oils on board, ovals, a pair, both signed and dated 1875, ea. 21.5 x 17.5cm, (2) (framed) £300 - 500*

238

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239 John Varley Jnr, British 1850-1933 Glacier of Trient Cal de Baleine watercolour, signed, 17.5 x 25.5cm £200 - 300* 240 Edward Batty, British 1839-1918 Ship moored along a tranquil shore with cottages, and a Wooded river landscape 239

oil on canvas, two, both signed, ea. 30.5 x 46cm, (2) £100 - 200* 241 John Linton Chapman, American 1839-1905 Cargo steamer in the Venetian Lagoon with the Doge’s Palace and St Mark’s behind oil on panel, signed with monogram, inscribed ‘Venice’ and dated 81, 24.5 x 36.5cm £300 - 500*

241

242 James Elliot, British fl. 1882-1897 Mountain landscape, 1896 charcoal and pencil on paper laid down on canvas, signed and dated, 134 x 104cm £200 - 400* 243 Attributed to Agnes Turner (née Chamberlain), British act. 1884-1919 Horses and Fishing Boats watercolour, signed and inscribed, 50 x 29.8cm £200 - 300* 244 Russian School, late 19th century Russian dissidents being exiled to Siberia gouache, titled, 93 x 93cm: together with two further gouaches by the same artist, depicting Russian Revolutionary arrests of a Group of Nihilists and a Group of Counterfeiters. both titled, 93.2 x 92cm (max), (3) (on rolled paper/unframed)

244

£150 - 200*

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245 245 Frank Crisp, British d.1915 Looking Towards Chianti, 1912 gouache, signed and dated, 25 x 35cm: together with one watercolour by the same artist depicting a Moorish street, signed and dated ‘13, 24 x 35cm (2) £200 - 300* 246 British School, late 19th century Academic study of a seated female nude, full-length charcoal on wove paper, 71 x 32.2cm Provenance: with The Rowley Gallery Ltd., London, according to the label attached to the reverse of the frame £400 - 600*

246

247 Theodore Knesing, German 1840-1927 Lady Lilith, after Dante Gabriel Rossetti wood engraving on Japan paper, signed with monogram and dated 1867 within the plate, engraved in 1884, plate 15.2 x 13cm (unframed) £100 - 150*

247

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248 John Trivett Nettleship, British 1841-1920 Study of a lion on a rocky ledge pastel, signed with initials and dated 92, 37 x 51cm £400 - 600*

248 249 Basil Bradley, British 1842-1904

250 Thomas Bush Hardy RBA, British 1842-1897

251 Max Liebermann, German 1847-1935

Sheep on a craggy outcrop

Portsmouth

Rindermarkt in Leiden, 1900

watercolour, signed, 24 x 35.5cm: together with one other watercolour by the same artist of two highland cattle, signed, 28.5 x 25.5cm, (2)

watercolour, signed and inscribed, 33 x 49cm

etching with drypoint on wove buff-coloured paper, signed in pencil, 21 x 27cm

£400 - 600*

150 - 200*

Provenance: with Apollo Galleries, Croydon, according to the label attached to the reverse of one of the frames £500 - 700*

252 Theodore Blake Wirgman, Belgian/British 1848-1925 Portrait of the artist Sir Ernest Albert Waterlow RA, (1850-1919), a profile pen and black ink on paper, inscribed with name of sitter verso, 15 x 12cm, (mounted/unframed) £100 - 150*

250

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253 Hans Dahl, Norwegian 1849-1937 A collection of drawings, some mounted in an album, photographs and a letter dated 1911 45 drawings and studies for paintings mostly in graphite, dating from 1897-1930, including one preparatory drawing for a portrait of Kaiser Wilhelm II: together with one letter, five photographs and one postcard, 32.5 x 45cm (max) (52 in total) (unframed) 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.

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254 Frans Wilhelm Odelmark, Swedish 1849-1937 North African interior scene with figures watercolour, signed and inscribed, 60.5 x 39.5cm: together with a charcoal drawing of figures in a North African café by the same artist, signed, 58 x 40cm, (2) £800 - 1,200* 255 Jean-Francois Raffaelli, French 1850-1924 Look at what they have got; He gave me a rose; Sunday Morning; The finest silk and lace you could want; That was a lovely evening; plates from ‘Illustration pour les Soeurs Vatard’, 1909 drypoint etchings, five, all signed within the plate, two with hand-colouring, four with remarques, each accompanied by The Mark Gallery paper labels with printed inscriptions, each plate 20 x 14cm, (5) (unframed) £200 - 300*

254

255

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256 William Baumgarten & Co., New York & Chicago, American act. 1893-1914 A rendered elevation of the left half of a stage surround, with painted curtain, draped boxes and gilt decoration watercolour, 42.5 x 35.7cm Provenance: Sotheby’s, London, 31st October 2017, lot 36; Christie’s East, New York, 19th October 1983, lot 155 £300 - 500* 257 William Baumgarten & Co., New York & Chicago, American act. 1893-1914 Side Wall of Auditorium Broadway; watercolour and pencil, 38 x 95.8cm Provenance: Sotheby’s, London, 31st October 2017, lot 34 £400 - 600* 256

257 258 William Baumgarten & Co., New York & Chicago, American act. 1893-1914 Designs for a large set of furniture in the English style, including chairs, sofas, tables and a lacquered cabinet pencil and watercolour on paper, 47 x 68cm Provenance: Sotheby’s, London, 31st October 2017, lot 37; Christie’s East, New York, 19th October 1983, lot 138 £300 - 500* 258

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259 August von Siegen, German 1850-1910 Moored shipping in a Continental harbour; coastal scene with sailing bargers and figures on a shore with shipping in a storm oils on panel, three, all signed, ea. 18.5 x 31.5cm, (3) ÂŁ1,000 - 1,500*

259 260 Sidney Yates Johnston, British act. 1890-1926 Loch Katrine oil on canvas, signed with monogram, bears inscribed label attached to the stretcher, 30.5 x 45.7cm ÂŁ150 - 200*

260

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261 Manner of William Robert Symonds RP, British 1851-1934 Riders on an elephant by an Indian temple oil on canvas, bears signature, inscribed London, and dated 1918, 46.5 x 100.5cm £300 - 400* 262 Anker Lund, Danish 1840-1922 North African scene with a lady standing full-length holding a bundle of wheat oil on canvas, signed, 451 x 30cm £300 - 400* 263 Johannes Boesen, Danish 1847-1916 Mountain river landscape oil on canvas laid down on panel, signed and dated 1879, 22 x 29.8cm £200 - 300*

264 264 Holger Peter Suave Lubbers, Danish 1850-1926 Figure on a shore with a grounded ship oil on canvas, signed with initials, 26.5 x 37cm £400 - 600* 265 Sir David Murray RA HRSA RSW RI, Scottish 1849-1933 Shrimping oil on canvas, signed and dated 98, 30.8 x 46.2cm Provenance: Sotheby’s, London, 21st November, 2017, lot 12 £1,000 - 1,500*

265

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

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266 Michael Ancher, Danish 1849-1927 Portrait of an elderly woman seated in a kitchen interior oil on panel, signed with initials and dated 1876, 23.5 x 23cm ÂŁ3,000 - 4,000*

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269

268 267 Attributed to Wilhelm Trubner, German 1851-1917

268 Attributed to Jean-Louis Forain, French 1852-1931

269 John Lewis, British late 19th century

Portrait of a lady quarter-length turned to the right wearing a broad brimmed hat and fur coat

Portrait of a lady seated in an interior

oil on canvas, signed, 46 x 25.5cm

oil on canvas, bears inscribed label attached to the stretcher, 53 x 43cm

£800 - 1,200*

Off Land’s End

oil on canvas, 36.2 x 28.3cm

£800 - 1,200*

£300 - 500* 270 David James, British 1853-1904 A Breaking Wave oil on paper, 20.6 x 42.5cm £1,200 - 1,800*

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

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271 Sir George Clausen RA RWS, British 1842-1944 The Adoration of the Shepherds oil on canvas, signed indistinctly, 61 x 51cm Provenance: The artist’s studio sale; Christie’s, London, 19 October 1945, lot 152 (20 gns to Lessore); E. Jacobs, his sale; Christie’s, London, 6 June 1952, lot 90 (5 gns to Berlanny); Berlanny, his sale; Christie’s, London, 11 December 1953, lot 173 (3 gns to Rynenter); Christie’s, London 20 November 2018 Literature: McConkey,K., George Clausen and the Picture of English Rural Life, London, 2012, pp. 200-201 £2,500 - 3,500*

100

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272 Sir George Clausen RA RWS, British 1852-1944 Primulas in a glass vase oil on canvas, signed, 34.5 x 27cm Provenance: with The Fine Art Society, according to the stock number attached verso; purchased from the Julian Hartnoll Gallery, c. 1980s; private collection, London ÂŁ2,500 - 3,500*

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

101

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273 Claude Hayes RI, British 1852-1922 Black Heath Common, Surrey watercolour, signed, further inscribed and titled to the mount, image 18.4 x 25.3cm Provenance: with Limpsfield Watercolours, Limpsfield, Surrey, according to the label attached to the reverse of the frame £100 - 150* 274

274 William Lionel Wyllie RA RBA RE RI NEAC, British 1851-1931 Windy Corner, Battle of Jutland, c.1916 etching, signed in pencil, 28.5 x 51.2cm £300 - 400* 275 Attributed to Antonio de Simone, Italian 1851-1907 Gaff-rigged schooner under full sail and in a storm gouache, a pair, both signed, ea. 42 x 60cm, (2)

275

£100 - 200* 276 John Axel Richard Beer, British 1853-1906 Racing at Epsom pencil, watercolour and gouache on paper, signed and inscribed, 23.5 x 44cm Note: Certified by Cecilia Beer, Stockholm, Nov 2001, Rg no 221, according to stamp on the reverse of the frame £400 - 600*

276

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277 John Fullwood FRSA RBA FSA, British 1854-1931 Walton on Thames etching, signed and titled in pencil, sheet 24.5 x 34cm, together with further etchings by the same artist to include two copies of Halliford Bend on Thames and two copies of Sunbury on Thames, ea. signed and titled in pencil 24.5 x 34cm: Edgar Julian Bissell, American b.1856 By the Pool, At Sundown, Ludlow Castle, The Wye Hereford etchings, four, all signed and titled, ea. sheet 23 x 30cm (9) (unframed) £120 - 180* 278 William Edward Stott ARA NEAC, British 1855-1918

278

Study of a head for the Good Samaritan pencil heightened with touches of white on buff coloured paper, bears inscribed label attached to the reverse of the frame, 18.8 x 20.3cm Exhibited: Royal Portrait Society, The Mall Galleries, 1983, according to the label attached to the reverse of the frame £100 - 150* 279 Attributed to Temple Lushington Moore, British 1856-1920 St Niçoise pencil and wash on wove paper, titled in pencil, inscribed in green pencil to the reverse of the frame, 30.5 x 22.5cm Note: Temple Lushington Moore was an English architect famed for a series of Gothic Revival churches built between 1890 and 1917. £100 - 150*

279

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103

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280 280 Eugène Galien-Laloue, French 1854-1941 River landscape with a fisherman and a distant church spire oil on canvas, signed ‘M Lenoir’, 38 x 55cm £1,000 - 1,500* 281 Hugo Muhlig, German 1854-1929 Landscape with Cattle oil on canvas, signed and inscribed Ddf, 61 x 61.3cm

281

104

Provenance: Sotheby’s, London, “Noblesse Oblige” - Including Property from a European Royal Collection - A German Count A German Princely Family The Collection of the Duchesse de Berry and a European Connoisseur, April 14th 2011, lot 365, illustrated p.154 £1,500 - 2,500*

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282 Henry John Yeend King RBA VPRI ROI, British 1855-1924 A Bit of Hampstead oil on canvas, signed, bears inscription on the reverse of the stretcher, 28.5 x 40.5cm £400 - 600*

282 283 Attributed to John Frederick Herring Jnr., British 1857-1901 Farmer and Ploughman at Rest oil on canvas, 38 x 51cm Provenance: Sotheby’s, London, 31st October 2017, lot 23 £800 - 1,200*

283 284 Henry H Parker, British 1858-1930 Harvesting on the Banks of the Thames, Great Marlow oil on canvas, signed, further signed and inscribed on the reverse, 61 x 107cm £1,000 - 1,500*

284

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

105

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285 A L Terni, also known as Georg Fischhof, Austrian 1859-1914 Golf von Neapel (Bay of Naples) oil on canvas, signed A L Terni, 68.5 x 106cm £400 - 600*

285 286 G Joseph, French, late 19th/early 20th century The Louberon Mountains oil on canvas, signed and dated 1909, bears inscription on the stretcher, 27.5 x 35.3cm £300 - 400*

286 287 J Millar, British, late 19th/early 20th century Abbazia della Misericordia, Venice oil on canvas, signed and inscribed, 38.4 x 51.2cm £600 - 800*

287

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288 Bertalan Karlovszky, Hungarian 1858-1938 Portrait of a lady, quarter-length wearing a black gown oil on cradled panel, signed, 61.2 x 49.6cm ÂŁ800 - 1,200* 289 French School, late 19th/early 20th century Recumbent nude oil on canvas, 77 x 103cm ÂŁ300 - 500*

288

289

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

107

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290 British School, late 19th/early 20th century Portrait of a young woman, quarter-length turned to the right in profile wearing a red dress oil on canvas, 61 x 51cm ÂŁ400 - 600*

108

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291 J Micotta, Italian, late 19th/early 20th century Tavern scene with figures by a table oil on panel, signed, 15.6 x 12.5cm £200 - 300*

291 292 E M H Cox, British School, mid/late 19th century Still life with fruits and a ceramic jug oil on board, signed and dated 1901, 30.2 x 48.5cm (framed) £300 - 500*

292 293 E M H Cox, British, late 19th/early 20th century Still life of a goblet, grapes, a peach and an apple on a lace cloth on a ledge oil on canvas, signed and dated 1903, bears inscription on the stretcher, 43.5 x 38cm £400 - 800*

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

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294 Ana de Carrie, Chilean/American, late 19th/early 20th century Portrait of the Countess de la Rocca oil on canvas, signed, 46 x 38.5cm (framed) Exhibited: Royal Academy, London, 1901, no.1955 Note: In Benezit, the artist is recorded as having been born in Coronel, Chile, a student of Benjamin Constant and of Franz von Lenbach, and exhibited at Le Salon des Artistes Francais between 1905 and 1923, awarded a third class medal in 1907. ÂŁ500 - 700*

110

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295 Fabio Fabbi, Italian 1861-1946 North African dancer holding a veil oil on canvas, signed, 72 x 58cm ÂŁ1,800 - 2,200*

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

111

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296 Charles Brooke Branwhite, British 1859-1929 Fisherfolk with beached fishing vessels at dusk watercolour, signed and dated 1893, 28 x 40cm £200 - 300* 297 British School, late 19th/early 20th century A Three-masted ship watercolour over pencil on wove paper stuck down on card bearing an ink and watercolour border of plantation and a bird, sheet 29.5 x 22.3cm, (unframed)

296

£100 - 150* 298 William Lawson, British late 19th-early 20th century The Lonely Sentinel etching and aquatint with hand-colouring, signed and titled in pencil, sheet 28 x 33.5cm: together with nineteen further etchings, some with aquatint, many signed in pencil, depicting rural landscapes and street views, some with blindstamps, various sizes, sheet 34.2 x 25.3cm, (20) (unframed) £200 - 300*

299 299 Madou, French late 19th/early 20th century

300 Giaovanni Lavezzari, Italian 1817-1881

Study of three children

Venetian canal scene with a gondola

black chalk and gouache on green coloured paper, signed, 17.5 x 23cm

watercolour, signed, 22 x 10cm

£150 - 200*

112

£600 - 800*

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301 Alphonse Mucha, Czech 1860-1939 Young man seated on an armchair, 1892 pencil on Bristol Blanc paper, dated in pencil, bears blindstamp, 27.5 x 24cm Provenance: National Gallery of Prague, release stamp no.1457; Christie's, London, November 21, 1996, lot 87; Sotheby's, Paris, Oeuvres sur papier, March 28, 2019, lot 277 Note: a copy of a certificate of authenticity from The Mucha Foundation accompanies this lot 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.

113

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304 302 Anders Zorn, Swedish 1860-1920

303 Anders Zorn, Swedish 1860-1920

304 Philip Wilson Steer OM NEAC, British 1860-1942

A Dark Corner [Asplund 176], 1903

Self-portrait, 1916 [Asplund 271]

Dover Harbour, 1930

etching on buff paper, signed in pencil, plate 17.8 x 11.5cm

watercolour on wove paper, inscribed and dated on the reverse, 20 x 34.5cm

drypoint etching on wove paper, signed in pencil, published in 1903, plate 20 x 15cm Note: Asplund notes this etching as one of Zorn’s most important etchings of nude models from trips to America in 1901 and 1903 (Asplund, 1921, p.67). See: Asplund, Dr. K., ‘Anders Zorn: His Life and Work’, London: the Studio Ltd, 1921

Note: this etching is also known by the title ‘Self-portrait in wolfskins’. See: Asplund, Dr. K., ‘Anders Zorn: His Life and Work’, London: The Studio Ltd, 1921 £200 - 300*

Provenance: with Chris Beetles Limited, English Watercolours, London; where purchased by the family of the current owner in 1987; thence by descent £150 - 250*

£150 - 300* 305 Philip Wilson Steer OM NEAC, British 1860-1942 River landscape, 1910 watercolour over pencil, signed and dated, sheet 23.3 x 35.1cm £300 - 500*

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306 306 Philip Wilson Steer OM NEAC, British 1860-1942 The Lone Fisherman, 1929 watercolour, signed and dated, bears Agnew’s label to the reverse of the frame, inscribed stock no. DB 2984, 16.2 x 21.9cm Provenance: with Agnew’s, London; where purchased by the family of the current owner in 1992; thence by descent £150 - 250* 307 British School, late 19th/early 20th century Portrait of a cellist seated full-length watercolour, 52.7 x 41cm £200 - 300*

307

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308 308 Lucien Davis RI, British 1860-1941

309 Lucien Davis RI, British 1860-1941

The End of the Second Innings; Lost Ball; Watching the Rivals Balling at the Nets; A Match at Lords; Caught and Bowled

The Critics; Stumped; Saves the Four; Hit to Square Leg

gouaches en grisaille, six, and one pen and black ink on wove paper, most signed, most titled in pencil, image 21.8 x 33cm (max) (7 in four shared mounts and frames) Provenance: property of L. D., May 28th 1896; with the Print Gallery Sarsden, Oxfordshire, according to the label attached to the reverse of one of the frames; with Grundy & Smith, Manchester, according to the labels attached to the reverse of the frames

two gouaches en grisaille and two drawings in pen and black ink and wash, a further work to verso, one signed, four titled in pencil, one of irregular shape, image 15.8 x 25cm (max), (framed) (4) Provenance: with Grundy & Smith, Manchester, according to the labels attached to the reverse of the frames ÂŁ300 - 500*

ÂŁ600 - 800*

309

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310 Lucien Davis RI, British 1860-1941 Drawing Away From Wicket; Guard Please Umpire; Country Cricket Mitcham; Eton V Harrow; The Demon Bowles (Spofforth); Hal on Wicket Howâ&#x20AC;&#x2122;s Hal? 1837; Going In; Cricket on Ice; Caught and Bowled seven gouaches en grisaille and two pen and inks, nine, most signed, each titled in pencil, some of irregular shape, image 19.7 x 31.2cm (max) (9 in five mounts and frames) Provenance: L. Davies, February 22 1897; sold to W Eckersley, Esq.; from the collection of Mr and Mrs Eckersley; Print Gallery, Sarsden, Oxfordshire; with Grundy & Smith, Manchester, all according to the labels attached to the reverse of the frames ÂŁ700 - 900*

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

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313 311 Hugh Thompson, Irish 1860-1920

312 Louis Anquetin, French 1861-1932

The New Curate, from Jane Austen’s Emma

Le Cavalier et le Mendiant, 1893

pen and black ink on wove paper, original artwork for an illustration, signed with monogram and dated 96 in pencil, bears inscription on the mount, 25.5 x 18cm

lithograph, signed and dated within the plate, numbered 55.A in red crayon (from an edition of 100), and bears ‘L’Estampe originale’ blindstamp, from Album I of L’Estampe originale, published by Andre Marty, sheet 41.9 x 56.8cm (unframed): together with one further hand-coloured lithograph by the same artist and entitled the same, signed and dated within the plate, and inscribed in red crayon, sheet 40 x 52.4cm, (unframed) (2)

£200 - 300*

Reference: Stein & Karshan, 1970, 1 £200 - 300* 313 George Cockram RI, British 1861-1950 Coastal landscape with sand dunes in the distance watercolour, signed, 30 x 50cm (ARR) £300 - 400* 314 Peter Ilsted, Danish 1861-1933 Interior with a woman reading a letter mezzotint, signed in pencil, 47 x 42cm 314

118

£300 - 500*

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315 Norman Prescott-Davies FRS, British 1862-1915 Portrait of a classical beauty, seated half-length watercolour, signed and dated 1892, 52 x 34.5cm ÂŁ500 - 800*

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

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316 Edward George Handle Lucas, British 1861-1936 Watermeads, Mitcham, Surrey, 1929 oil on board, signed and dated, bears inscribed label attached to the reverse, 30.5 x 25.7cm (unframed) ÂŁ600 - 800* 317 Georg Nicolai Achen, Danish 1860-1912 Figure in a field with distant woodland oil on canvas, signed and dated 1881, 26.2 x 34cm ÂŁ600 - 800*

316

317 120

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318 Geza Polgary, Hungarian/American 1862-1919 Portrait of a girl, traditionally held to be Sylvia Kosse, in a white dress carrying a bouquet of flowers oil on canvas, signed and dated 1917, 137.5 x 78.7cm £1,000 - 1,500* 319 Charles Vigor, British 1860-1930 Portrait of William Bryant or Francis May, seated three-quarter length turned to the left holding a letter by a desk with papers oil on canvas, signed, 91.5 x 122.5cm (unframed) £200 - 300*

318 320 Follower of George Sheridan Knowles, British 1863-1931 Servant girl feeding pigeons in a farmyard oil on canvas, 55 x 48.5cm £100 - 150*

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

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321 321 Albert Chevallier Tayler NEA RBA ROI RBC, British 1862-1925 Interior scene with figures luncheoning oil on canvas, signed and dated 1890, 46.5 x 55cm Note: Albert Chevallier Tayler studied at Heatherley’s School of Art and the Royal Academy Schools prior to a twelve year association with the Newlyn School. He later settled in London, turning more greatly to portraiture (Wood, 1995, p.515). see Wood, C., ‘Dictionary of British Art Volume IV: Victorian Painters’, Woodbridge, Suffolk: Antique Collectors’ Club, 1995 £3,000 - 5,000*

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322 322 Thomas Bromley Blacklock, Scottish 1863-1903 The Picnic oil on canvas, signed, 46 x 61cm Provenance: Christie’s, Edinburgh, 26th October 2000, lot 16, where purchased by the present owner Note: Thomas Bromley Blacklock, born in Kirkcudbright, became known for his paintings of scenes of children playing, regularly using the local landscape around him as the setting. For a similar painting see ‘The Nest’ in The Stirling Smith Art Gallery & Museum collection (no. 8120). £3,000 - 5,000* 323 Harald Slott-Moller, Danish 1864-1937 Study of Irises oil on canvas, signed and inscribed, 34.5 x 24cm £3,000 - 4,000*

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

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324 Frank Dean, British 1865-1947 Camel train at sunset, (recto), unfinished composition, (verso) oil on panel, signed and inscribed ‘Cairo’ and dated 1894, bears inscription on the reverse, 18.6 x 53.8cm £300 - 400* 325 John William Schofield RBA RI, British 1865-1944 Self-Portrait oil on board, signed, 94 x 54cm Note: John William Schofield studied at the Westminster School of Art. £600 - 800* 326 Jean Julien Denisse, French b.1866 Figure by a farm house with woodland oil on panel, signed, 32 x 49cm £200 - 300*

325

326

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328 327 Eugenie Breithut-Munk, Austrian 1867-1915 Portrait of a girl with a bouquet of flowers oil on canvas, signed, 57 x 51cm £300 - 400*

329

328 Frank Spenlove-Spenlove RBA RI ROI, Scottish 1868-1933

329 Robert Sauber RBA VPMRS, British 1868-1936

Venice

oil on panel, signed, 25.5 x 18.5cm

oil on panel, signed and inscribed, 20 x 30.5cm

£800 - 1,200*

Water Lilies

£400 - 600*

330 Dorothy E Stenhouse, early 20th century A Landscape oil on canvas, bears inscribed label attached to the reverse of the frame stating ‘Miss Dorothy E Stenhouse/8 Westminster Mans SW’, bears further label for Lechertier Barbe Ltd., London attached to the reverse of the frame, 30.5 x 35.8cm £150 - 200* 331 British Impressionist School, early 20th century Seated lady in a feathered hat oil on canvas, 79.3 x 73.8cm (framed) £400 - 600*

331

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332 British School, early 20th century Battleships moored in a harbour oil on canvas, 22.5 x 35.8cm £100 - 150* 333 Arthur Wardle, British 1864-1949 Blue Tits gouache, signed, 25.5 x 32cm (ARR) Provenance: Sotheby’s, London, Paintings, Pastels and Watercolours from the Studio of Arthur Wardle, 23rd November, 1994, lot 171, illustrated p.54

333

£400 - 600* 334 John Terris RSW, Scottish 1865-1914 Landscape; Studies of cows (verso) watercolour over pencil on J Whatman & Balston paper, inscribed and dated Aug. 26 / 92 in pencil to the reverse, 12.6 x 18cm, (unframed) (ARR) £100 - 150*

335 335 Attributed to William Frederick ‘Fred’ Mayor, British 1865-1916

337 C Carue Wilson, British School, early 20th century

The Lido at Venice

Polo

gouache over pencil on grey coloured paper, 15 x 22.5cm

watercolour, signed and dated July.3.1903 in pen and brown ink, 13 x 18.2cm, (unframed)

£400 - 600*

£100 - 150*

336 Frederick W Hull, British 1867-1953

338 After Cecil Charles Windsor Aldin, RBA, British, 1870-1935

An apple with two mushrooms on a mossy bank

The Liverpool Coach and The Glasgow Coach

watercolour, signed, 12 x 30.5cm (ARR)

lithographs printed in colours, a pair, both signed within the plate, ea. 37 x 99cm, (2)

£150 - 200*

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£100 - 200*

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340 339 Hugh Lionel Heath, British 1871-1938

340 Robert Gwelo Goodman, British/South African 1871-1939

Wooded lakeside scene

On the Grand Canal, Venice

watercolour and black ink, 38.7 x 56.4cm: together with a mixed folio of landscape watercolours and pastels by the same artist, and further Indian related print ephemera and a discharge certificate from the 3rd Punjab Rifles where he was a Captain, 45 x 28cm (approx), (a lot) (unframed/portfolio)

pastel, signed, 57 x 43cm Provenance: with The Pastel Society, London, according to the partial label attached to the reverse of the frame; Christie’s, London, Topographical Pictures, 6th June 1996, lot 58 £2,000 - 3,000*

£200 - 400*

341 Sir William Nicholson & William Ernest Henley, British 1872-1949 & British 1849-1903 London Types, 1898: coloured lithographs, twelve, first edition, published by William Heinemann, London, 1898, bears original cartoons attributed to the artist on the fly leaf, overall 34.2 x 28.8cm (bound book) (ARR) Provenance: The mother of the present owner shared a flat with Kit Nicholson, one of Sir William Nicholson’s sons. £300 - 400*

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

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345

342

342 Emil Gies, German 1872-1937 Portrait of a seamstress seated by a window in an interior oil on canvas, signed and dated 06, 42.8 x 33.8cm (framed) £300 - 400* 343 Arthur Henry Jenkins, Scottish 1871-1940 Near Ogbourne St Andrew, Wiltshire oil on canvas laid down on board, signed, bears inscribed label attached to the reverse, 36 x 44.5cm £100 - 150* 344 Otto Fedder, German 1873-1919 Horse and carriage on alpine track oil on panel, signed, 5.6 x 8.5cm £100 - 200* 345 Leonard Campbell Taylor RA, British 1874-1969 Portrait of Colin M C Taylor oil on panel, signed and dated March 1898 on the reverse, 30.5 x 25.5cm (unframed) (ARR) £400 - 600*

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346 Georges Ricard-Cordingley, French 1873-1939 Shepherd and his flock at dusk under a rising moon oil on canvas, signed, 46.3 x 61.7cm £500 - 600* 347 Walter Norfolk, British, late 19th/early 20th century Horse and cart on a track with cottages and woodland oil on canvas, signed, 50.2 x 75.7cm £100 - 150*

346

348 Franz Xaver Pieler, Austrian 1876/79-1952 Flowers in an urn on a ledge oil on board, 72 x 52cm (ARR) Provenance: Frost & Reed Ltd., Bristol and London; Lord and Lady Wardington, according to the label attached to the reverse of the board £1,000 - 1,500*

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

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349 Alfred Fontville de Breanski Jnr, British 1877-1955 Cattle watering in a highland loch oil on canvas, signed, 51.2 x 78.5cm (ARR) £1,000 - 1,500*

349 350 Alfred Fontville de Breanski Jnr, British 1877-1955 Cattle on the edge of a highland loch oil on canvas, signed, 51.2 x 77cm (ARR) £1,000 - 1,500*

350 351 Attributed to Emma Ciardi, Italian 1879-1933 A male and two female figures in a garden landscape oil on panel, 40 x 30cm Note: for similar works by Emma Ciardi depicting figures in garden and picturesque landscapes see Zerbi, M., ‘Emma Ciardi 1879-1933: La vite e le opere’, Torino and New York: Umberto Allemandi & C., 2009 £800 - 1,200*

351 130

www.roseberys.co.uk

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352

355 352 Walter J Watson, British 1879-1937

354 Walter Roessler, German 1893-1960

356 Lawson Wood RI, British 1878-1957

The Lledr, N. Wales

Man in a Fez smoking a pipe

Policeman and Duckling

oil on canvas, signed and dated 1920, 40.7 x 86.7cm

oil on panel, signed and inscribed, 21 x 16cm (ARR)

watercolour, signed, 35 x 24.5cm (ARR)

£600 - 800*

£150 - 250*

£200 - 300*

353 Charles Kvapil, Belgian 1887-1954

355 John Edmund Mace, British 1889-1952

357 Edwin St John, British, 1878-1961

Portrait d’un jeune garçon, 1907

View of Whitby

oil on canvas, signed and dated, 76 x 58cm (ARR)

oil on canvas, signed, 35.5 x 51cm (ARR)

Corenno, Lake de Como & On Lake Geneva

£400 - 600*

£600 - 800*

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

watercolours, a pair, both signed, 24 x 49cm ea. (2) (ARR) £100 - 200*

131

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358

360

358 William Luscombe Pare, British 1875-1935

360 Margaret M Rudge, British 1885-1972

Still life with grapes

Fairy smelling the scent of a flower

watercolour, 13 x 21.7cm: together with a large quantity of watercolours, and some pencil drawings by the same artist depicting floral studies and landscape scenes to include Woodbridge, Hammersmith Bridge, Barnes, Chiswick, Richmond Park, Haslemere, Essex, and Aldershot among other counties in Britain, many signed, dated and inscribed in pencil, 20.5 x 29.4cm (max), (a lot) (unframed)

etching, signed in pencil, 24.7 x 20cm (sheet); together with seven further etchings by the same artist, to include- Old Houses Deal, Sandwich, Scottish National War Memorial Edinburgh, Richmond Castle, September Gale, and John Knox House, 35.2 x 27cm (sheet/max) (8) (unframed) (ARR)

£200 - 300* 359 Margaret M Rudge, British 1885-1972 Durham Castle and Cathedral etching on laid, signed and titled in pencil, 29 x 23cm: together with six further etchings, some in colour, by the same artist, depicting- Durham Cathedral and Wear Bridge, all signed and titled in pencil, 24.7 x 30.4cm (sheet/max) (7) (unframed) (ARR) £200 - 300*

£150 - 200* 361 Tinus de Jong, South African 1885-1942, Cape Town and Table Mountain from the Bay etching, signed and titled in pencil, 26.4 x 34.5cm (sheet); together with six further etchings by the same artist and two etchings by T A Holloway, South African 20th century, all depicting residential dwellings and vistas in South Africa, some signed and titled in pencil, 28 x 33.5cm (sheet) (max), (9 in the lot) (unframed) £250 - 300* 362 Alexander Edward Waite, British 1888-1958 Blackfriars Bridge & Cannon Street Station

362

132

etchings, signed and titled in pencil, ea. 27.7 x 35.2cm (sheet) (2): Arthur J Turrell, British 1871-? The Doges Palace, Venice; etching, signed and titled in pencil, 36.2 x 21.4cm (sheet): J. Beattie SCOTT, British act.c.1865-1925- Loch Katrine; etching, signed in pencil, 23 x 19.2cm (sheet) : together with five further etchings by various hands, depicting two Cathedrals and country settings, 27.2 x 34.4cm (sheet/max) (10 in total) (unframed) (ARR) £120 - 180* www.roseberys.co.uk

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363 Edward Charles Prust, British 1891-1978 Near Harefield, 1935 watercolour on pink wove paper, signed, dated and inscribed in pencil, 16.6 x 22cm: together with seven further sketches and studies in pencil, watercolour, ink, and crayon, by the same artist depicting landscapes and figures in landscapes, all signed, most inscribed and dated, 17 x 22cm (max), (unframed) (8) (ARR) £150 - 200*

363 364 Le Rire Journal Humoristique, Satirical publication from no. 125, 27 March 1897- no. 162, 11 December 1897 chromotypographs, to include work by Rene Georges Hermann Paul, Steinlen, Forain, Metivate, Rabier, Roubille and others, Published in 1897, 10 Rue Saint Joseph Paris, in commemorative binding, 30.4 x 25cm (bound publications) (a lot) £180 - 220* 365 Joseph Edward Hennah, British 1897-1963 A rocky stream watercolour, signed, 35 x 24.6cm (unframed) (ARR) £100 - 150*

365

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

133

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INDEX OF ARTISTS A Achen, Georg Nicolai Alma-Tadema OM RA, Sir Lawrence Ancher, Michael Anquetin, Louis Bartsch, Attributed to, Carl Frederick

317 228 266 312 203

B Batty, Edward 240 Beer, John Axel Richard 276 Beggrov, Karl Petrovic 153 Beresford, Attributed to, Louisa 190 Beresford, Louise Anne 191 Bleuler (also known as Louis Bleuler), Johann Ludwig 139, 140 Blunt, Lady Anne 231 263 Boesen, Johannus Bradley, Basil 249 Branwhite, Charles Brooke 296 Breithut-Munk, Eugenie 327 Bromley Blacklock, Thomas 322 Brown Jackson, Welby 155 Browne, Joseph 112 Bush Hardy RBA, Thomas 250 Busse, Georg Heinrich 184 C Callot, Jacques 26, 27 Callow RWS FRGS, William 185 Calvert, Edward 152 Cameron, Duncan 236 Campbell Taylor RA, Leaonard 345 Canal, Giovanni Antonio 61 337 Carue Wilson, C Cattermole RI, Attributed to, Charles 219 Chrehay, Gerald 179 Christian Hansen, Niels 233 Ciardi, Attributed to, Emma 351 Clausen RA RWS, Sir George 271, 272 Cochin, Charles-Nicholas 82 Cockram RI, Georges 313 Colman Dibdin, Thomas 182 Corrodi, Salomon 183 Cotes, Samuel 76 Cox, E H 292, 293 Crisp, Frank 245 Cruickshank, Georges 145 D Dahl, Hans 253 Davis RI, Lucien 308, 309, 310 45 De Bisschop, Jan De Carrie, Ana 294 De Jong, Tinus 361 De Schietere, Theodore and Verboeckhoven Eugene Joseph 161 De Simone, Attributed to, Antonio 275 De Verwer, Attributed to, Abraham 20 Dean, Frank 324 Denisse, Jean Julien 326 Dietzsch, Johann Albrecht 71 D’Oyly, Sir Charles 197 E Eagles, John Edmund Mace, John Eliza Parker, Eliza Elliot, James Evans OWS, Attributed to, William F Fabbi, Fabio Fedder, Otto Fforde, A B Fontville de Breanski Jnr, Alfred Forain, Attributed to, Jean-Louis Fuller, Richard Henry Fullwood FRSA RBA FSA, John Fyt, Jan

122 355 166 242 151 295 344 207 349, 350 268 196 277 35

G Gale, William Galien-Laloue, Eugène Gambarini, Attributed to, Giueseppe Ghisi, Giorgio Mantovano Gies, Emil Goltzius, Hendrick Guys, Constantin Gwelo Goodman, Robert

200 280 56 11 342 13 154 340

H Haag, Carl Hamilton, Hugh Douglas Handle Lucas, Edward George Hayes RI, Claude Heath, Hugh Lionel Heath, William Hennah, Joseph Edward Herbert RA, John Rogers Hughes, Arthur Hull, Frederick W

192 100 316 273 339 143, 144 365 174 220, 221 336

I Ilsted, Peter

314

J James SWA, Charlotte Isa James, David Jenkins, Arthur Henry Johnston, Sidney Yates Joseph, G

217 270 343 260 286

K Karlovszky, Bertalan King RBA VPRI ROI, Henry John Knesing, Theodore Kvapil, Charles

288 282 247 353

L Langley, Walter 216 Lavezzari, Giovanni 300 Lawson, William 298 Le Sueur, Nicolas 60 Lear, Edward 186 Lester, Lieutenant J 137 Lewis, John 269 Liebermann, Max 251 Linton Chapman, John 241 Liotard, Jean- Etienne 64, 65 Lubbers, Holger Peter Suave 264 136 Luigi Rossini Lund, Anker 262 Luscombe Pare, William 358 Lushington Moore, Attributed to, Temple 279 M Mabrose Jr, C E 159 Madou 299 Major ARA, Thomas 85 Marieges 167 Matham, Jacob 23 Matthew Ward RA, Edward 188 Mayers, R 124 Mayor Attributed to, William Frederick ‘Fred’ 335 Mecham, Captain R 135 Melchoir, Carl Theodore 201 Meucci, Michelangelo 238 Michel, Georges 115 Micotta, J 291 123 Miles Richardson Snr, Thomas Millais 1st Baronet PRA, Sir John Everett 205 Millar, J 287 Millet, Jean-Francois 187 Moore RA RWS, Henry 218 Morgan, Alfred 193 Morris, William Walker 173 Moutard Woodward, Attributed to, George 87 Moyreau, Jean 88 Mucha, Alphonse 301 Muhlig, Hugo 281 Muller, Edmund Gustavus 180 Murray RA HRSA RSW RI, Sir David 265 Myles Birket Foster RWS, Myles 198, 199 N Nicholson, Sir Willaim & Henley, William Ernest 341 Niemann, Edward John 176 Nieuhoff, Johannes 43 Norfolk, Walter 347 O Odelmark, Frans Wilhelm Ogilby, John Ogilby, John Owen, Samuel

254 29 30 111

P Parker, Henri H Partridge, John Pieler, Franz Xaver Pieter, Schenk the Elder Pinelli, Bartolomeo

284 133 348 58 120

Piranesi, Francesco Piranesi, Giovanni Battista Polanzani, Francesco Polgary, Geza Prescott-Davies FRS, Norman Prust, Edward Charles

97 84 63 318 315 363

R Raffaelli, Jean-Francois 255 Raimondi, Marcantonio 4, 5 Ricard-Cordingley, Georges 346 Richmond RA, Attributed to, George 150 Richter, Henry Constantine 194 Roberts RA, David 147, 148 Roessler, Walter 354 Romney, Georges 78 Roos, Johann Heinrich 46 Rops, Félicien Joseph Victor 222 Ross RA, Attributed to, Sir William Charles 149 106 Rowlandson, Attributed to, Thomas Rowlandson, Thomas 102 Rudge, Margaret M 359, 360 S Sadeler, Aegidius Sauber RBA VPMRS, Robert Schofield RBA RI, John William Sebald Beham, Hans Senex, John Serritelli, Giovanni Seymour, Robert Sloane, Michael Slott-Moller, Harald Spenlove-Spenlove RBA RI ROI, Frank St John, Edwin Stenhouse, Dorothy E Stott ARA NEAC, William Edward Strutt RBA FZS, William Stubbs ARA, Georges Syer Snr RI, John

22 329 325 9 57 162 146 98 323 328 357 330 278 204 89 178

T Tallis, John 189 Tayler NEA RBA ROI RBC, Albert Chevallier 321 Teast Edwards, Sydenham 92 Terni, A L 285 Terris RSW, John 334 Thompson, Hugh 311 Trivett Nettleship, John 248 Trubner, Attributed to, Wilhelm 267 Turner (née Chamberlain), Attributed to, Agnes 243 116 Turner ARA, Charles U Underhill, William

172

V Van Doornik, P K Van Ostade, Adriaen Van Sichem the Elder, Christophel Varley Jnr, John Varley OWS, John Vigor, Charles Von Bausch, E Von Defregger, Franz Von Siegen, August

213 34 25 239 119 319 157 232 259

W Waite, Alexander Edward 362 Walton, E 128 Wardle, Arthur 333 Watson, Walter J 352 Wells, William Frederick 109 Wenceslaus Hollar 32, 33 Whistler, James Abbott McNeill 223, 224, 225, 226 Whitcombe, Thomas 113 Whitmore, Bryan 227 Wierix, Antonius 14 William Baumgarten & Co. 256, 257, 258 Williams, Mary E 237 Wilson Steer OM NEAC, Philip 304. 305, 206 Wirgman, Theodore Blake 252 Wood RI, Lawson 356 Woolmer RBA, Alfred Joseph 158 Wouwerman, Attributed to, Philips 44 Wyllie RA RBA RE RI NEAC, William Lionel 274 Y Yates RN, Lieutenant Thomas Z Zorn, Anders

110 302, 303

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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 348

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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 Georgina Agnew Junior Cataloguer Jewellery & Silver georginaagnew@roseberys.co.uk Helena Anderson Associate Specialist Modern & Contemporary British Art helenaanderson@roseberys.co.uk Luke Axford Junior Cataloguer Paintings, Prints & Frames lukeaxford@roseberys.co.uk Alice Bailey Head of Department Islamic & Indian Arts alicebailey@roseberys.co.uk Fiona Baker Head of Department 20th Century & Decorative Arts helenaanderson@roseberys.co.uk Mark Bowis 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

Roseberys London Main London Saleroom 70/76 Knights Hill London, SE27 0JD Complimentary valuations Monday to Friday: 9.30am to 5.00pm +44 (0) 20 8761 2522 clientservices@roseberys.co.uk Central London Office Valuations by appointment. 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. Lot 210

Bill Forrest Head of Department Asian Arts billforrest@roseberys.co.uk Sam Howard Administrator Asian, Islamic & Indian Arts samhoward@roseberys.co.uk Mark Longley Specialist Ceramics & Glass, Works of Art & Collectables marklongley@roseberys.co.uk Tess Oâ&#x20AC;&#x2122;Brien Impressionist, Modern, Post War and Contemporary Art tessobrien@roseberys.co.uk Kate Pritchard Cataloguer & Valuer Paintings & Prints, Modern & Contemporary Art katepritchard@roseberys.co.uk Alex Tonkinson Consultant Specialist Modern Design alextonkinson@roseberys.co.uk Geoff Young Senior Consultant Jewellery geoffyoung@roseberys.co.uk Shane Xu Head of Department Modern & Contemporary Prints & Multiples shanexu@roseberys.co.uk

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Inviting Consignments JEWELLERY & WATCHES WEDNESDAY 20 NOVEMBER Entry deadline Monday 7 October

A platinum, diamond, pearl and onyx brooch, by Boucheron Sold in March for Â£7,500

For further information or a complimentary valuation please contact Mark Bowis FGA DGA FSA | markbowis@roseberys.co.uk | +44 (0)20 8761 2522 www.roseberys.co.uk

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Inviting Consignments OLD MASTERS, 18TH & 19TH CENTURY PICTURES THURSDAY 21 NOVEMBER Entry deadline Wednesday 9 October

Franz Xaver Winterhalter, German 1805-1873 Portrait of a lady Price Realised : Â£35,000

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

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Inviting Consignments FINE & DECORATIVE FRIDAY 22 NOVEMBER Entry deadline Thursday 10 October

John Gibson, British, 1790-1866, a bronze entitled 'The Hunter and Dog', third quarter 19th century Price Realised : Â£1,250

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

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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

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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.

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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.

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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.

(1) (a) (b) (2)

Payment 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.

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;

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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)

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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)

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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:

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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 July Impressionist, Modern, Post War & Contemporary Art Wednesday 3 July Modern & Contemporary British Art Online Only Auction Monday 15 July – Thursday 1 August Prints & Multiples Online Only Auction Monday 8 July Jewellery & Watches Tuesday 16 July Old Master, 18th & 19th Century Pictures Wednesday 17 July Fine & Decorative Thursday 18 July

August Art & Antiques Saturday 17 August September New Collectors Online Only Auction Monday 2 September – Thursday 19 September Modern & Contemporary British Art Tuesday 24 September October Art & Antiques Saturday 5 October Prints & Multiples Online Only Auction Monday 14 October Islamic & Indian Arts Friday 25 October

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