OLD MASTER, 18TH & 19TH CENTURY PICTURES Wednesday 25 March 2020
OLD MASTER, 18TH & 19TH CENTURY PICTURES Wednesday 25 March 2020 Starting at 1pm VIEWING Sunday 22 March 10am-2pm Monday 23 March 9.30am-5.30pm Tuesday 24 March 9.30am-5.30pm Wednesday 25 March 9.30am-12.30pm Head of Department: Marcus Grey Junior Cataloguer and Departmental Assistant: Sophie Hetherton 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 359 Back Cover: Lot 320 Inside Front Cover: Lots 5, 6, 10, 14, 15 & 20 Inside Back Cover: Lot 244
70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk
Online bidding available at:
RoseberysLive
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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.
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
New International Bidders 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.
The buyer shall pay the hammer price together with a premium thereon of: 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate.
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.
(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 242
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The following lots 1-65 are from a private collection of a London residence. 1 After Lucas Horenbout, Flemish 1490-1544 Portrait miniature of Emperor Charles V, (1500-1558), quarterlength turned to the right, tondo, in a glazed ebonised tondo frame with gilt sight edge, 3.7cm dia Note: the original work can be found in the Victoria & Albert Museum, London, painted in 1660-1661 (P.22-1942) £800 - 1,200* 1
2 English School, late 16th century Portrait miniature of Mary Queen of Scots, (1542-1587), halflength turned to the left in a black dress and white ruff, oval, in a glazed ebonised oval frame with gilded sight, 5 x 4.3cm £600 - 800* 3 After François Clouet, French 1510-1572 Portrait miniature of Francis II, (1544-1560), quarter-length turned to the right in black doublet, white ruff, ermine cape and a Tudor feathered black cap, oval, in a silver oval frame with bevelled glass, bears inscription on the reverse of the frame, 5.5 x 4.4cm £600 - 1,000*
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4 Circle of Isaac Oliver, English c.1556-1617 Portrait miniature of a lady, traditionally held to be Bridget Hussey (1525-1601), sister of Sir Charles Morison, Countess of Sussex, half-length turned to the left, wearing a necklace, diadem and hair ornament, court dress with lace ruff, oval, inscribed on the reverse, in gold script against a pale blue ground, oval, in a glazed oval silver frame, 5.5 x 4cm £1,500 - 2,500*
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5 Attributed to Laurence Hilliard, English 1581/82-1648 Portrait miniature of a bearded nobleman, quarter-length turned to the left, wearing a black doublet, cap and lace ruff, against a blue ground with inscription in gold Anno Dm. 1635 Aetatis Sua.77. and initial H, in a double sided glazed, hinged silver locket, the reverse enclosing dark blue fabric, 5 x 3.7cm ÂŁ4,000 - 8,000*
* 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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6 Attributed to John Hoskins, English 1589-1664 Portrait miniature of a nobleman, quarter-length turned to the left, wearing armour, lace cravat bound with black ribbon, with a landscape in the background, oval, signed and dated indistinctly, in a glazed gilt oval frame, 7 x 5.5cm £1,500 - 2,500* 7 After Samuel Cooper, English 1609-1672 Portrait miniature of James Scott, Duke of Monmouth, (1649-1685), quarter-length turned to the right, wearing armour, with lace cravat and blue sash for the Order of the Garter, oval, in a glazed oval silver frame, 7.5 x 6cm
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£800 - 1,200* 8 English School, 17th century Portrait miniature of Charles I, (1625-1649), quarterlength turned to the right, wearing pink doublet, lace collar and blue sash of the Order of the Garter with plain brown background, signed with monogram, oval, in a later oval gold locket pendant, 4.5 x 3.7cm £800 - 1,000*
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9 After Samuel Cooper, English 1609-1672 Portrait miniature of James II, Duke of York, (16331701), oval, in a glazed oval gilt frame, 7.5 x 6cm Note: the original work can be found in the Victoria & Albert Museum, London, painted in 1660-1661 (P.45-1955) £800 - 1,200*
9 10 Circle of Gerard ter Borch, Dutch 1617-1681 Portrait miniature of a nobleman, half-length turned to the right wearing armour, lace cravat with red ribbon tie, against a black background, oval, bears inscription on the reverse, in a glazed oval gilt frame, 6 x 4.7cm Note: See portrait of Moses ter Borch 1645-1667, Sotheby’s, 12 Jan 1995, New York NY, United States, Important Old Master Paintings, Lot 33/a , Illustrated on page 97-96 of the catalogue, for similarities in style and manner of technique. £1,500 - 2,500*
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11 Circle of Peter Crosse, British 1645-1724 Portrait miniature of a gentleman, quarter-length turned to the right, wearing a blue gown and lace cravat, oval, in a glazed oval gold frame, 5.5 x 4cm £800 - 1,200*
11 * 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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12 Attributed to David Loggan, English 1634-1692 Portrait miniature of a gentleman traditionally held to be Sir Streynsham Master, (1640-1724), quarter-length turned to the right, in doublet, robes and lace cravat, plumbago on vellum, oval, bears inscription on the reverse of the frame, in an early 19th century glazed oval gilded composition frame, 11.5 x 9.5cm ÂŁ3,000 - 5,000*
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13 Attributed to David Loggan, English 1634-1692 Portrait miniature of a gentleman, traditionally held to be Dr Master Cevilian, quarter-length turned to the right, in shirt, doublet, coat and collar, plumbago on vellum, oval, bears inscription on the reverse of the frame, in an early 19th century glazed oval gilded composition frame, 11.5 x 9.8cm ÂŁ3,000 - 5,000*
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15 14 14 Attributed to David Loggan, English 1635-1692 Portrait miniature of a nobleman, traditionally held to be James Drummond, 3rd Earl of Perth, (d.1675), quarter-length turned to the right, wearing front and back plate and embroidered tunic shirt, oval, in a glazed oval gilded moulding frame, bears inscription on the reverse, 11.5 x 9cm £2,000 - 3,000* 15 Thomas Forster, British, act c.1690-1713 Portrait miniature of a gentleman quarter-length turned to the right, wearing robes and lace cravat, plumbago on vellum, oval, signed and inscribed, in a glazed oval ebonised frame, 10.5 x 7.7cm £1,500 - 2,000*
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16 Circle of Thomas Forster, British act. c.1690-1713 Portrait miniature of a gentleman, quarter-length turned to the right, wearing robes and lace cravat, plumbago on vellum, oval, in a glazed oval ebonized frame, 10 x 8cm £600 - 800* 17 Circle of Thomas Forster, British act c.1690-1713 Portrait miniature of a lady, quarter-length turned to the left, wearing a dress with lace collar, plumbago on vellum, oval, in a glazed oval ebonized frame, 9.5 x 7.5cm £400 - 600*
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 Circle of Gervase Jarvis Spencer, British c.1715-1763
19 Circle of Nathaniel Hone, British 1718-1784
Portrait miniature of a young gentleman, quarterlength turned to the right with powdered hair en queue, wearing red tunic, oval, in a glazed oval gold frame, 4.5 x 3.6cm
Portrait miniature of a gentleman, quarter-length turned to the left with powdered hair, wearing a scarlet coat, blue waistcoat and white lace cravat, against a plain background, oval, held in a rectangular ebonised frame with glazed oval aperture, bears inscribed label Stawell attached to the reverse, 3.8 x 3cm
ÂŁ300 - 400*
ÂŁ500 - 700*
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20 Louis-Marie Sicardi, French 1743-1825 Portrait miniature of a high-ranking Napoleonic officer, thought to be Jérôme Bonaparte, King of Westphalia, (1784-1860), quarter-length turned to the left, wearing dark blue uniform of a French Consul, with scarlet collar, brocade decoration, gold epaulettes and pale blue watered silk sword belt against a sky blue background, in a glazed octagonal shaped gold and black enamel Empire frame with glazed reverse enclosing a memorial scene of applied hair, depicting a helmet, spear and shield with the initial J leaning against the trunk of a tree, and a hilltop mausoleum in the distance, signed and dated (18)10, 7 x 5.5cm Note: a painting by Robert Lefevre of Napoleon Bonaparte shows him wearing a very similar tunic £4,000 - 8,000*
* 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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21 21 Circle of Richard Crosse, British 1742-1810 22
A pair of portrait miniatures of a gentleman and his wife, the former quarter-length turned to the left, wearing brown coat and white waistcoat against a grey background, the latter wearing a pink dress, veil and collar necklace against a grey background, both ovals, both in oval glazed gold clasp mounts, ea with mother-of-pearl back, ea. 3 x 2.7cm., (2) £800 - 1,200* 22 Circle of Henry Spicer, British c.1742-1804 Portrait miniature of a British officer, possibly in militia uniform, with powdered hair en queue, quarter-length turned to the left, wearing red tunic with dark blue facings and epaulettes, black stock and lace cravat, oval, in an glazed oval gold clasp frame, 3.8 x 3.3cm £300 - 600*
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23 Circle of Charles Shirreff, Scottish 1750-1829 Portrait miniature of a British officer with powdered hair, quarter-length turned to the right, wearing red uniform with blue collar, silver epaulettes and buttons, in a glazed oval gold frame, the bezel with plaited hair, the blue enamel reverse with central locket compartment containing plaited hair with applied gold monogram and engraved borders, 5.5 x 4cm £800 - 1,200* 24 Circle of Horace Hone, British 1754/56-1825 Portrait miniature of a British officer, quarter-length turned to the right, possibly a militia, wearing red uniform with dark blue collar, silver facings, chain-link epaulettes, powdered hair, oval, in glazed gilt oval frame with glazed locket back enclosing plaited hair, 6 x 5cm £600 - 1,000*
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25 25 British School, late 18th century
26 26 Circle of Charles Shirreff, Scottish c.1750-c.1829
27 27 Circle of Jean André Rouquet, Swiss 1701-1758
Portrait miniature of a young British officer of the 21st Dragoons, half-length turned to the right with powdered hair, wearing blue cavalry uniform, with white facings, silver epaulettes, white shoulder belt with shoulder belt plate bearing crowned GR cipher flanked by 21, D and black stock against a sky blue background, the blue enameled reverse with locket back enclosing plaited hair, in a glazed oval gilt frame, 6 x 5cm
Portrait of a British officer, circa 1775, with powdered hair en queue, head and shoulders turned to the left, wearing red uniform white facings and epaulettes, silver buttons, black stock and white shirt, oval, in a modern ebonized rectangular frame with glazed oval aperture, bears inscribed label Stawell attached to the reverse of the frame, 3.7 x 3cm
Portrait miniature of a naval officer, quarter length turned to the left wearing a dark blue uniform with red collar and gold epaulettes, tondo, in a glazed ebonized tondo frame with gilded sight, 4.5cm dia. Note: inscribed on the reverse: Maurice Rousseau de Drouet, Capitaine de Corvette, le 30 Juin 1791 peint en 1798 £800 - 1,200*
£1,500 - 2,500*
£200 - 300*
28 28 Circle of Abraham Daniel, British c.1750-1806 Portrait miniature of a British officer, possibly of a militia, with powdered hair en queue, quarterlength turned to the right, in red tunic, with white facings and white waistcoat, against a grey toned background, oval, in a glazed part shagreen mounted oval case, 4.5 x 3.8cm £500 - 700*
29 29 Circle of Nathaniel Plimer, British 1757-1822 Portrait miniature of a British Staff Officer, traditionally held to be Godfrey Evans Baker, (17501786), quarter-length turned to the right, wearing red uniform with brocade facings, epaulettes and aiguillettes, oval, in an ebonized rectangular frame with oval aperture and gilt sight edge, lacking glazing, 7 x 6cm £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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30 Manner of Jean-Baptiste Greuze, 19th century Portrait miniature of a girl, seated half-length turned to the right leaning on a table, oval, signed with initials MN, in a ebonised rectangular frame with glazed oval aperture and gilt sight edge, 7.5 x 6cm £100 - 150* 31
31 After Joseph Kreutzinger, Austrian 1757-1829 Portrait miniature of Francis II, Holy Roman Emperor, (1768-1835), half-length turned to the left, c.1820, tondo, in a glazed gilt tondo frame, 6cm dia £500 - 700* 32 Circle of George Place, British c.1755-c.1805/09
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Portrait miniature of a British naval officer, quarterlength turned to the left, wearing blue uniform with gold trim, epaulettes and buttons, oval, in a glazed oval gilt frame with locket back enclosing plaited hair and applied initial F, 7 x 5.5cm £400 - 600* 33 Circle of George Place, British c.1755-1805/9 Portrait miniature of a British officer, quarter-length turned to the left, wearing blue uniform, red collar with gold piping, gold epaulettes and buttons, against a cloudy sky background, oval, in a glazed oval gilt frame, the grazed reverse enclosing a lock of hair, 6.5 x 5.5cm £600 - 1,000*
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34 European School, mid-late 18th century Portrait miniature of an officer quarter-length turned to the left, wearing dark blue uniform, red facings and silver epaulettes and buttons, oval, in a rectangular ebonized frame with glazed oval aperture and gilt sight edge, 5.8 x 4.5cm £150 - 200*
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35 Circle of George Engleheart, British 1752-1829 Portrait miniature of a gentleman, quarter-length turned to the right, with powdered hair, wearing a blue coat with red collar and lace cravat, against a blue sky background, oval, in a later pierced gilt foliate easel frame, 5.5 x 4cm £600 - 800* 36 William Bate, British 1759-1845
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Portrait miniature after a self-portrait by Sir Anthony Van Dyck, coloured enamel, oval, signed and dated 1832 on verso, 7.2 x 5.8cm (unframed) £400 - 600* 37 Circle of Jean-Baptiste Sambat, French 1760-1827 Portrait miniature of a gentleman, quarter-length turned to the right, wearing a dark blue coat, possibly velvet, white stock and gold cravat pin, oval, in a rectangular ebonised frame with glazed oval aperture and gilt sight edge, 6.5 x 5.5cm
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£400 - 600* 38 Jean-Baptiste Augustin, French 1759-1832 Portrait miniature of Napoleon Bonaparte (1769-1821), quarter-length turned to the right, wearing the green uniform of a Chasseur Colonel, oval, signed, 3.5 x 2.5cm: Jean Baptiste Isabey, French 1767-1855- Portrait miniature of Marie-Louise Duchess of Parma, (1791-1847), quarterlength turned to the left, wearing a white dress with gold coloured embroidery, a fringe necklace and tiara, oval, signed, 3.5 x 2.5cm., (2) £2,000 - 4,000*
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38 * 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 Charles Jagger, British 1770-1827 Portrait miniature of Lieutenant General Sir Manley Power KCB, (1773-1826), quarter-length turned to the right, wearing red tunic, gold aiguillettes, army gold cross with clasp Salamanca and Order of the Tower and Sword, Portugal, 1818, rectangular, in a rectangular green plush mounted green tooled morocco leather case with textured gilt mount, 9 x 7cm Note: promoted to Lieutenant General in 1813, Sir Manley Power is best remembered for leading a brigade of Portuguese troops under The Duke of Wellington in the Iberian Peninsular War. ÂŁ2,000 - 4,000*
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40 40 British School, late 18th/early 19th century
41 41 British School, late 18th/early 19th century
42 42 British School, late 18th/early 19th century
Portrait miniature of a young British officer of the 17th (Leicestershire) Regiment of Foot, quarter-length turned to the right, wearing red tunic, dark blue facings, white cravat, black stock, white shoulder belt, gilt shoulder belt plate bearing the number 17 beneath a crown, oval, in a glazed oval gilt frame glazed oval frame with blue enamel locket back enclosing plaited hair and seed pearl monogram, 6.5 x 5cm
Portrait miniature of an officer in regimental uniform, half-length turned to the right with powdered hair, wearing red uniform with dark blue facings, white shoulder belt with shoulder belt plate bearing Prince-of-Wales feathers, in a glazed oval chased gold frame, the locket back enclosing three locks of hair, 5 x 4cm
Portrait miniature of a young officer of the 68th Foot Durham Light Infantry, quarter length turned to the right wearing red uniform with green facings, silver shoulder belt plate, epaulettes and buttons, oval, the locket back enclosing locks of hair against an enamel ground within glazed gilt ridged oval frame, 6 x 4.9cm
£300 - 400*
£300 - 400*
43 43 Circle of Jeremiah Steele, British c.1780-c.1826
44 44 British School, early 19th century
45 45 British School, late18th/early 19th century
Portrait miniature of a young British officer, possibly militia, half-length turned to the right, wearing red uniform with yellow facings, white shoulder belt and silver shoulder belt plate and epaulettes, against a blue and cloudy sky background, in a glazed oval gilt frame with locket back enclosing plaited hair, 6 x 5cm
Portrait miniature of a British officer, possibly militia, halflength turned to the right, wearing red uniform, silver epaulettes and buttons and with black stock, oval, in a glazed oval gold frame with pink and white enamel border detail the dark blue enamel reverse, 6.5 x 5.5cm
Portrait miniature of a British officer, traditionally held to be Colonel John Clarke, (1765-1834), possibly of the 76th Regiment of Foot, quarter-length turned the right, wearing red uniform, silver epaulettes, white shoulder belt and shoulder belt plate, black stock and frilled cravat, oval, in a glazed gilt oval frame with glazed locket back, bears applied inscribed label, 6.5 x 5cm
£150 - 250*
£300 - 500*
£300 - 400*
£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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46 46 After Walter Robertson, Irish 1750-1801/02 Portrait miniature of George Washington before the Battle of Trenton, after John Trumbull, bears signature and dated indistinctly 1795, in an early 19th century gilded composition frame with gilt metal sight further mounted in a brown plush mounted glazed mahogany shadow box, 15 x 11.5cm Note: the original work by John Trumbull (1756-1843) dating from 1792, is held by the Yale University Art Gallery. Walter Robertson and his brother Charles were miniaturists from Dublin, Ireland. Walter moved with friend Gilbert Stuart to America in 1793, and inspired by American politics painted several miniature versions of George Washington during his brief period there. He left America in 1796 for India, where he later died. ÂŁ400 - 800*
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47 British/American Colonial School, late 18th/early 19th century Portrait miniature of a gentleman, half-length turned to the right in a black coat and stripped waistcoat, oval, in a red Moroccan leather mounted oval hinged case, 7 x 5.5cm £100 - 150*
50 French School, late 18th century Portrait miniature of Caroline, Queen of Denmark, (1751-1775), quarter-length turned to the left, oval, in a glazed ebonised oval moulding frame, 4 x 3.2cm together with two further portrait miniatures, various sizes, (3)
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£100 - 150* 48 British School, late 18th/early 19th century Portrait miniature of a British officer, quarter-length turning right wearing scarlet uniform with yellow facings, white shoulder belt, gilt shoulder belt plate and epaulettes, oval, in an ebonised rectangular frame with glazed oval aperture with gilt sight edge, 7 x 5.5cm Note: the reverse bears inscribed label reading Capt Benjamin Hughes, who married the daughter of Labertouche Esq of Dublin Inf Reg 32 JCA Barrett £100 - 200* 49 After François Pascal Simon Gérard, French 1770-1837 Portrait miniature of Michel Ney, Marshal of the Empire, Duke of Elchingen, Prince of the Moskva, (1769-1815), quarter-length turned to the right wearing brocaded blue uniform and badge, sash and breast star for the Legion of Honour, and badge and breast star for the Order of the Holy Spirit, oval, signed, in a rectangular wooden frame with applied gilded metal foliate corners with glazed oval aperture, 9 x 7cm £300 - 400*
51 British School, early 19th century Portrait miniature of a British officer. quarter-length turned to the right, wearing red uniform, with black facings, gilt buttons and gold epaulettes, in a glazed oval gilt frame, the glazed blue enamel reverse with central oval locket enclosing plaited hair, 6.5 x 5.5cm £200 - 300* 52 After Henry Pierce Bone, British 1779-1855
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Portrait miniature of William Shakespeare, (1564-1616), quarter-length turned to the left, wearing a black doublet and white shirt against a grey background, oval, in a Victorian glazed oval gilt brooch mount with scrollwork border, 5 x 4cm £600 - 800* 53 British School, early 19th century
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Portrait of a young Hussar officer, half-length turned to the right, wearing dark blue uniform with pelisse, white facings, scarlet collar, black stock and red sash against a stormy sky, oval, in a glazed oval gilt frame with locket back enclosing a lock of hair, 7 x 5.5cm £200 - 300* 53
* 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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54 British School, early 19th century Portrait miniature of a young naval officer, head and shoulders turned to the right, wearing blue uniform with white collar with gold braid piping and gold epaulettes, oval, in a later glazed openwork silver frame with gadrooned front edge surmounted by a ducal coronet and bottom centre tied ribbon, 4.2 x 3.5cm £400 - 500* 55 Circle of Andrew Robertson, British 1777-1845 54
Portrait miniature of a British officer, quarter-length turned to the right, wearing red uniform with white facings, lace cravat and black stock, silver epaulettes and buttons, oval, in an ebonised rectangular frame with glazed oval aperture, 9 x 7cm £300 - 400* 56 George Hayter, British 1792-1871 Portrait miniature of a lady, half-length turned to the right in a white dress and coral necklace, black veil, against a brown background, oval, in an oval red Morocco leather mounted hinged case, signed and dated 1811 on the reverse, 7.8 x 6cm
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£250 - 300* 57 After Paul Delaroche, French 1797-1856 Portrait miniature of Emperor Napoleon I in his study in 1807, half-length turned to the left, oval, in an ebonized rectangular frame with glazed oval aperture and gilt sight edge, bears inscribed labels attached to the reverse of the frame, 7 x 6cm £100 - 150* 58 British School, early 19th century
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Portrait miniature of a British officer of the 34th (Cumberland) Regiment of Foot, quarter-length turned to the right, wearing red uniform with yellow collar, white shoulder belt, silver shoulder belt plate bearing the number 34 within laurels, silver epaulettes and buttons, black stock and white cravat, oval, in a red morocco leather mounted case with glazing a rope twist sight edge, 6.5 x 5cm £300 - 400* 59 Circle of Louis Marie Autissier, French 1772-1830 Portrait miniature of a bearded gentleman, possibly Hungarian, halflength turned to the left, wearing blue uniform with gold brocade and sash, oval, in a glazed oval gold frame with cannetille work back edge, 5.8 x 4.8cm £800 - 1,200*
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60 R C Woolnough, British act 1801-1804 Portrait miniature of Colonel Mosley, quarter-length turned to the left, wearing the uniform of an Ensign of the Indian 64th Native Infantry, with gold facings, single gold epaulette, gorget and shoulder belt plate, black stock, oval, in a rectangular ebonized frame with glazed oval aperture with gilt sight edge, inscribed on the reverse of the frame, 8 x 6.5cm Note: The Singapore Free Press, 30th January 1845, reported that C O Mosley was dismissed from the army following charges against him in reference to the mutiny of the 64th Regiment. After 39 years of service, he was cashiered and was struck off the strength of the army. ÂŁ500 - 700* 60
61 German/Austrian School, early-mid 19th century Portrait miniature of an officer, possibly German, quarter-length turned to the left, in scarlet tunic and highly decorated uniform, wearing various orders including the breast star to the Prussian, Order Pour le Merite, badge to the Prussian Order of the Red Eagle and badge to the Austrian Order of Maria Theresa, in oval mount, signed indistinctly, dated 1818, held in a rectangular 19th century gilded composition Neoclassical style frame with glazed oval aperture, 13.5 x 10cm ÂŁ600 - 800*
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62 British School, early-mid 19th century
64 H M Harrison, British, early 19th century
Portrait miniature of a British officer, traditionally held to be General Sir John Wright Guise Bt., (1777-1865), quarter-length turned to the right, wearing scarlet tunic with yellow facings, gold epaulettes and lace cravat, wearing decorations, rectangular, in a glazed ebonised rectangular frame, 12 x 8cm
Portrait miniature of an officer, half-length turned to the left, wearing red uniform, gold epaulettes, continental decorations, red sash and black cloak, signed, rectangular, in a glazed gilt rectangular frame with engine-turned frieze, 9 x 7.5cm: together with a collection of non-associated 18th and 19th century documents including a note book named to Robert William Mills, Captain 86th Regiment, detailing a list of provisions and cost and log of his trip on the East Indiaman The Henry Addington to the Cape of Good Hope dated 1796.
ÂŁ800 - 1,200* 63 British School, early-mid 19th century A collection of five portrait miniatures in a shared glazed oval parcel gilt and ebonised composition frame, to include: Dr William Mavor, Captain Farmer, The Hon. William Wellesley Pole and two other unidentified sitters, 6 x 4.8cm max
Note: Robert Mills, according to the Army List, was commissioned into the 86th Regiment of Foot in 1795 and retired before 1815 ÂŁ500 - 800*
Provenance: Joshua H Hutchinson Esq., Lancaster Gate, according to the label attached to the reverse of the frame ÂŁ400 - 600*
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65 Circle of Alyn Williams, PRMS RBA ARCA, British 1865-1941 Portrait miniature of a senior British officer, quarter-length turned to the left, wearing red uniform with brocaded collar and bullion epaulettes, awards and decorations including the badge and breast star for the Order of the Bath and campaign medals, the Indian Mutiny and India General Service medal, rectangular, in an ebonised rectangular frame with glazed aperture, 9 x 7cm £400 - 600*
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66 Manner of John Hoskins, A portrait miniature of a lady, quarter-length in a mauve coloured dress turned to the left, oval, held in a rectangular ebonized frame with glazed oval aperture, 7.5 x 6cm £100 - 150* 67 M Guilllermin, French, late 19th century Portrait miniature of a lady, quarter-length turned to the left in a blue dress, oval, held in a carved and gilded Florentine frame with glazed oval aperture, 7.5 x 5.8cm £300 - 500*
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68 68 An Italian Carved, Gilded and Polychrome Painted Tabernacle Frame, 18th century, with egg-and-dart and lapped leaf cornice, the frieze with foliate repeat against a blue ground, the architrave with beaded course and lapped leaf, supported by twin fluted Corinthian pilasters, the antependium with armorial crest against a blue ground, 85 x 61cm ÂŁ2,000 - 3,000*
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69 A Bolognese Carved and Gilded Frame, 18th century, with cavetto sight, beaded course, the hollow with palmette leaf, paired scrolling volute in high relief over laurel leaf top torus, raked husk and schematic lapped flower head back edge, 44.5 x 63.5cm
70 An Oak Portfolio Stand, late 19th/early 20th century, with two adjustable supports, on ratchet system with brass lion’s paw feet and castors, 100cm high, 67cm wide £600 - 800*
£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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71 Circle of Cornelis de Vos, Flemish 1584-1651 Portrait of a young girl standing three-quarter length with lace collar and black dress oil on panel, 103 x 80cm Note: This portrait displays an elegantly dressed young woman, clutching a pair of gloves and resting her other hand on a chair, with a distant landscape visible through the window to the left. De Vos completed a number of portraits similar in layout to the present work, creating engaging compositions which became increasing fashionable during the 2nd half of his career. The elaborately decorated gloves suggest that this is a portrait to celebrate a marriage and was most likely to be one of a pair, the male sitter now lost. Wedding gloves and portraits were often kept together as symbols of the union and it is documented that during the first half of the century brides would wear their ring on the first finger or little finger, here the sitter is evidently wearing a ring on her little finger. Based on the costume of the sitter, it is believed the work was completed around 1635-40. De Vos has been praised particularly for conveying the likenesses of children and adolescents with genuine character. Facial expressions are emotive yet restrained and naturalistic, successful due to the artist’s delicate blending of flesh tones and confident lines of the figure. In 1619, De Vos became a senior member of the Antwerp artist’s guild. He is thought to have worked alongside Peter Paul Rubens and been a close friend of Anthony van Dyck, who painted his portrait, contributing significantly to the development of portraiture in the seventeenth century Flemish School. Direct similarities with this portrait can be drawn with a painting by de Vos titled 'Portrait of a Lady' held at the Metropolitan Museum of Art (no. 89.15.37) £15,000 - 20,000*
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72 Circle of Pierfrancesco Cittadini, Italian 1616-1681 Portrait of a lady, half-length turned to the left, wearing a red Italo-Hispanic dress, holding a rose oil on canvas, bears partial label to the reverse of the frame, 72 x 58cm Note: born in Milan, Cittadini initially became a pupil of Daniele Crespi before heading to Bologna in the 1630s to establish himself as an artist in the workshop of Guido Reni, later rivalling his former master for altarpiece commissions within the city. Known for his attention to detail in the portraits of female sitters, the present work characteristically displays the attention to the elaborate costume of the sitter and the rose she holds in her hand. Cittadini would go on to travel to Rome in the mid-1640s where he was exposed to the style of the French and Flemish artists based there; evidently this introduction influenced future paintings, with a number of his female portraits showing a unique amalgamation of the various qualities and styles found in the city of that period. Based on the dress and style of the present work it seems that this portrait would have been completed sometime around 1640-45. The delicate detail of the rose is indicative of Daniel Seghers’s flower pieces, a Rome based still life specialist who worked with Poussin and Domenichino. Cittadini’s career in Rome was successful and multifaceted. He abandoned classical stylistic tendencies for the meticulousness of Northern naturalism (still somewhat of a novelty in Italy), making a name for himself as a painter of still lives. The elaborate fine details of these works evidently went on to inform his portraits. The compositional format of this kind of half-length picture, along with the distinctively Lombard brand of naturalism, would prove hugely influential - perhaps most notably for Jacob Ferdinand Voet. The label attached to the reverse reads; 42 Rue Neuve Saint-Augustin. £6,000 - 8,000*
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73 Giacomo Nani, Italian 1698-1770 Dead birds in wooded river landscape, two, and flowers and ducks in wooded river landscapes oils on canvas, a suite of four, 51 x 76cm., ea., (4) ÂŁ3,000 - 5,000*
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74 Italian School, late 19th/early 20th century
76 Circle of Daniel Crespi, Italian 1598-1630
78 French School, late 18th/early 19th century
Still life with peaches, grapes, melon and three dead birds with a vista of a mountain landscape and still life of a melon, grapes, small pumpkins, peaches and a bird’s nest with a ruined arch and woodland
Head of a small child
Woman riding a rearing horse in a wooded landscape
oil on canvas, a pair, 40 x 50cm., ea., (2) £200 - 400* 75 Circle of Hendrick Cornelisz Vroom, Dutch 1562-1640
oil on canvas laid down on panel, 22.5 x 17.5cm
oil on canvas, 40.5 x 33cm
£300 - 400*
£100 - 200*
77 Carle Vernet, French 1758-1836 Two startled horses hand-coloured lithograph, signed within the plate, 27 x 35cm £100 - 150*
A Dutch triple master on choppy waters with a whale and a sea-monster oil on canvas, 48 x 65cm £700 - 900*
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79 Attributed to José Balaca y Carrion, Spanish 1810-1869 Portrait of a girl standing fulllength wearing a white, red and black dress and head piece, holding a mask, on a terrace with an ornamental urn and flowers oil on canvas, signed and dated 1858, 126.5 x 96cm £3,000 - 5,000*
79 80 Louis Robert Heyrault, French fl.1851-1880 Gentleman riding a bay horse oil on canvas, signed and dated 1850, 60 x 74cm £1,800 - 2,000* 81 Follower of Évariste Vital Luminais, French 1822-1896 Watering horses at a moorland pond oil on canvas, bears signature, 33.5 x 46cm £200 - 300*
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82 William Henry Wheelwright, British act.1857-1897 A lady riding side saddle before a Chateau oil on panel, signed and dated 1858, 49 x 61cm £600 - 800*
83 Spanish School, mid-19th century
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Wedding celebrations oils on canvas, a pair, 47 x 68cm ea., (2) £500 - 800* 84 Follower of Gabriel de Saint-Aubin, French 1724-1780 Musicians gathered round a harpsicord pen and brush and brown ink and wash on laid paper, bears inscription on the reverse, 19.5 x 18cm., (mounted, unframed) £300 - 500*
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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.
84
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87 After Albrecht Dürer, German 1471-1528 Christ in Limbo, from The Large Passion, c.18th century woodcut on wove, signed with monogram and dated 1510 within the plate, image 39.8 x 28.3cm (unframed) Provenance: with Mircea Deac, founder of the Romanian Collectors’ Society; where purchased by the present owner Note: Christ in Limbo is the 11th of eleven woodcuts from The Large Passion suite, originally published in 1511. 85 85 Giovanni Battista Franco, Italian 1498-1561 Landscape with horseman and his groom, after Tiziano Vecellio [Bartsch 8], circa 1560
£300 - 500* 88 After Albrecht Dürer, German 1471-1528
etching, plate 33.2 x 44cm (unframed)
Deus Vult homines Salvosfieri, Hoc est Reges, Priuatos, Pauperes, Divites, Foeminas, Maritos, Infantes, Pueros, Iuderos, Gentes
Note: to see a comparative example of this print see Fitzwilliam Museum, Cambridge, item no 179144
engraving on laid, with a partial Fleur de Lis watermark, dated within the plate, 20.5 x 13cm (unframed)
£400 - 600*
£150 - 200*
86 Albrecht Dürer, German 1471-1528
89 Cornelis Cort, Dutch 1533-1578
The Betrothal of the Virgin, [Hollstein VII 156.194], c.1504
The Adoration of the Shepherds, after Marco Pino, [Luke 2:15-20], 1568
woodcut on wove, sheet 20.8 x 29.5cm
copper engraving on laid paper, published by Antoine Lafrery, Rome, 41 x 25cm (unframed)
Provenance: with P & D Colnaghi & Co., London, according to the label attached to the reverse of the frame Note: see The Metropolitan Museum of Art, no.17.37.89 for similar example.
Note: New Hollstein (Dutch & Flemish) 28.III (Cornelis Cort); Bierens de Haan 1948 31.II £150 - 200*
£800 - 1,200*
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91 90 Giovanni Maggi, Italian 1566-1618
91 Johannes Sadeler the Elder, Flemish 1550-1600
92 Johannes Sadeler the Elder, Flemish 1550-1600
Paesaggio fluviale con ponte e rovine
Planetarum effectus et eorum in signis zodiaci/The Seven Planets, after Maarten de Vos, 1585
Augustae in Sueuis ortus Gvalfardvs, in vrbe Verona phaleris arte tegebat equos, after Maarten de Vos
hand-coloured copper engravings on laid paper, suite of five to include: Mars, Luna, Sol, Mercurius, and Venus, published in Antwerp, 23.5 x 25cm., ea., (5)
copper engraving, 16.6 x 20.5cm
engraving on laid, published by Justus Sadeler; Cherubs in outdoor setting, (verso), pen and black ink over traces of pencil, 21 x 30cm, (unframed) £200 - 300*
£100 - 150*
£400 - 600*
* 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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93 Attributed to Guglielmo Caccia, called Il Moncalvo, Italian 1568-1625 Flying Putti holding a veil, crown and swinging a censer pen and brown ink, with black chalk and touches of white heightening, on coloured laid paper, 24.4 x 30cm, (mounted/unframed) Provenance: Sotheby’s, New York, 14th January 1987, lot 48; Private Collection, New York. Notes: considered one of the most important and prolific Piedmontese artists of the first quarter of the 17th century, Gugielmo Caccia was probably trained in Casale Monferrato before moving to Vercelli. He was influenced by artists such as Gaudenzio Ferrari and Bernardino Lanino, which is evident in his decoration of one of the chapels of the Sacro Monte at Crea, completed around 1590. In 1593 he settled in the town of Moncalvo, from which he adopted his name. Between 1605 and 1608 he worked in Turin, collaborating with Federico Zuccaro and several other artists on the decoration of the vault of the Grande Galleria and also worked alongside Daniele Crespi in Milan later on in his career. Although similarly playful putti are found throughout the collection of paintings and frescoes of Moncalvo, the draughtsmanship of the present sheet is perhaps more refined and the faces of the putti more individualized than is usual for the artist. Nevertheless, comparable studies of putti may be found among the drawings by Moncalvo in the Biblioteca Reale in Turin, as well as in a drawing by the artist of putti with musical instruments on clouds, formerly in the collection of Ian Woodner and sold at auction in 1991 (Woodner Sale, Christie’s, London, 2 July 1991, lot 101). £2,000 - 3,000*
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94 After Girolamo Siciolante da Sermoneta, Italian 1521-1580 The Holy Virgin with Jesus and the Saints John and Elizabeth oil on copper panel, 13 x 10cm ÂŁ400 - 600*
94 95 Follower of Scipione Pulzone, called il Gaetano, Italian 1544-1598 Portrait of a young nobleman richly attired, half-length turned to the right oil on panel, 30.5 x 23cm ÂŁ600 - 800*
95 * 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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96 Lavinia Fontana, Italian 1552-1614
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Self-portrait of the artist as St. Catherine of Alexandria, 1595 oil on canvas stretched over panel, signed, inscribed and dated Lavi Font de Zappis Facie MDXCIIIII, 63 x 52.8cm Provenance: Van Ham Kunstauktionen, Koln, 18th November 2005, lot 165, where purchased by the present owners Note: St. Catherine is portrayed with her traditional attributes gazing up to the heavens in Fontana’s typically Mannerist style. The face and hands are softly illuminated, jewellery and clothes lavished with detail and colour is employed vibrantly, reminiscent of the work of Sofonisba Anguissola, another female northern Italian Renaissance painter. Many of St. Catherine’s features resemble another of Fontana’s depictions of the saint in a work entitled, ‘The Holy Family and St Catherine of Alexandria’ of 1581, held by the Los Angeles County Museum of Art; the spiked wheel and palm branch - signifying her martyrdom - are consistent with the present portrait. Fontana may have taken direction from Bolognese Cardinal Paleotti’s Counter-Reformation treatise ‘Discorso intorno alle immagini sacre e profane’ of 1592, a manual designed to promote a bolder, more simplistic and unmediated articulation of religious imagery, as promulgated by the Council of Trent. Mannerist traditions are reformed in favour of a more expressive composition that highlights hand gestures and intensifies emotion in the hope of moving the spirit. Trained by her father, Prospero Fontana (1512-1597), a former apprentice of Giorgio Vasari, Lavinia was already celebrated as one of the most significant portraitists in Bologna by the late 1570s, before becoming one of the first women to produce large-scale, publicly commissioned figure paintings. In 1577, Fontana married the minor painter Gian Paolo Zappi. Fontana often signed her work with her married name, as indicated here. Later, she was patronised by Pope Gregory XIII’s family. £6,000 - 8,000*
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97 Circle of Marcus Gheeraerts the Younger, Flemish c. 1561/62-1636 Portrait of a young nobleman, standing half-length turned to the right in a white ruff and green doublet holding a black hat oil on cradled panel, 16 x 12.5cm £1,500 - 2,500* 98 Follower of Sofonisba Anguissola, Italian c.1532-1625 Portrait of a gentleman quarterlength in an embroidered coat and white ruff oil on canvas, 55 x 49cm £800 - 1,200* 99 French School, early/mid 17th century Portrait of a gentleman, quarter-length, turned to the left, in a silver doublet with gold embroidery and ruff oil on canvas, inscribed indistinctly, dated 1616, 65.5 x 55cm
97
£2,000 - 3,000*
98 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.
99
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100 Sebastiaen Vrancx, Flemish 1573-1647
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Soldiers raiding a village oil on cradled panel, signed with monogram, 48.3 x 65.5cm Provenance: Lempertz, Koln, 19th November 2005, lot 1175, where purchased by the present owners Note: considered to be the pioneering artist of the battle scene in Northern European art, Vrancx’s crowded and detailed compositions display an advanced understanding of the illusion of perspective for this period. The present work typically showcases his style, with a dramatic view of soldiers on foot and horseback attacking villagers. Vrancx began his career as a painter of Mannerist biblical scenes in Italy, reminiscent of Paul Bril and Jan Brueghel the Elder, before returning to Flanders. It is thought more than half of his known paintings are of military scenes. Vrancx became an officer in the Antwerp Civic Guard in 1613 and was promoted to captain 1621, his first-hand military experience no doubt leading to his fascination in depicting the battles and skirmishes of the Dutch wars. He would also have clearly recalled the wartime devastation and horrors during his childhood in Antwerp. Vrancx played a pivotal role in transforming the large-scale battle scenes of the sixteenth century into more dynamic and intimate cavalry scenes and skirmishes. Tired traditions of chivalry and heroics are removed in favour of the harsh realities of the warfare; the disrupted lives of his countrymen during the Eighty Years War are recorded with a greater naturalism. This new format exercised became the popular standard type for the genre and was applied by contemporaries and followers for generations to come. Whether Vrancx led a large studio workshop is still up for debate. A frequently cited letter of 1634, written by Jan Brueghel the Younger to his business partner in Seville, reports that: ‘Vrancx has plenty to do but refuses to employ studio assistants, which means that work takes a long time. He does not allow copies to be put into circulation’. Sir Peter Paul Ruben’s collected a number of his paintings, which may have informed his own artistic development. The Uffizi hold two sheets of studies attributed to Rubens after Vrancx, a sure sign of the later artist’s admiration for the work of his forebear. Vrancx depicts the clothing of his figures with a marked degree of detail, an interest also demonstrated in his designs for a sequence of prints by Pieter de Jode, exhibiting the dresses of various countries (Variarum Gentium Ornatus). Vrancx wrote both tragedies and comedies for the Antwerp rhetoricians chamber (‘de Violeren’), his time there perhaps affecting the narrative structure of his painting and the way he chose to tell stories through his art. £6,000 - 8,000*
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101 101 After Hendrick Van Balen, Flemish 1575-1632 The Marriage of Alexander and Roxana oil on panel, 76.7 x 110.6 cm., (unframed) Provenance: Sotheby’s, London, September 12th, 2019, lot 150 Note: this colourful composition is a later copy after the original painting by Van Balen which was sold at Sotheby’s, London, 4th July 1990, lot 69 £1,500 - 2,000* 102 After Giovanni Francesco Barbieri, also called Il Guercino, Italian 1591-1666 Abraham Casting out Hager and Ishmael oil on panel, 26.5 x 35.5cm Note: bears applied label to the reverse of the panel reading; ‘Carlo Aloardi Pittore, abita in Milano a nella C. della Madalena’. The original work is held at the Pinacoteca di Brera, Milan, ref. no.322 £500 - 700*
102 * 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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103 Genoese School, 17th/18th century Esther before Ahasuerus oil on canvas, 116 x 161cm Provenance: Sotheby’s, London, 21st April 1993, lot 321 £2,000 - 3,000*
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104 Follower of Gerard Seghers, Flemish 1591-1651 Madonna and child oil on canvas, 53 x 44.5cm (unframed) £250 - 350* 105 Flemish School, 17th century Portrait of a gentleman, quarter-length turned to the left in a red embroidered waistcoat, black robes and black cap oil on canvas, bears monogram, bears inscribed label on the reverse of the frame reading Malahide, 66.5 x 52cm Provenance: Christie’s, Malahide Castle, Malahide, Co. Dublin, 10th May 1976, where purchased by the family of the present owners £2,000 - 3,000*
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106 Follower of Sir Anthony van Dyck, Flemish 1599-1641 Portrait of a lady, standing three quarter length turned to the left by a ledge holding two red roses oil on canvas, 124.5 x 96.5cm (unframed) Provenance: Hamilton & Osborne King, Dublin, lot 233, 20.4.93 ÂŁ2,000 - 3,000*
106 107 Circle of Mario Nuzzi called Mario de Fiori, Italian 1603-1693 Still life of flowers tied with a blue ribbon oil on canvas, 47.2 x 35.2cm ÂŁ1,000 - 1,500*
107 * 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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108 Bolognese School, late 16th century The Virgin and child, with Archangel Michael defeating the Devil and a Soldier Saint holding a falcon pen and brown ink, with touches of red chalk and white heightening, on blue/grey laid paper, 16.9 x 21.6cm (mounted/unframed) £300 - 400*
108
109 109 Workshop of Giovanni Francesco Barbieri, called Il Guercino, Italian 1591-1666 Study of a woman half-length with arm outstretched red chalk on laid paper, 18.2 x 21cm Note: Previously unidentified, the present drawing is considered to have been completed sometime in the 2nd half of the 17th century by an artist from the workshop of Guercino. The delicate lines and attention to detail of the female figure’s face is typical of Guercino’s style, with the arms and hands handled in a more expressive manner. Guercino was an Italian Baroque artist active in Rome and Bologna during the 17th century. Known for his rapid execution of commissions and skilled draftsmanship, Guercino became the leading artist in Bologna after the death of Guido Reni in 1642, he produced imaginative allegorical and religious compositions, but towards the end of his life became increasingly dependent on his large workshop, which was taken over by his nephew, Cesare Gennari, and pupil, Benedetto Gennari II upon his death. We are grateful to Prof. David M. Stone for his assistance in the cataloguing of this lot. £1,000 - 2,000* 44
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110 Lucas Vorsterman, Flemish 1595-1675
111 Manner of Adriaen Brouwer, 18th century
Hubertus Vanden Eynden, after Anthony Van Dyke [Holstein 154]
Musician and two other figures
copper engraving on laid, plate 22.5 x 15cm: together with five further late 16th/early 17th century copper engravings after Anthony Van Dyke, by various artists, depicting portraits of- Ionnes Bapitsta Barbe, Wenceslaus Coeberger, Franciscus Snyders, Dominus Ionnes Vanden Wovwer, Albertus Princeps com Aremberg, plate 23.5 x 18cm (max), (6) (unframed) £400 - 600*
oil on octagonal panel, 20.5 x 20.5cm £300 - 400* 112 Italian School, 17th century Portrait of a female Saint standing half-length in blue robes oil on canvas, 109.5 x 94.5cm (unframed) £200 - 300*
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113 113 Follower of Bartolomeo Manfredi, Italian 1582-1622 Head of a saint, possibly St Jerome oil on canvas, 50.5 x 41cm £800 - 1,200* 114 Follower of Pier Francesco Mola, Italian 1612-1666 St Peter in Penitence oil on paper laid down on board, 24 x 18cm, (unframed) £200 - 300*
114
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115 115 After Philips Wouwerman, Flemish 1619-1668 Battle scene between Orientals and Europeans oil on canvas, 53.5 x 63cm Provenance: Norwood Hall, Sheffield; thence by descent Note: the original painting is held by Gemäldegalerie Alte Meister, Museumslandschaft Hessen Kassel, Germany, no. GK 361 This work after Wouwerman is typical of the artist’s later period from around 1665, which shows a preference for dynamic figure groupings and silvery grey tones. Famous for his skilful depiction of equestrian subjects, cabinet pictures of this size were especially prized in France and Germany during the eighteenth century, so it is likely the present work may have been completed to supply this demand. In this captivating battle scene, many striking and violent poses are adopted, yet the composition still maintains an overall decorative balance. Wouwerman was born in Haarlem, the son of the painter Paulus Wouwerman. The landscapes of Jan Wijnants and Pieter van Laer, who returned to Haarlem from Rome in 1638, where key influences in his later career. Despite the Italianate style of much of Wouwerman’s work, it is unlikely that he ever visited Italy. When Van Laer died, we know Wouwerman acquired some of his sketches and studies. Wouwerman joined the Haarlem painters’ guild in 1640, however his work is only dated from 1646 onwards. His oeuvre was prolific, encompassing over one thousand paintings. He was widely admired, both during his life time and long after his death. £3,000 - 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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116 Follower of Philips Wouwerman, Dutch 1619-1668 Convoi d’artilierie en marche oil on canvas, bears labels and inscription to the reverse of the frame, 32.5 x 40.5cm £500 - 700*
116 117 Follower of Barent Gael, Dutch c.1630/35-1698 Horsemen and dogs chasing a stag oil on canvas, 54 x 77cm (unframed) £700 - 1,000*
117 118 Follower of Jacques Courtois, called il Borgognone, French 1621-1676 Military skirmish, with three cavalrymen engaged in combat oil on canvas, 36.5 x 46cm £800 - 1,200*
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119 Jean Daret, Flemish 1614-1668 The Birth of the Virgin, 1639 oil on canvas, signed and dated, 74.7 x 68.8cm Provenance: Hôtel Drouot, Paris, 10 June 2005, lot 8; Bonhams, London, 24th October 2012, lot 106 Note: Known for his versatility in subject matter, Jean Daret was a highly sought after artist for his religious depictions. Apprenticed under Anton Van Opstal in Brussels from 1625 he would go on to travel to Italy and France decorating multiple churches and convents throughout his life, as well as private chapels and homes of the nobility. £2,000 - 3,000* 120 Italian School, late 18th/early 19th century
119
The Madonna and Child with St Francis and St Chiara oil on canvas, 99.5 x 77cm., (unframed) £200 - 300* 121 Circle of Giulio Carpioni, Italian 1611-1578 Abraham, Isaac and the Angel oil on canvas, bears inscription to the reverse of the stretcher, 69 x 77cm Provenance: Sotheby’s, London, 21st April 1993, lot 71 £1,500 - 2,500* 122 Circle of Johann Carl Loth, German 1632-1698
121
The Good Samaritan oil on canvas, 117 x 168cm (unframed) £500 - 800*
122 * 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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124
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123 Antonio Francesco Peruzzini, called Il Perugino, Italian 1646-1724 A wooded river landscape with fishermen oil on canvas, 92 x 117cm Provenance: Sotheby’s, London, 19th September 2019, lot 167; Sotheby’s, London, 9th July 1998, lot 170 £2,000 - 3,000* 124 Jan Baptist van Meunincxhove, Flemish c.1620/25-1703/04 The Good Samaritan, 1673 oil on canvas, signed and dated, 137 x 153cm Provenance: gifted by Sir Archibald Campbell 2nd Bt of Succoth to his sister Ann, wife of Francis Sitwell of Barrmoor about AD 1800, according to the inscribed label attached to the stretcher Note: known for his ability to work across a wide range of genres, the present work shows the artist’s versatility in painting landscapes and architecture. Most remarked upon are his Flemish cityscapes and large scale group portraits.
127
126 Manner of David Teniers the Younger, late 18th/early 19th century
128 Manner of Gaspard Dughet, late 18th/early 19th century
Figures smoking in a Tavern
Figure with a donkey and dog in an Arcadian landscape
oils on panel, a pair, 20 x 15.5cm ea., (2)
gouache on paper, oval, 16.5 x 19cm
£400 - 600*
£200 - 300*
127 Manner of David Teniers the Younger, early-mid 19th century
129 Attributed to Egbert van Heemskerck, Dutch 1634-1704
The village doctor
A crowd of merry-makers outside a tavern
oil on panel, 30 x 25cm (unframed)
oil on panel, bears label verso, 36.5 x 45cm
Studies of lady seated halflength turned to the right with her daughter, and portrait of a man seated half-length turned to the left
£300 - 400*
£400 - 600*
£2,000 - 3,000* 125 Manner of David Teniers the Younger, late 17th/early 18th century
red chalk on laid, two, 10.5 x 9.5cm and 11 x 10cm., (2) £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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130 130 After Martin Mytens the Younger, Dutch 1695-1770 Self-portrait, seated half-length, with a grey coat and turban oil on canvas, 72 x 58.5cm (unframed) Provenance: with Giovanni Conti, Firenze, according to the label attached to the reverse of the stretcher; Christie’s, South Kensington, 27th October 1988, lot 137. Note: The original version of this painting is in the Uffizi, Florence (Gli Uffizi. Catalogo Generale, Florence, 1979, p. 1029, no. A979), located in the famous Vasari Corridor. Mytens was first taught to paint by his father Martin Mytens the Elder (1648-1736) in Stockholm, before continuing his training in Holland, England and France. In Paris, He learned enamel painting with the renowned miniaturist, Charles Boit (1662-1727), producing celebrated images of Louis XV and Peter the Great. His interest in miniatures is reflected in this self-portrait, one shown, partly cropped to the lower right of the picture in a wooden display case. We find this theme repeated in another self-portrait painted in the 1740s, now in the Museum of Fine Arts, Budapest. The folds of the golden tasselled turban are lavished with fine detail and serve strikingly to frame his face. His left hand forms a beckoning gesture, typically adopted by artists of the period, encouraging us to admire his handiwork and look on up into his frontal gaze. In 1721, Mytens travelled to Venice to acquaint himself with Venetian Masters, having shifted his attention to larger oil canvases. He was inducted as a painter to the Court upon his return to Vienna in 1726 and became director of its art academy in 1759. £2,000 - 3,000*
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131 John Senex, British 1678-1740 A Map of Greece, 1720 hand-coloured engraved map on laid paper, plate 49 x 57.5cm: William Fadden, British 1750-1836- Greece, Archipelago and part of Andoli; hand-coloured engraved map, published January 1st 1791, plate 55 x 78cm: Thomas Bowen, British d.1790- A New and Accurate Map of Africa; hand-coloured engraved map, plate 34.5 x 42cm., (3) £300 - 400* 132 Jacques Rigaud, French c.1681-1754 Autre Vue D’Anet du Cote de la Cour des Cuisines copper engraving on laid paper, plate 23 x 47cm: together with two further copper engravings on laid paper by the same artist, depicting- Veue du Grand Canal de Chantilli prise a sa source & A Son Altesse Serenissime Monseigneur Le Duc, printed Rue St. Jacques, circa 1739, watermarks on all Croix de Malte et collier, plate 24.4 x 45.5cm (max) (3) (unframed) £250 - 350* 133 Follower of Rembrandt van Rijn, Dutch 1606-1669 Head of a bearded man etching, bears collection stamp verso, 7.6 x 6cm (unframed) £100 - 150* 134 Circle of Edmé Bouchardon, French 1698-1762 A male nude holding a jug red chalk on laid paper, 56 x 32cm
134
Provenance: Phillips, London, 17th April 1996, lot 57 £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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135 Follower of Nicolas de Largillière, French 1656-1746 Portrait of a gentleman, half-length turned to the left in an embroidered waistcoat and red cape oil on canvas, oval, 74 x 60cm £1,500 - 2,500* 136 Circle of Jonathan Richardson, British 1665-1745 Portrait of a lady half-length in a yellow and pink dress and blue shall oil on canvas, feigned oval, 76 x 64cm £600 - 800* 137 French School, late 17th century 135
Portrait of a lady, traditionally held to be Marie de Vial, daughter of Henry de Vial, quarter-length turned to the right in a black dress, and white bonnet, c.1686 oil on canvas, bears inscribed label attached to the reverse, 64 x 53.5cm., (unframed) £200 - 300* 138 Flemish School, late 16th/early 17th century Travellers on a country road oil on panel, 23 x 23.5cm £200 - 300*
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139 Maximilian Blommaert, Flemish act.1696 An elegant company playing cards oil on panel, signed with initials, bears inscription to the reverse of the stretcher, 56.5 x 49cm Provenance: Dobiaschofsky Auktionen, Bern, 12th November 2004, lot 353; Sotheby’s, Olympia, 5th July 2005, lot 505 £2,000 - 3,000* 140 After Giovanni Antonio Canaletto, called Canaletto, Italian 1697-1768 Old Walton Bridge oil on canvas, 76 x 120cm £300 - 500*
139
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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143 Italian School, 17th/18th century St Theresa oil on copper panel, 18 x 14cm: Italian School, 17th/18th century, The Madonna and Child Enthroned; oil on copper, 17 x 13.5cm: Italian School, 17th/18th century, The Madonna and Child with St Chiara holding an ostensorium; oil on copper, 15 x 12cm., (3) (unframed) £400 - 600* 144 Italian School, 18th century The Ascension of Mary oil on canvas, 135.5 x 97cm., (unframed) £300 - 400*
141
145 Italian School, 18th century
141 Italian School, mid 18th century
Two Martyrs holding the Crown of Thorns, surmounted by The Holy Spirit and cherubs
Madonna with the Christ Child Reading
£200 - 400*
oil on canvas, 93 x 113.5cm., (unframed)
oil on copper, 22.3 x 16.7cm £300 - 500* 142 Italian School, 17th/18th century St Bartholomew oil on canvas, 136.5 x 97.5cm (unframed) £200 - 300*
146 Italian School, 18th century Portrait of a Dominican friar seated three-quarter length turned to the left holding a book oil on canvas, 108.5 x 87.5cm: Italian Provincial School, late 18th century, Portrait of a Saint, quarter-length turned to the left holding a sword, 70.2 x 53.5cm., (2) (unframed) £200 - 300*
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147 Italian School, 18th century The Veil of Veronica oil on panel, 27 x 20cm., (unframed) £300 - 400* 148 Italian School, mid-18th century Portrait of a cleric seated halflength turned to the left, with armorial crest oil on canvas, 98 x 92.5cm: Franco/Italian School, late 18th century, Portrait of a learned gentleman, half-length holding a book; oil on canvas, inscribed M Mallard on the stretcher, 90.5 x 70.5cm: Italian School, early 19th century, Portrait of a cleric, halflength holding a bible; oil on canvas, 82 x 64.5cm., (3) (unframed)
147
150
£300 - 400* 149 Italian School, 18th century The Assumption of the Virgin and Child with a canopy held aloft by cherubin oil on canvas, 99.5 x 73.5cm., (unframed) £300 - 500* 150 Italian School, late 18th/early 19th century Saint Rita of Cascia oil on canvas, 23.5 x 17.5cm, (unframed) £150 - 200* 151 Italian School, late 18th/early 19th century Portrait of a young woman, quarterlength in a black dress and green scarf turned to the left, feigned oval 26 x 22cm (unframed) £100 - 150*
149 152 Italian School, late 18th/early 19th century Scene from the Flagellation of Christ oil on canvas, 118 x 89cm (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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153 153 Dutch School, early 17th century Portrait of a man standing three-quarter length in a black coat and white collar oil on copper, bears inscription verso, dated 1634, 17 x 13cm Note: the inscription to the reverse reads; ‘ Anthony de Vbael/ Van Moorsbooke/ 1634’ £500 - 700*
154 154 After Allan Ramsay, Scottish 1713-1784 Portrait of Prince Charles Edward Stuart, threequarter-length, in a red coat and blue sash and star of the order of the garter oil on board, oval, 19.5 x 14.5cm Note: The original work by Ramsay was completed in 1745 and is currently held in the Scottish National Portrait Gallery, no. PG 3762. Numerous copies of this painting along with copies of Antonio David’s portraits (official painter to the exiled Jacobite court in Rome) were circulated to the family’s supporters around Europe as a propaganda tool for instilling support for the Jacobite cause. The present work also comes with letters from the Historical Manuscripts Commission confirming the identity of the sitter. £300 - 400* 155 Circle of Arthur Devis, British 1712-1787 Portrait of a gentleman, standing half length, turned to the left, wearing a red brocaded coat and a tricorn hat oil on panel, feigned oval, bears labels verso, 17.5 x 14.5cm Provenance: Commander and Mrs R.D. Pankhurst; Sotheby’s, London, 18th September 1997, lot 14 £1,000 - 1,500*
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156 156 David Morier, Swiss/British 1705-1770 An equestrian portrait of an officer of the first troop of horse Grenadier Guards on a bay charger with a trooper to the right oil on canvas, 127 x 101.5cm Provenance: James Rowntree; Sotheby’s, London, 15th July 1987, lot 56; Sotheby’s, London, 14th November 1990, lot 72; Sotheby’s, London, 2nd May 2018, lot 178 Note: Morier was greatly influenced by the equestrian portraits of the Dutchman Jan Wyck, who much like Morier, forged a career in England as a painter of sporting and military scenes. The studious handling of the military uniforms and equipment is typical of Morier’s work. He was regarded predominantly as a soldier’s painter and exhibited four portraits at the Society of Artists in London. His most significant patron was William Augustus, Duke of Cumberland, from whom he received an annual two-hundred pound allowance. Cumberland commanded the victorious government armies at Culloden, defeating the Jacobite cause. It seems Morier lived quite desperately following the duke’s death in 1765, allegedly locked up in debtors prison a few years later. His burial at St James’ in Clerkenwell in 1770 was paid for by the Society of Artists. £6,000 - 8,000* * 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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157 British School, mid-late18th century Portrait of a gentleman, standing half-length turned to the left in a red waistcoat and jacket watercolour, oval, 28 x 22cm £150 - 200* 158 Pieter Barbiers the Elder, Dutch 1717-1780 Study of a Man Pushing Out a Boat pencil on paper, bears P. Barbiers l’aine(?) on the backing sheet, 11.5 x 14.7cm Provenance: Johan Quirijn van Regteren Altena, Amsterdam (his posthumous sale stamp [Lugt 4617] stamped on the verso): by descent to his wife, Augusta Louisa Wilhelmina van Regteren Altena, née van Royen, Amsterdam, until 2006: thence by family descent until 2014 Note: Barbiers was largely a selftaught artist, and began his artistic career decorating ladies’s fans and designing wallpaper. He eventually made a specialty of large decorative paintings, tapestry designs, and drawings for stage decorations; the latter found him working for theatres in Amsterdam, The Hague, Leiden and Rotterdam.
158 159 James Lambert, British 1725-1779/88
160 Giovanni Battista Piranesi, Italian 1720-1778
Tonbridge Castle
The Gothic Arch, plate 14 from Carceri d’Invenzioni,, (Imaginary Prisons), [Wilton-Levy 39], 1761
ink and watercolour on paper, inscribed on the mount, 13.5 x 21.5cm
etching and engraving, on heavy ivory laid paper, plate 41.4 x 54.5cm (unframed)
Note: An engraving by Harry Ashby (1744-1818) of the same subject is attached to the reverse of the frame.
£800 - 1,200*
£300 - 400*
£150 - 250*
160
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162 161 Giovanni Battista Piranesi, Italian 1720-1778
162 Manner of Giovanni Battista Zelotti, mid 18th century
Pianta del Sepolcro de’ Scipioni, & Pianta di un Sepolcro situato sull’ antica Via Appia vicino alla Vigna Buonamici, [Wilton-Ely 384 & 393], c.1756
Biblical scenes
etchings on laid paper, two, from the first Paris Edition (1800-07), plate 35 x 23.5cm, sheet 56.2 x 40.4cm (max) (2) (unframed) £150 - 200*
gouaches on paper, six, 23cm x 13cm ea. (6) £1,500 - 2,000* 163 Manner of Salvator Rosa, mid to late 18th century Hermit on a mountain landscape during a storm oil on canvas, signed with initials ‘DB’, 78.5 x 56.5cm £500 - 700*
* 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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164 After George Romney, British 1734-1802 Portrait of John Smith oil on canvas, 127.5 x 101.5cm 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: the original work by George Romney is held by the Barber Institute, item no 52.4, painted for one of Smith's three sons. This example is by a contemporary copyist painted for one of John Smith's other two sons. We are grateful to Alex Kidson for his assistance in cataloguing this lot. £2,000 - 3,000*
164 165 John Giles Eccardt, German/British 1720-1779 Portrait of a lady in a blue dress, three quarter length, holding a rose oil on canvas, 127 x 101.5cm Provenance: Christie’s, New York, 20 June 2007, lot 85; Christie’s, New York, 13 December 2007, lot 84; Dreweatts, Newbury, 5 December 2018, lot 17 Note: born in Germany, Eccardt is thought to have moved to Britain at an early age. In London he is recorded as having worked as the assistant to J. B. Van Loo but in 1742 - after Van Loo left Britian - Eccardt and another assistant called Root set up business as portrait artists, with Eccardt painting faces of sitters and Root specialising in the drapery and backgrounds. His work became much sought after for his close association in style of Van Loo. £800 - 1,200*
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166 After Thomas Lawrence PRA FRS, British 1768-1830 Portrait of Mrs Sarah Siddons, nee Sarah Kemble as ‘Mrs Haller’ in Kotzebue’s ‘The Stranger’ charcoal on buff paper, oval, 62 x 46cm (mounted/unframed) Note: the original portrait can be found in the Tate, London, (N00785) £100 - 150* 167 Follower of Robert Edge Pine, British/American 1730-1788 Portrait of a gentleman, traditionally held to be William Smith (1728-1793), seated half-length holding a quill, eventually the loyalist Chief Justice of the Province of New York from 1780 to 1782 and Chief Justice of the Province of Quebec oil on canvas, 88.8 x 68cm Provenance: the estate of the sitter, thence by descent; The Estate of the late Patrick Twist, Warwickshire 167
£1,500 - 2,000* 168 Circle of Sir William Beechey RA, British 1753-1839 Portrait of Lady Bathurst, seated half-length turned to the left, her hands resting on a book oil on canvas, 76 x 64cm Provenance: Skinners, Boston, 16 November 2007, lot 7 £600 - 800* 169 William Woollett, British 1735-1785 Shooting, plates I-IV, after George Stubbs ARA hand-coloured engravings with etching on laid paper, four, published by Thomas Bradford, 152 Fleet Street, London, August 1st 1769, ea. 43.5 x 53.5cm: together with a British mid-19th century hand-coloured aquatint of a coaching scene by a different artist, 29 x 47cm, (5) £200 - 300* 168 * 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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171 Thomas Rowlandson, British 1756-1827 Un Gourmand hand-coloured etching, published Jan 10th 1820 by S W Fores 41 Piccadilly and The Bull and the Bantam, published June 1814 by W Holland 11 Cockspur St., 26 x 38cm: Thomas Rowlandson, British 1756-1827- The Fox and the Grapes; handcoloured etching, published Sept 15th 1808 by R Ackermann 101 Strand, sheet, 27.7 x 42.8cm: George Moutard Woodward, British 1760-1809- A Knock down blow in the Ocean Bonaparte taking French Leave; hand-coloured etching on laid, sheet 27.7 x 42.5cm: together with three further handcoloured etchings of caricatures to include The Oath of Allegiance to the Infant King of Rome, published January 12th 1813 by Thos Clegg 111 Cheapside London, Napoleon the Little in a Race with his Great French Eagle, published Sept 20 1808 by R Ackermann N 101 Strand, various sizes, 43.7 x 30cm (max), (6) (unframed) £200 - 400* 172 James Gillray, British 1756-1815
170 170 Richard Earlom, British 1743-1822
The Keenest Sportsman in Broomswell camp, 1803
A Fruit Piece. In the Cabinet at Houghton, after Jan Van Huysum mezzotint, published September 1st 1781 by John Boydell in Cheapside London, visible sheet 54 x 39cm
hand-coloured etching, dedicated to Mrs. Tuder of Tenby, sheet 27.5 x 38cm, (unframed) Note: National Portrait Gallery collection ref: NPG D12796 £300 - 400*
£300 - 500*
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173 173 Thomas Rowlandson, British 1756-1827
176 Thomas J Horsley, British, early-mid 19th century
On her death bed
Portrait of a gentleman quarter-length in red tunic, turned to the left
pen and brown ink and watercolour, signed, 14 x 23cm Provenance: With Chris Beetles Gallery, London, according to the label accompanying the work
watercolour, signed and dated 1841, 15 x 12.5cm £100 - 200*
£600 - 800* 174 Attributed to William Daniell RA, British 1769-1837 Mughal temple and gardens pencil on laid paper, 20 x 29cm £400 - 600* 175 Edward Dayes, British 1763-1804 Portrait of a lady standing full-length in a parkland setting by a statue holding a drawing, 1790 pen and grey/black ink and watercolour heightened with white, signed and dated, 28.3 x 18.3cm £500 - 700*
175 * 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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178
177 Northern European school, early/mid 19th century
178 William Payne, British 1760-1830
Portrait of a lady, quarter length turned to the right in a black dress and white ruffle
Ivy Bridge
oil on canvas, 71.5x55.3cm ÂŁ400 - 600*
oil on canvas, signed and titled on the reverse of the canvas, 46.5 x 65cm Note: There is a watercolour by William Payne of the same view, in a private collection ÂŁ600 - 800*
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179 George Arnald ARA, British 1763-1841 Woodland path with horse-drawn cart and cottage beyond, 1798 oil on canvas, signed and dated, 35 x 30.4cm Provenance: Christie’s, London, Fine English Pictures, June 22 1973, lot 120 Notes: Grindley and Palmer art dealer and picture restorer label attached verso £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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180 Charles Towne, British 1763-1840 Lions in a lakeside landscape oil on panel, signed, 15.5 x 23.5cm £600 - 800*
180
181 181 Circle of George William Sartorius, British 1759-1828 Still life of peaches on a tray oil on canvas, 31.5 x 43cm., (unframed) Note: for comparable work see Sotheby’s, London, November 1st 2015, lot 79 £400 - 600*
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The following lots 182-219 are from the Ross Collection, Knockmore, Enniskerry, Co. Wicklow.
182 182 Francis Wheatley RA, British 1747-1801 Figures in a cart in a wooded landscape oil on canvas, 76.5 x 83.5cm Provenance: Anonymous sale; Christie’s, London, 15 July 1983, lot 36; Christie’s, London, 21st November, 2019 Note: Between 1762 and 1765 Wheatley was awarded an array of prizes for his drawings by the Society of Artists, gaining a place at the newly founded Royal Academy Schools in 1769. Following trips to the Low Countries and Ireland throughout the 1760s, he settled in London as a Fellow of the Society of Artists and was appointed as the director in 1774, going onto exhibit at the Royal Academy in 1778. Despite this success, Wheatley was forced to flee to Dublin in 1779 to escape creditors, and eloped with the wife of a fellow artist, John Alexander Gresse. Once in Ireland he established himself as a popular portrait-painter, decorating the interior of the Irish House of Commons, however once his personal circumstances were revealed he returned to England. Over the next 10 years he became renowned for his landscapes and rustic subject matter and was elected an associate of the Royal Academy in 1790, and an academician in the following year. Overall, he exhibited forty-five pictures at the Society of Artists and eighty-seven at the Royal Academy. £3,000 - 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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184 183 Follower of Jan Wijnants, Dutch 1632-1684
186 Nathaniel Grogan, Irish 1740-1807
Figure on a wooden bridge with woodland and a river landscape beyond
Figures in a cart crossing a bridge brush and grey black ink and watercolour over pencil on paper, signed, 22 x 32cm
oil on panel, 35 x 32.5cm Provenance: with The Ravensbourne Galleries, Beckenham; The Dawson Gallery, Dublin, according to the labels attached to the reverse
£300 - 500* 187 Francis Wheatley RA, British 1747-1801 183
£400 - 600* 184 Manner of Francesco Guardi, early 19th century
185 Manner of Claude de Lorrain, 18th century
Capriccios of Venice
Shepherd with sheep on a path with woodland and distant mountains
oils on canvas, a pair, 14 x 26cm., ea., (2) Provenance: James Adam & Sons, 24 June 1970, lot 234
pen and black ink and wash over red crayon on laid paper, 18 x 21cm
£1,000 - 1,500*
£100 - 150*
A Gypsy Encampment/Gypsies Cooking their Kettle pen and grey black ink and wash with touches of watercolour over pencil on paper, 13.5 x 22cm Provenance: with The Fine Art Society, London, 1960; Anonymous sale, Sotheby’s, London, 30th March 1983, lot 118 Note: this work is a preliminary study for the engraving Gypsies Cooking with their Kettle, 1785. £1,000 - 1,500*
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188 188 Francis Wheatley RA, British 1747-1801
189 191 After Hugh Douglas Hamilton, Irish 1740-1808
A Rustic Couple
Portrait of The Rt. Hon. Hussey Burgh, MP for Dublin University
pen and grey black ink and wash with touches of watercolour over pencil on paper, 16.5 x 13.5cm Provenance: with Simon Carter, Woodbridge; with J S Maas & Co. Ltd., London £400 - 600*
black and coloured chalk on laid paper, oval, 25 x 20cm £250 - 350* 192 British School, late 18th century
189 Attributed to Thomas Rowlandson, British 1756-1827
A young girl with a collie dog and a basket in a glade with a landscape beyond
A Chop House
pastel on paper, 79 x 95cm
pen and red brown ink and wash over pencil on buff coloured paper, 11 x 15.5cm
Provenance: with David Geider Gallery, London, c.1975
191
£1,000 - 1,500*
Provenance: with The Ruskin Gallery Ltd., Stratford-on-Avon, according to the label attached to the reverse of the frame Note: see item 84 pgs 59 & 80 Rowlandson Drawings from the Paul Mellon Collection, John Riley, for a related work £250 - 350* 190 Sir George Bulteel Fisher, British 1764-1834 A River Landscape, Killarney pen and grey black ink and wash on paper, 28.5 x 33cm £300 - 400*
192 * 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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193 193 George Morland, British 1763-1804 Figures outside their cottage in a wooded landscape oil on canvas, signed and dated 1789, bears labels to the reverse, 51.5 x 66.5cm Provenance: Charles Higgens; Christie’s, London, 15th June 1891, lot 35; Mrs L.M. Mirrey, Anonymous sale; Christie’s, London, 22nd March 1974, lot 165; Christie’s, London, 14th November, 2019, lot 35 Note: Both Morland’s father and grandfather were distinguished artists, encouraging his artistic talent from childhood, eventually leading him to exhibit at the Royal Academy by the age of fifteen and by 1784, Morland had already produced many successful works, frequently imitated and copied. He married the sister of the engraver William Ward in 1876, with Ward marrying Morland’s sister shortly afterwards, cementing a lifelong artistic partnership. Multiple prints were made of Morland’s works, which were widely circulated, helping to increase his reputation. From 1788 to 1789, fifty-nine engravings after Morland were produced. Morland routinely depicted an English ideal of childhood. Despite his commercial success and ability to carry out his painting with relative ease and speed, money troubles forced him out of London into the country. However, this stay in a country cottage in Leicestershire is thought to have improved his appreciation of nature and ability as a landscapist. £3,000 - 5,000*
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194 194 Thomas Walmsley, British 1763-1806 A herdsman and cattle in a winter landscape and a shepherd with a flock of sheep in a summer landscape bodycolour on paper laid down on panel, a pair, 26.8 x 37.4cm., ea., (2) Provenance: Anonymous sale; Sotheby’s, London, 21st May 1999, lot 258a. £400 - 600* 195 Thomas Walmsley, British 1763-1806
195
Cottage and figures in a forest clearing bodycolour on paper, 21 x 31.5cm Provenance: Mrs Bridget Burgess, Great Horkesley, Colchester, June 1981 £300 - 400* 196 Robert Havell Snr., British 1769-1832 His Majesty’s Entry into Dublin and His Majesty’s embarkation at Kingstown, 3rd Sept. 1823, after J L R King hand-coloured etchings with aquatint, a pair, both published March 1823 by Hurst Robinson & Co Cheapside Colngaghi & Co Cockspur Street & in Dublin by R Milliken , Grafton Street and Allen & Sons Dame Street , 41.5 x 58.5cm., ea., (2) £400 - 600*
196
* 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
202
197 George Barret Jnr. OWS, British 1767-1842
200 William H Barnard, British 1774-1849
An angler on a river bank
The Arch of Titus, Rome
pencil on paper, 11.5 x 19cm
pen and grey ink and wash over pencil on laid paper, bears inscription on the mount, 24 x 32.5cm., (mounted, unframed)
Provenance with Abbott and Holder Ltd., London £100 - 150* 198 George Chinnery, British 1774-1852 Figure studies pencil on paper, two, in shared mount and frame, 9 x 8.5cm and 8 x 10cm £400 - 600* 199 Benjamin Barker of Bath, British 1776-1838 Traveller on the road to Pont Aberglaslyn, vale of Ffestiniog watercolour, signed and dated 1804, bears collector’s stamp, 21 x 33cm Provenance: Earl of Warwick (L.2600); Anonymous sale; Sotheby’s, London, 16 April 1981, lot 189; with Galerie George, London, according to the label attached to the reverse of the frame
£100 - 150* 201 Follower of John Constable RA, British 1776-1837 River landscape with woodland watercolour over pencil, 8 x 7cm., (mounted, unframed) £100 - 150* 202 Sir David Wilkie RA, Scottish 1785-1841 Group figure study pen and brown ink on paper, 12 x 16.5cm Provenance: with Martyn Gregory, London £300 - 400*
£200 - 300*
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203
203 Sir David Wilkie RA, Scottish 1785-1841
205 Circle of Peter de Wint OWS, British 1784-1849
Sketch for the painting The Peep O’Day Boys Cabin in the West of Ireland
River over rocky ground in mountainous landscape
pen and brown ink, 7 x 10,5cm: together with one other pen and ink drawing by the same artist 5.5 x 11cm., (2) Provenance: with Martyn Gregory, London, according to the labels attached to the reverse of each of the frames
watercolour, 14 x 19.5cm Provenance: with Gerald M Norman Gallery, London, according to the label attached to the reverse of the frame; Lady Cavendish; The Estate of Lady Chesham £100 - 150* 204
£150 - 250* 204 Circle of Sir David Wilkie RA, Scottish 1785-1841 Study of a woman seated fulllength watercolour and gouache, 10 x 8cm £100 - 150*
205
* 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
207
206 British School, late 18th/early 19th century
207 David Cox Snr. OWS, British 1783-1859
208 David Cox Jnr., British 1809-1885
A gentleman seated at his desk in a grand interior
Capel Curig, North Wales
View of Ruined Abbey adjacent Country House
(recto), A plan of a room (verso)
watercolour, signed, 16.5 x 24cm
watercolour, signed, 48 x 68cm
£400 - 600*
pen and brown ink and wash over pencil, 15.7 x 15.7cm
Provenance Christie’s, London, 21st November 2019, lot 34
£100 - 150*
£1,000 - 1,500*
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209 209 An 19th century Album, containing drawings and watercolours on paper by, attributed to and after the following artists: George Cattermole, British 1800-1868, Charles Bentley, British 1806-1854, John Varley OWS, British 1778-1842, James Duffield Harding OWS, British 1797-1863, Giovanni Battista Cipriani, Italian 1727-1785, Thomas Girtin, William Alexander, Sir Robert Ker Porter, Sir Edwin Henry Landseer RA, James Barry RA, Hugh O’Neill, Irish 1784-1824, E Edridge, S P Denning, F P Dinkery, C B Young, David Cox, Charles Edward Herrne, Paul Sanby RA, William Twopeny, John Hoppner RA, after Rubens, Paul Sandby Munn, Thomas Good, James Holland RWS, Thomas Stothard RA, William Hunt, James Baker Pyne, Sir Peregrine Maitland, R Burney, William Evans, Peter de Wint OWS, Edward Vernon Whittherson, Robert Hills OWS, Samuel Hieronymus Grimm, George Dodgson, Charles Keene, approx seventy-seven works in total, various sizes, 33 x 27cm (album dimensions): together with one other album containing drawings by Josephine Warrington, entitled Sketches from Nature, Stephen’s Green, 30.5 x 40cm (album dimensions) (2) £2,000 - 3,000* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.
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212
213
210 British School, 19th century
212 Edwin Hayes RHA RI ROI, British 1819-1904
214 Hercules Brabazon Brabazon, British 1821-1906
Desmond Castle, Adare
Margate, 1899
The Rialto Bridge, Venice
watercolour on grey coloured paper heightened with white, signed indistinctly and inscribed in pencil, 17 x 24.5cm
watercolour, signed, inscribed and dated, 10 x 15cm
watercolour and gouache over black chalk on paper, signed with initials, 21 x 30.5cm
£100 - 150*
213 Hercules Brabazon Brabazon, British 1821-1906
211 Circle of James Francis Danby, British 1816-1875 Figures on a shore with a frigate in the distance watercolour, 10.8 x 22.5cm Provenance: with Gerald M Norman Gallery, London, according to the label attached to the reverse of the frame £100 - 150*
£100 - 200*
The Finding of Moses, after Veronese watercolour and gouache on paper, 31 x 22cm Exhibited: Brabazon Exhibition, Leighton House, October 1971, no. 42; Christie’s, London, 14th November 2019, lot 57 £300 - 500*
Provenance: Christie’s, London, 14th November 2019, lot 59 £1,500 - 2,500* 215 Hercules Brabazon Brabazon, British 1821-1906 The Chateau de Chillon pen and black ink and watercolour, signed and inscribed, 14 x 21cm Provenance: with Albany Gallery, London, according to the label attached to the reverse of the frame £150 - 200*
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216
217
216 Attributed to Myles Birket Foster RWS, British 1825-1899 Distant landscape and sky watercolour, 12 x 21.2cm Provenance: Collection of Mrs William Foster & L Neville Long; with Thos Agnew & Sons Ltd., London and The Ansdell Gallery, London, according to the labels attached to the reverse of the frame; James Adams & Sons, Dublin, September 1975 £200 - 400* 217 James Webb, British 1825-1895
218
Beached fishing vessels pen and brown black ink and watercolour, signed and dated 75, 24 x 44.5cm £300 - 500* 218 Sir Frank Brangwyn RA, British 1867-1956 Study of the Cathedral at Bruges watercolour and bodycolour over pencil, signed, squared for transfer in pencil, 11.5 x 16cm (ARR) Provenance: with Gerald M Norman Gallery, London, according to the label attached to the reverse of the frame £200 - 400* 219 Henry Martens, British 1828-1854 An Officer of the 11th Hussars, c.1854 oil on board, 30 x 25.5cm £800 - 1,200* 219
* 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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220 220 Jean-Laurent Mosnier, French 1742-1808 Portrait of a lady seated three-quarter length wearing a blue dress and white lace apron oil on canvas, signed and dated 1792, 115.2 x 89.9 cm Provenance: Christie’s, London, 31st July 1947, lot 138, for £6-6s to Steiner; Sotheby’s 11th July 1990, lot 61; Sotheby’s, London, 2nd May 2018, lot 165 Exhibited: Probably the Royal Academy, London, 1792, no.516 (as Mrs. T. Drummond). Literature: Probably A. Graves, ‘The Royal Academy of Arts. A complete dictionary of contributors and their work from its foundation in 1769 to 1904’, London 1906, vol. V, p. 312 (as Mrs T. Drummond). Note: The sitter of the present work is Mrs. Charlotte Drummond, daughter of Lord William Beauclerk, the second son of Charles, 1st Duke of St. Albans, who was the illegitimate son of Charles II and Nell Gywnne. Charlotte married John Drummond, MP for Thetford from 1768-1774, who succeeded his father, Andrew, as head of Drummond’s Bank. She was the mother of three children and died in 1793. Mosnier initially trained as a miniaturist at the Académie de St Luc, Paris before achieving greater renown for his larger portraits. In 1776, he was made ‘Peintre de la Reine’ to Marie-Antoinette, and was appointed ‘agréé’ by the Académie Royale in 1786, attaining the rank of ‘reçu’ as a fully-fledged member in 1788. In 1790, Mosnier fled to London following the outbreak of the French Revolution, where he exhibited at the Royal Academy till 1796. Already acclaimed for his detailed and polished compositions, he noticeably adapted his style to meet English tastes. Mosnier would go on to spend four years in Hamburg, Germany, and a further eight in St. Petersburg, Russia, painting well into the 1800s. £4,000 - 6,000*
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221 221 Attributed to Carl Fredrik von Breda, Swedish 1759-1818
223 David Cox Snr OWS, British 1783-1859
Portrait of a lady, half-length in a white dress and red brown cape with a landscape beyond
Sheep on a moorland path with woodland
oil on canvas, 76 x 64cm
oil on canvas, signed and dated 1841, bears inscription on the reverse, 51 x 71cm
£1,000 - 1,500*
£1,500 - 2,500*
222 Attributed to Benjamin Robert Haydon, British 1786-1846
224 Circle of Sir David Wilkie RA, Scottish 1785-1841
Portrait of a gentleman, quarter-length turned to the left
An evening banquet
oil on canvas laid down on board, 58.5 x 43.5cm
oil on panel, 20 x 25.5cm £400 - 600*
£200 - 300*
223
* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.
224
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225 225 After John James Audubon, American 1785-1851
226 Jean-Baptiste Michel, French 1748-1804
Great White Heron, no. 57 plate 281
Venus & Cupid, after Carlo Maratti
aquatint with hand-colouring on heavy cotton wove, re-strike, commissioned by American Museum Natural History in 1985, from a limited edition of 125, printed by Alecto Historical Editions of London, stamped verso AMNH 1985, plate 6 and Edition no. MP in pencil, sheet 74.7 x 108cm: together with five other aquatints with handcolouring, re-strikes, by the same artist, to include: Snowy Owl, no. 25 plate 121, Mallard Duck, no. 45 plate 221, Wild Turkey (male) no. 1 plate 1, Wild Turkey (female) no 2, plate 6, and Canada Goose, no. 44 plate 201; all commissioned by American Museum Natural History in 1985, from a limited edition of 125, printed by Alecto Historical Editions of London, all stamped verso AMNH 1985 with plate number and edition number in pencil, sheet 74.7 x 108cm (max), (6)
copper engraving on laid, published May 1st 1779 by John Boydell, London, plate 23.5 x 27.5cm: Francesco Bartolozzi RA, Italian 17271815- Portrait of Marquis Cornwallis, after Devis; engraving on laid, published January 1st 1803, by Mr. Devis, Old Bond Sreet, plate 32.2 x 25.6cm: Valentine Green, British 1739-1813- Inigo Jones, after Van Dyke; mezzotints, two copies, published Nov 1st 1775 by John Boydell, London, sheet ea. 30.5 x 20.5cm (2): together with a quantity of late 18th and 19th century British copper and steel engravings, and some 19th century German lithographs, by and after various artists depicting portrait studies, allegorical scenes, late 18th century satirical scenes in addition to landscape and figurative compositions, 31.5 x 37.2cm, (max) (unframed/folio) (a lot)
Note: To mark Audubon’s bicentennial, in 1985, the American Museum of Natural History decided to issue a limited 125 editions of six prints struck from the original double-elephant sized copper plates, last used in the early 19th century by Robert Havell in London. £600 - 800*
£200 - 300* 227 John Alley, British, late 18th/early 19th century Portrait of William Foster of Hazlehurst, Derbyshire, (1797-1829), quarter-length turned to the right in a black coat watercolour and heightened with white, bears label attached to the reverse of the frame, 12.5 x 9.5cm £100 - 150*
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228 Casimir Carbonnier, French 1787-1873 Portrait of a gentleman, quarterlength turned to the right in a black coat and white stock watercolour, signed and dated 1826 in pen and brown ink, 21.5 x 19cm £500 - 700* 229 Attributed to John Varley OWS, British 1778-1842 Men in a row boat, Syon Park watercolour over traces of pencil on wove, 19 x 28.5cm
228
Provenance: Acquired by current owner at Agnew’s in the 1980s £200 - 300* 230 Theodore Frere, French 1814-1888 Street scene in North Africa watercolour with touches of bodycolour on wove, signed, 26.5 x 21.5cm Provenance: Sotheby’s, London, 3rd June 2009, lot 65 in the 19th Century European Paintings Including German, Austrian & Central European Paintings, The Orientalist Sale, Spanish Painting and The Scandinavian Sale £800 - 1,200*
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
232
233
231 Johannes Christian Schotel, Dutch 1787-1838
233 Carlo Michelangelo Prayer, Italian 1789-1832
Seated woman with a basket
Madonna and child enthroned with angels and saints
pen and wash over traces of pencil, faintly inscribed J.CS lower left corner, printed signature J. C. Schotel and collectors stamp on the reverse, 33.2 x 21.5cm, (unframed) Provenance: Iohan Quirijn van Regteren Altena, Amsterdam (his posthumous sale stamp [Lugt 4617] stamped on the reverse); By descent to his wife, Augusta Louisa Wilhelmina van Regteren Altena, née van Royen, Amsterdam, until 2006; Thence by family descent until 2014. £200 - 300* 232 Circle of Mauro Gandolfi, Italian 1764-1834Study of a male nude
pencil on laid, artist’s printed stamp in red ink, sheet 24.7 x 18cm: together with four further studies by the same artist in red chalk, coloured chalks and ink, on laid and coloured paper, depicting a Head study, Figurative studies and Figures in combat, all with artist’s printed stamp in red ink, sheet 23.3 x 29.5cm (max) (3): Attributed to Francesco Londonio, Italian 1723-1783- Studies of sheep and farm labourers; pen and brown ink, bears signature, inscribed proof, sheet 17.5 x 23.5cm: and one further study, mid 18th century Italian, Mother and children; black and coloured chalk, sheet, 17.5 x 22.5cm, (6) (unframed) £400 - 600*
red chalk on laid paper, bears signature, inscription and date, 21 x 19cm Provenance: Phillips, London, 17th April 1996, Lot 146 £400 - 600*
234 French School, late 18th/early 19th century Two seated Grecian women pen and brown ink on paper, 16.7 x 37.5cm Note: inscription to the mount reads ‘Dessins à la plume par Picquignon’ £300 - 500* 234 84
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235 Herminie Deherain, French 1798-1839 Lady in her bedchamber with a suitor and attendants oil on canvas, signed and dated 1833, 81.5 x 65.5cm £500 - 700* 236 French School, late 18th/early 19th century Girl leading a pack horse with a dog oil on panel, 17 x 21cm
236
£400 - 600* 237 Alexandre Marie Colin, French 1798-1875 Zouave oil on canvas, signed an dated 1847, 63 x 50.5 cm Provenance: Christie’s, Paris, 16th June 2008, lot 99 £4,000 - 6,000*
237 * 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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238 238 Raymond Eugene Goethals, French 1804-1864
239 Neapolitan School, early 19th century
Figures on a Normandy coastline
The Bay of Naples with Vesuvius erupting at night
oil on canvas, signed, 42 x 57cm
oil on canvas, 30.5 x 35.7cm
£800 - 1,200*
£400 - 600*
239
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240
240 Neapolitan School, mid-late 19th century Views of the Bay of Naples at night gouache, 18 x 24cm: together with five other Neapolitan studies of Vesuvius erupting or smoking, various sizes, max. 49 x 76cm (6) ÂŁ1,000 - 1,500*
* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.
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241
241 French School, early 19th century Two peaches on a ledge oil on panel, 25.5 x 30.5cm £400 - 600*
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242
242 John Frederick Herring, Snr. British 1795-1865 The Ducklings, 1851 oil on panel, bears labels verso, 25.4 x 30.5 cm Provenance: with Charles Robertson & Company, London; G.C.C. Atkinson Esq.; with Frost & Reed Ltd., London; Christie’s, South Kensington, 10th December 2014, lot 89; acquired from the previous sale by the present owner £5,000 - 8,000*
* 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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243
243 Josephine de Gallemant, French, early/mid 19th century Portrait of an officer, quarter-length turned to the right, wearing dark blue tunic with gold aiguillettes and epaulettes, also wearing decorations comprising the badge to the Order of the Legion d’Honneur and the Order Croix of Fidélité oil on canvas, signed and dated 1821, 65 x 54cm Note: canvas bears manufacturers stamp ‘Alph, Giroux, a Paris’ within oval verso £1,000 - 1,500*
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244
244 Attributed to James Holland RWS, British 1799-1870 View in Venice with stormy skies oil on canvas, 105.5 x 136cm Provenance: Hon. Mrs Kitson, nee Kindersley and granddaughter of Baron Robert Kindersley, 1st Lord Kindersley; thence by descent Note: this large-scale unfinished oil composition displays a scene most commonly associated with James Holland; the Venetian waterfront, however in this painting the waterfront takes secondary stage to the moored barges. The atmospheric sky, although unfinished, shows similarities in execution as ‘The Grand Canal, Venice’ held at the Tate, (ref. N01809) and the layout and figures closely resemble other paintings produced by Holland. Holland made his first visit to Venice in 1835, he was to return there in 1845, 1851, 1857 and 1865 and the city’s vistas provided him with much inspiration throughout his career. Upon his death in 1870, over 500 oils, watercolours and sketches left behind in his studio were auctioned at Christie’s between 26th and 28th May 1870. £3,000 - 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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248
249
245 George Cruikshank, British 1792-1878
249 After Samuel Palmer RWS, British 1805-1881
Watkins Tottle
The Lonely Tower, 1962 reprint
etching, signed in plate, 9 x 6.5cm
etching on cream wove, from the original cancelled copperplate restored by Henry Macbeth Raeburn, printed by C H Welch in 1962, edition XI from XXI, dedicated, inscribed and signed in ink by David Gould and dated August 30 1962, plate 19 x 25.2cm, sheet 28.3 x 43.5cm, (mounted/unframed)
Note: an illustration from Charles Dickens’ “Sketches by Boz”. £100 - 150* 246 British School, early 19th century Lakeside scene with figures
£300 - 500*
ink and brown wash on paper, signed with initials ‘IRW’, 8.3 x 12.7cm (unframed)
250 William Henry Bartlett, British 1809-1854
£100 - 150*
Wreck in Kingsgate Bay, Isle of Thanet, Kent
247 John Murray Ince, British 1806-1859 Tomb of the Scaligeri family, Verona watercolour, signed and dated 1857, inscribed by another hand in pencil verso, 24.5 x 16.5cm (mounted/unframed) £400 - 600* 248 Samuel Palmer RWS, British 1805-1881 The Herdsman’s Cottage, [Alexander 3 ii/ii, Lister 3 ii/ii], 1850
pen and black and brown ink and wash, 11.5 x 17.5cm Provenance: with Walker’s Galleries Ltd., London, according to the label attached to the reverse of the frame £200 - 300* 251 British School, early 19th century Oxen and cart in a Spanish archway pen and brown ink, black chalk and gouache heightened with white on brown coloured paper, bears inscription to the reverse, 24.5 x 19cm
etching on laid, initialled border of plate, image 9.8 x 7.6cm, sheet 34.7 x 23.2cm (unframed)
Provenance: Property of Captain Hatfield; James Taddy Friend of Margate according to the inscription to the reverse
£700 - 1,000*
£300 - 400*
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251
253
252 William Leighton Leitch RI, Scottish 1804-1883
254 William Joy, British 1803-1867
The Gulf of Genoa
HMS Vincent in Portsmouth Harbour
watercolour, signed and dated 1888, 27 x 41cm; Exhibited: Manchester Royal Jubilee Exhibition, 1887, No. 1613: John McWhirter RA, British 1839-1911- Iosla Pescatori, Lake Maggiori; watercolour, signed with initials, 17 x 25cm; Exhibited: Thomas Agnew & Sons Ltd, London, 100th Annual Exhibition of Watercolours and drawings, 1973, (2)
watercolour, signed with monogram and inscribed, 44.5 x 68cm
Provenance: both with Thomas Agnew & Sons Ltd, London £200 - 300* 253 Charles Rosenberg Jnr, British fl. mid-19th century
£200 - 300* 255 Edwin Hayes RHA RI ROI, British/Irish 1819-1904 Off Lowestoft oil on canvas, signed, 50 x 76cm Note: Hayes experiences growing up by the coast and living at sea would have a profound impact on the work he would produce as an artist later in his life. His faithful depictions of ships in stormy conditions around the English, French and Spanish coasts became highly sought after during the period with the present work - set just off the Suffolk coast - being typical of his oeuvre. From 1842, Hayes exhibited at the RHA and in 1855 exhibited at the R.A where he was a regular contributor for the next forty-nine years. £3,000 - 4,000*
Georgetown, Demerara The Barque Caesar Captain Frans Sims entering the Harbour September 1839, after William John Huggins hand-coloured aquatint, 33.5 x 52cm Note: see Royal Museums, Greenwich, object no PAH8493 for related example £400 - 600*
255 * 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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256 Circle of Frederick Waters Watts, British 1800-1870 Horses on a towpath pulling a narrowboat at a lock oil on canvas, 51 x 61.5cm £300 - 400* 257 Attributed to Charles Cooper Henderson, British 1803-1877 Two coaches passing on a country road oil on canvas, 51.5 x 74cm £600 - 800* 256
258 Attributed to William James Muller, British 1812-1845 Landscape with cows by a river oil on card, bears inscribed label attached to the reverse, 18 x 24cm £600 - 800* 259 Joseph Horlor, British 1809-1887 Betws-y-Coed
257
oil on canvas, signed and dated 76?, bears label attached to the reverse of the frame, 74.5 x 114.7cm £400 - 600* 260 William Underhill, British act 1848-1871 Hagar and Ishmael oil on canvas, bears inscribed label attached to the stretcher, 128 x 101.5cm £1,000 - 1,500*
258
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261 Circle of John Frederick Lewis RA, British 1805-1876 Woman resting in an Italianate landscape oil on canvas, 37.5 x 45.5cm £500 - 700* 262 British School, early-mid 19th century Portrait of a young lady, seated half-length turned to the left in a black dress and wearing a beaded necklace oil on canvas, 24 x 20.5cm £100 - 150* 263 George Augustus Williams, British 1814-1901 Shepherd with sheep in a wooded winter landscape at the end of the day oil on canvas, signed with monogram, 61 x 107cm £1,000 - 1,500* 264 British School, early 19th century Portrait of a gentleman seated half-length in a blue coat watercolour, heightened with white, 22.5 x 19cm £100 - 150*
261 266 Charles West Cope RA, British 1811-1890
267 French School, early/mid 19th century
Portrait of ‘Parker’ aged 92, 1855
Male nude studies
coloured chalks, initialled, inscribed and dated, 25.5 x 22.2cm: together with two further pencil drawings, and one red chalk drawing by the same artist, one on coloured paper, one initialled and dated 1853, and one inscribed and dated 1850, depicting- a gypsy hut, and women with children seated, 18 x 16.3cm (max), (4)
red and black chalk on paper, two, 31 x 23cm and 29.5 x 22.5cm (2) £300 - 500* 268 After Richard Corbould, British 1737-1851 Frontispiece to Shakespeare’s Comedies, Macbeth, The Tempest, and As you Like it
Provenance: Abbott and Holder, London, according to labels attached verso.
etching and engravings, six in shared mount, ea. 16.5 x 11cm, (6) £100 - 150*
£300 - 500*
265 A Brown, British Provincial School, earlymid 19th century Portrait of a woman in a red shawl, seated in a chair watercolour on paper heightened with white, signed, 21 x 18.5cm Provenance: Geo. L. Brown Fine Art Dealer, Birmingham, according to the label attached to the reverse of the frame £100 - 150*
263 * 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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270 269 After Friedrich Gauermann, Austrian 1807-1862
271 Antoine Chintreuil, French 1814-1873
Wolves Attacking a Stag and a Deer, 1857
Woodland Glade
oil on tin panel, bears inscription on the reverse, 33.5 x 28cm
oil on canvas, signed, 24.5 x 32.5cm
Note: the original work can be found in the Victoria & Albert Collection, no. FA.77[O].
271
Provenance: Christie’s, South Kensington, London, 16th March 1989, lot 85 £800 - 1,200*
£300 - 400* 272 Jean-Baptiste Robie, Belgian 1821-1910
270 Antoine Chintreuil, French 1814-1873
Flowers in an ornamental urn
River and woodland landscape oil on canvas, signed and dated 63, 63 x 48.5cm
oil on panel, signed, bears applied inscribed paper label to the reverse, 23.3 x 18cm Note: Robie was one of the pioneers in the evolution of still life painting during the mid-19th century. Renowned for his realistic depictions, faithful use of colour and attention to detail his finished compositions were much sought after and provided him with multiple awards and honours. Robie exhibited at the Brussels Salon from 1843 until 1875 and made his debut at the Paris Salon in 1863. He would go onto participate in the 1880 exhibition at the Palais des Beaux-Arts before exhibiting at the 1885 World Fair in Paris. He was knighted in 1861.
£1,500 - 2,500*
This present work is thought to have been completed by Robie when he was 42 years old in 1863. The colour palette and composition is classically of his style, however the scale of the painting suggests that this could have been a finished sketch for a later and much larger work. Additionally, the label attached to the reverse written in the artist’s hand confirms the authenticity of the present painting declaring the subject matter, size and date; Brussels 3rd April 1863. Further inscription confirms the work was gifted by the artist to a mayor or alderman of the name Heinbach. We are grateful to Kathleen de Fays for kindly confirming the authenticity of this work. 272 96
£1,200 - 1,800* www.roseberys.co.uk
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275
276
273 Joseph Urbain Melin, French 1814-1886
277 Johan Frederik Busch, Danish 1825-1883
Chiens chassant le Blaireau
Family in a cottage interior
oil on canvas, signed and dated 1868, 74.5 x 93cm
oil on canvas laid down on panel, signed and dated 1852, 53.5 x 42.5cm., (unframed)
£300 - 500*
Provenance: Libert SVV, Paris, 10th June 2005, lot 88
274 French Orientalist School, mid/late 19th century
£1,800 - 2,200*
Portrait of a North African Man standing half length oil on canvas laid down on board, 54 x 38cm £250 - 350* 275 Thomas P Hall, British fl.1837-1867 Young Love, circa 1860 oil on canvas, signed with monogram, bears label to the reverse of the frame, 76.2 x 63.5 cm Provenance: Christie’s, South Kensington, 23rd March 2016, lot 109; Masterpiece Art, London £2,000 - 4,000* 276 Attributed to August Malmstrom, Swedish 1829-1901 The betrothal, recto; unfinished landscape, verso oil on canvas, bears indistinct inscription to the reverse of the stretcher, 65.8 x 46cm £600 - 800* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.
277 97
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278
279
278 Emma Sophia Oliver RI, British 1819-1885
279 John Lewis-Brown, French 1829-1890
View of Windsor Castle from a distance with woodland and figures in foreground
Attelage sur la plage, 1872
oil on canvas, in feigned oval, signed, 27 x 37cm Provenance: Christie’s, London, 6 February 1981, lot 44 Note: The work may have been exhibited in Royal Academy Exhibition 1844 as ‘Windsor from Eton’, painting 811 in Miniatures collection by Mrs W Oliver. This is further supported by the 1876 text “English Female Artists” by Ellen Creethorne Clayton: “Mrs Oliver exhibited two landscapes at the Royal Academy in 1844 described as “Windsor Castle” and “Near Richmond, Yorkshire;” continuing to be an annual exhibitor there until the removal of the exhibition to Burlington House. The artist, as Emma Sophia Eburne, was born in London on 15 August 1819, daughter of William Eburne, a coachbuilder of Rathbone Place, London, and his wife Mary. She married on 21 September 1840, William Oliver. In 1849, she was elected a member of the New Society of Painters in Water Colours, and exhibited landscapes, both in water-colours and in oil, at the Royal Academy; British Institution; Society of British Artists and various provincial galleries including at Suffolk Fine Art Association at Ipswich in 1850 (‘Farm Yard near Lanbbedr, North Wales’). After the death of her husband in 1853, she married again at Kensington, London in 1855, John Sedgwick, a solicitor of Watford, Hertfordshire, but continued to follow her profession in her first husband’s name until her death. Examples of her work are held by the Victoria and Albert museum. She was also known as Mrs William Oliver, Emma Eburne, Emma Sedgwick, and Emma Oliver-Sedgwick.
oil on panel, signed and dated, 48.7 x 64.5cm Provenance: Beaussant-Lefevre, Paris, 1st June 2005, lot 81 Note: John Lewis Brown was born in Bordeaux to a Scottish family. Largely self-taught and best known as a horse painter and painter of elegant equestrian scenes, he exhibited at the Salon for the first time in 1848. He was a socialite and society painter, who became a chronicler of Parisian high society before the war of 1870. The present work combines these two sides of his career, showing an elegant couple taking a break during their journey in a horse-drawn carriage. The influence of the Impressionists can be seen in his large brushstrokes, which are a feature of his later works. £2,000 - 3,000*
£800 - 1,200*
98
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280
281
280 Circle of Myles Birket Foster RWS, British 1825-1899 Venetian canal scene with the Basilica dei Frari in the distance watercolour, pencil and heightening with touches of white on paper, 33 x 52cm £250 - 300* 281 Joseph Francois Suchet, French 1824-1896
282
Pêcheurs relevant leurs filets oil on canvas, signed, 40.5 x 79.5cm (unframed) Provenance: Tajan, Paris, 15th October 2015, lot 158 £400 - 600* 282 Sidney Richard Percy, British 1823-1886 Cattle watering in a river with woodland and mountains beyond oil on canvas, signed, 18.5 x 35cm., (unframed) £300 - 500* 283 283 George Wells, British act. 1842-1888 Punter on a lake with cattle watering in a wooded landscape with mountains in the distance oil on canvas laid down on board, signed, 76.5 x 127cm £600 - 800* 284 Circle of Eugene Boudin, French 1824-1898 Boats moored in a harbour oil on canvas, 26 x 39cm £1,000 - 1,500* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.
284
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288 285 Alfred Marsaud, French, mid-late 19th century
287 C W M Van de Velde, Dutch fl 1851-52
Gamekeeper returning home at the end of the day
Kefr Hamam near Hasbeiya
Westward Ho
tinted lithograph, from Collection de cent vues prises d’apres nature dans la Syrie et la Palestine, published by Jules Renouard, 1857, printed by Lemercier: together with a collection of further pates from the same and/or related suites, (approx 50) (unframed)
watercolour, signed, titled and dated 1884 in white, 21.5 x 49cm
Provenance: Sotheby’s, London, 14th May 1998, lot 128
£400 - 600*
£500 - 700*
watercolour, signed, 23.5 x 30cm £100 - 150* 286 William Henry Millais, British 1828-1899
288 Sir Edward John Poynter Bt. PRA, British 1836-1919 Scenes from The Life of Christ, c. 1860 watercolour and pen and black ink on paper, three images within one mount, 13.2 x 5.5cm ea., Provenance: with Moss Galleries, London, according to the label attached to the reverse of the frame. Note: the label on the present work suggests this was a design for a stained glass window proposed for Islip, however it was never completed. £200 - 400*
289 100
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293 Zacharie Astruc, French 1833-1907 Profile of Louise L. Tham watercolour on paper, signed and titled, 16.5 x 13.5cm Provenance: Sotheby’s, Monaco, 2nd December 1988, lot 477 £150 - 200* 294 Attributed to Alfonso Savini, Italian 1836-1908 290
294
Olympian study of a maiden in drapery, standing on a terrace watercolour, signed, 41 x 24cm
289 After Paolo Veronese, Italian 1528-1588
291 Alphonse Legros, French 1837-1911
Note: His son Alfredo Savini was also an accomplished portrait and figurative painter, working in Verona, until his death in 1924.
Supper at Emmaus
Le Triomphe de la Mort: Le Départ, 1898
£200 - 300* 295 After Albert Joseph Moore ARWS, British 1841-1893
Note: this painting probably dates from mid/late 19th century. The original work can be found in the Louvre, Paris, inv. 146.
etching with drypoint, on heavy laid paper, signed in pencil, 42.5 x 59cm: together with a large quantity of etchings and some lithographs by and after the same artist, to include - six portrait etchings in a loose folio published in 1905, self-portrait studies, landscape views, and allegorical scenes, some signed in pencil, sheet 49 x 32.2cm (max), (a lot) (unframed)
£250 - 350*
£300 - 400*
290 Circle of Carl Heinrich Bloch, Danish 1834-1890
292 Charles Amand-Durand, French 1831-1905
Christ and St Thomas
Venus crouching by a plinth on top of which stands Cupid, After Francesco Francia; The Vintage, a man pouring grapes from a basket into a vat, above Bacchus sitting, other figures at left, After Raphael
oil on canvas, bears inscription, 27 x 42cm (unframed) Provenance: in the collection of the Comte Armand Doria according to the label attached to the reverse of the stretcher (no. 27).
oil on canvas, 68 x 68cm £600 - 800*
Blossoms oil on canvas, 147.7 x 45.8cm £600 - 800*
engravings, two, bears Armand Durand’s Collector’s stamps verso, 21.5 x 14cm and 18.7 x 14.5cm (2) Note: both original engravings were by Marcantonio Raimondi (Italian c. 1480-c.1534) £100 - 150* 295 * 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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296 Henry Grant, British act. 1868-1916 Portrait of B. E. Bennett Esq., seated three-quarter-length with a dog oil on canvas, signed and dated 1883, bears label attached to the reverse of the stretcher, 142 x 111cm £300 - 500* 297 John Sargent Noble RBA, British 1848-1896 A gamekeeper’s pony and resting setters oil on canvas, signed, 91.5 x 107.5cm £1,200 - 1,800*
296
297 102
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298
298 Walter Williams, British 1843-1884
299 Edward H Niemann, British, active 1863-1867
Sunset Evening
River Swale, with Richmond Castle in the distance
oil on canvas, signed, 61 x 106.5cm
oils on canvas, a pair, one signed, 51 x 76cm ea., (2)
ÂŁ1,000 - 1,500*
ÂŁ1,000 - 1,500*
299
* 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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300 William Henry Borrow, British 1840-1908
301 Arthur Douglas Peppercorn, British 1847-1924
Coastal scene with fishing boats in the distance
Coastal headland scenes
oil on canvas board, signed with initials and dated 1881, 24 x 46cm
oils on canvas, three, one signed, 25.5 x 46cm ea., (3)
£200 - 300*
£300 - 500* 302 Arthur Douglas Peppercorn, Scottish 1847-1924 The Estuary oil on canvas, signed, bears labels to the reverse, 77.5 x 131cm Provenance: Mrs George McCulloch according to the label attached to the reverse if the stretcher
300
Note: a newspaper extract from The Daily Telegraph is attached to the reverse of the frame commenting on the end of the McCulloch sale, held on the 31st May 1913 at Christie’s, London £250 - 350* 303 Felice Auguste Rezia, Italian act. 1866-1906 Village scene oil on canvas, signed and dated 1891, 41 x 31cm £200 - 300* 304 Wilson, British, mid-late 19th century View of St Paul’s and the Thames under moonlit skies
304
oil on canvas, signed, 36 x 51cm £400 - 600* 305 British School, mid 19th century View of Penshurst Place, Kent oil on canvas, bears dedication and date on the reverse, 27.3 x 41cm (unframed) £200 - 400*
305 104
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306 Henry Stanier, British fl. 1847-1892
309 British School, mid 19th century
The Alhambra Palace in Grenada
Indian family in camp of the 24th regiment
watercolour over traces of pencil, signed, inscribed and dated 1893, 56.5 x 35cm
watercolour, inscribed and dated noon 1845 in pencil, 33.2 x 47.5cm
£400 - 600*
£300 - 500*
307 Harry Bright, British 1846-1895
310 Angelos Giallinas, Greek 1857-1939
A Harpy Eagle perched on a crag
Mountain landscape
watercolour, signed and dated 1876, 59 x 44cm
Provenance: Bonhams, Oxford, 4th September 2013, lot 98 (one of two in the lot)
Provenance: Sotheby’s, London, 24 January 1980, lot 90
watercolour, signed, 33 x 47cm 306
£500 - 800*
£600 - 800* 308 Georges-Jules-Victor Clairin, French 1843-1919 Study of thistles watercolour, heightened with white, over traces of pencil on buff paper, artist’s studio stamp signature (Lugt 448) printed in blue ink, 48.3 x 30cm, (mounted/unframed) Provenance: Probably the second posthumous Georges Clairin studio sale, Paris, Galerie Georges Petit, 5-6 February 1920, possibly as part of lot 155 (‘Dix aquarelles inachevées; études diverses, fleurs, figures, etc.’); Private collection.
307
308
Exhibited: Brest, Musée des Beaux-Arts de Brest, Les peintres du rêve en Bretagne, 2006-2007, no.20. Note: The present sheet is a study for Clairin’s painting of ‘Ophelia in the Thistles’ for which the model was likely Sarah Bernhardt, an actress and a close friend of the artist. £600 - 800*
310 * 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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311
312
311 Heinrich Lossow, German 1843-1897
312 Alex de Andreis, British 1871-1939
The Persistent Suitor
Portrait of a cavalier standing full-length in an interior
oil on canvas, signed, 66.5 x 50cm
oil on canvas, signed, 73.5 x 54cm
£2,000 - 3,000*
£800 - 1,200*
313 Henry Gillard Glindoni ARWS, British 1852-1913 Dismissal of Archy, the King’s Jester oil on canvas, signed, 71 x 92cm Exhibited: London, Royal Academy 1886, no. 2 £1,200 - 1,800*
313 106
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314 314 Paul Emile Léon Perboyre, French 1851-1929 French officers, cuirassiers, and cavalrymen waiting for battle during the Franco-Prussian War, c. 1870 oil on panel, signed, 37.5 x 46.5cm Provenance: A titled French family; thence by descent Note: Paul Perboyre was a pupil of Léon Bonnat. He exhibited at the Paris Salon from 1881 and later at the Salon des Artistes Français, having become a member of the society in 1909 £1,200 - 1,800* 315 Jules-Ferdinand Médard, French 1855-1925 Roses and daisies oil on board, signed and dated 1875, 45 x 36cm £1,500 - 2,500* 315 * 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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316 316 Attributed to Georgios Jakobides, Greek 1852-1932 The Cobbler oil on canvas, 35 x 27.5cm Note: Jakobides settled in Munich following his training at the Athens Academy of Fine Art under Nikiforos Lytras. He is best known for his paintings of children, winning a bronze medal at the Paris Exposition Universelle of 1889 and gold in 1900, and many other awards besides. In 1910, Jakobides was appointed as the first director of the National Gallery in Greece as well as director of the fine art school. His work is notable for the sensitive and gentle portrayal of the human psyche, that disregards sentimental stereotypes. The cobbler’s detailed facial expression is quietly arresting, modelled subtlety through delicate gradations and contrasts between shadow and light. £3,000 - 4,000* 317 Attributed to Frank Holl RA, British 1845-1888 Study of a woman looking skyward oil on canvas, 31 x 26cm £400 - 600*
108
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318 318 Sir Frank Bernard Dicksee PRA RI, British 1853-1928 Memories oil on canvas, 42.5 x 62cm together with an etching printed in sepia by the same artist entitled Memories, signed in pencil by both printmaker and artist, published by C E Clifford July 1st 1892, printers blindstamp, visible sheet 50 x 62cm., (2) Provenance: Christie’s, London, 11th July 2018, lot 105 Note: Dicksee entered the Royal Academy Schools in 1870, and was taught by both Millais and Leighton. He began to exhibit at the R.A in 1876 and was elected A.R.A in 1881 and R.A ten years later. Dicksee mostly painted literary and historical subject matter but also specialised in scenes of social drama such as ‘The Crisis’, held at the National Gallery of Victoria, Melbourne (p.396.2-1) and The Confession (1896; private collection) both similar in style and format as the present work. He was elected President of the Royal Academy in 1924. £4,000 - 6,000* 319 James Paterson, Scottish 1854-1932 The lute player watercolour and pencil, signed, bears labels to the reverse, 53 x 35.5cm Provenance: Doig, Wilson and Wheatley Fine Art Dealers, Edinburgh; Miss Mary Cargill, Edinburgh according to the labels attached to the reverse of the frame Exhibited: Royal Scottish Society of Painters in Watercolours £800 - 1,200*
* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.
319
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320 John Robertson Reid RI ROI, Scottish 1851-1926
320
Idle Moments oil on canvas, signed and dated 76, 61.5 x 46cm Notes: Reid originally trained at the Edinburgh School of Art and the Royal Scottish Academy under the guidance of George Chalmers and William MacTaggart, before developing a mature style inspired by the rural naturalism of Sir George Clausen and French Realists, such as Jules Bastien-Lepage. He first exhibited at the Royal Academy in London in 1877, having settled in the South of England, finding success for his outdoor genre paintings of the Surrey countryside. In 1874, the year of the first Impressionist exhibition in Paris, Reid began painting ‘en plein air’. Reid was pioneering in Britain for publicly propagandising this method and extoling their virtues. He often hired local villagers to pose in his scenes, fascinated with the gestures of candid social activity and the subtle expression of character in his subjects. In this painting, golden light falls on the back of young female figure, focusing the eye on her quiet, playful interaction with kitten on the pedestal below. Reid’s appointment as President of the Society of British Artists in 1886 and the Society of Sculptors, Painters and Gravers in 1898 cemented his reputation and introduced him to London society. The young Sir Winston Churchill used to paint outdoors in his company. £3,000 - 5,000*
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321 Joshua Anderson Hague, British 1850-1916 Figures with a donkey on coastal path oil on canvas, signed, 50.5 x 76cm Note: Hague was born in Rusholme, who became a leading exponent and contributor to the ‘Manchester School’ of artists. £250 - 350*
321
322 William George Thornley, British 1857-1935 Fishing boats off the coast at Scarborough/Off-loading cargo on the shore at Whitby oils on canvas, a pair, both signed W G Thornely [sic], ea. 19 x 41cm, (2) £500 - 800*
322
323 Alexander Young, Scottish 1865-1923 Boats in harbour, possibly Fife oil on canvas, signed and dated 1890, 38.3 x 76.8cm £300 - 500*
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
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324 Franz von Stuck, German 1863-1928 Portrait of the Artist’s Daughter Mary black and white chalk, pastel, watercolour and touches of gouache on cardboard, signed, 47 x 33cm Provenance: Private Collection, Thuringia, Germany Note: Born in lower Bavaria, Franz Stuck came from peasant stock, however his talent as an artist was evident from an early age, going on to receive his artistic training from the Academy of Applied Arts and the Academy of Fine Arts in Munich. Active as a painter, sculptor, printmaker and architect, Stuck was one of the founders of the Munich Secession in 1892, and soon became amongst the most successful and renowned artists in the city. His large and boldly coloured mythological paintings, characterized by Symbolist overtones, won medals and prizes at exhibitions in Germany, Europe and America over the next three decades, and he was also much in demand as a portrait painter. In 1895 Stuck was appointed a Professor at the Akademie in Munich, where his pupils were to include Paul Klee, Josef Albers, and Wassily Kandinsky. In 1905 he was awarded a Knight’s Cross of the Order of the Bavarian Throne, which raised him to the nobility, and from this point onwards he signed his works as ‘Franz von Stuck’. At the International Exhibition in Venice in 1909 Stuck was given a room to himself, and in the later years of his career began to focus on sculpture over paintings. Von Stuck was recognized by many of his contemporaries as a gifted draughtsman, and his drawings of male and female nudes were particularly admired. Stuck also made drawings as designs for posters, advertisements and other ephemera. The subject of this portrait, Mary Stuck (1896-1961), was Franz von Stuck’s only child, born from an affair with a woman named Anna Maria Brandmaier. The following year the artist married the American Mary Lindpaintner, and in 1904 the couple formally adopted the young girl, who had been christened Maria Franziska but was simply known as Mary. Mary Stuck posed frequently for her father in the 1910s and 1920s, often dressed in costume as a Greek or Spanish girl, bullfighter or gypsy, in works which were much prized by collectors. (She also appears in such grand works as ‘Family Portrait: Franz von Stuck with his Wife and Daughter of 1909’, today in the Musées Royaux des Beaux-Arts de Belgique in Brussels, in which she is costumed as a Spanish infanta in a ‘Velasquez’ dress.) This striking portrait can be dated to around 1910, when the sitter was around fourteen years old. Mary Stuck is shown here wearing her new motoring bonnet, in which she also appears in several of the artist’s photographs of her, including one on which the present composition is based. As in several other paintings and drawings of Mary wearing the same bonnet, the deep blue hat here becomes a decorative motif in its own right. A more finished variant of this composition is in a private collection, while a smaller, circular version is in the collection of the Museum Villa Stuck in Munich and an octagonal painting of this composition is in the Toledo Museum of Art in Ohio (no. 1914.69). Another small octagonal painted portrait of Mary wearing the same bonnet, in which she is seen full face, is in a private collection. A large pastel study for that painting, also in a private collection, may be stylistically compared to the present sheet. £8,000 - 12,000*
* 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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325
326
325 Phil May, British 1864-1903
328 William Lionel Wyllie RA RBA RE RI NEAC, British 1851-1931
Scarborough, 1894
Toil, Glitter, Grime and Wealth on a Flowing Tide, 1885
pen and black ink, signed and dated, 26 x 37.5cm £600 - 800* 326 Franz Teichel, German b. 1861- ? Procession of Alexander II pencil, ink and wash, heightened with white on card, signed, 24 x 36cm Provenance: Nina Zouboff, 1929-2018 £800 - 1,200* 327 Charles Holroyd, British 1861-1917 Mermaids etching on laid, signed in pencil, plate 35.2 x 22.2cm; with six further etchings by the same artist, depicting various subjects, some signed and inscribed in pencil, sheet 42.2 x 28.3cm (max): Reproductions of Prints in the British Museum, Third Series, Part II- Specimens of Etchings by Italian Masters, 1525-1550; a large folio of fifteen reproduction facsimile prints, published by the order of the Trustees in 1908, loose in hardback folio, sheet 50.5 x 37cm (max): together with a quantity of etchings, lithographs, a woodcut and a Herkomergravure by and after various artists, to included Bernard Sleigh, and Theophile Alexandre Steinlen, depicting a range of subjects to include figurative and landscape compositions, sheet 34 x 42cm (max) (a lot) (unframed)
etching, signed in pencil, 42 x 55cm Note: After the original oil painting in the Tate, ref: N01580 £300 - 500* 329 George Sheridan Knowles RI, RBA, ROI, RCA, British 1863-1931 ‘Mother’ pencil and watercolour, signed, bears label to the reverse of the frame, 43.5 x 58.5cm Provenance: Christie’s, South Kensington, 12th May 1993, lot 63 Exhibited: Royal Institute of Painters in Watercolours, London £250 - 350*
£300 - 400*
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330 Henry John Sylvester Stannard RBA, British 1870-1951 The flower gatherers watercolour on paper, signed, 44 x 89cm (ARR) Provenance: Christie’s, South Kensington, 16th December 2008, lot 187 £400 - 600* 331 Ernest Edwards Briggs RI, RSW, Scottish 1866-1913 The Falls of the Jummel watercolour heightened with white on paper, signed, 76 x 114.5cm Provenance: Dreweatts, Newbury, 8th October 2008, lot 44 Exhibited: Royal Institute of Painters in Water Colours according to the label attached to the reverse £400 - 600* 332 Arnold Marc Gorter, Dutch, 1866-1933 Riverscape oil on canvas, indistinctly signed, bears label taped verso, 23 x 36cm £200 - 300*
330 333 James Whaite, British act 1867-1896 The Plough Team oil on canvas, signed, 33.2 x 48.3cm Provenance: Christie’s, London, 23 May 2002, lot 185 Note: James Whaite was a landscape painter from Manchester, England who spent much of his active career in Seacombe, Cheshire. He exhibited in the Royal Academy between 1867 and 1896 and also exhibited at the Royal Scottish Academy, British Institution as well as Manchester, Liverpool, Glasgow and the Grosvenor Gallery. Paintings by Whaite belong to the collection at the V&A museum £400 - 600* 334 Hobbe Smith, Dutch 1862-1942 Man reading ‘Le Journal’ oil on canvas, signed, 21 x 16cm £300 - 400*
331 * 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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335
336
335 Count Mario Grixoni, Italian/British 1885-1945- exh. 1914-40 Portrait of G Mills McKay, Knight Treasurer of the English Speaking Union watercolour, signed and dated 1918, 15.5 x 11.5cm (unframed) £300 - 400* 336 Charles Robinson RI, British 1870-1937 A Venetian Capriccio watercolour on paper, signed and inscribed, 42 x 57cm Provenance: with Chris Beetles Gallery, London, bears label to the reverse of the frame Exhibited: The Brothers Robinson, 1992, Chris Beetles Gallery £400 - 600* 337 Mary V. Wheelhouse, British 1871-1946 337
Musical interlude during country picnic pen and ink, signed, 29 x 18.5cm £200 - 300*
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338 Frank Henry Mason RBA RI RSMA, British 1875-1965
338
Off Bamborough watercolour on paper, signed and titled, 12.5 x 40.5cm (ARR) Provenance: Carol Thomas Fine Arts, 1992: Private Collection £250 - 350*
339 Frank Henry Mason RBA RI RSMA, British 1875-1965
339
Lowestoft watercolour on paper, signed and titled, 13 x 41.5cm (ARR) Provenance: Carol Thomas Fine Arts, 1992: Private Collection £250 - 350*
340 Frank Henry Mason RBA RI RSMA, British 1875-1965
340
Shipping off a pier watercolour on paper, signed and dated 1900, 13 x 42cm (ARR) Provenance: Carol Thomas Fine Arts, 1992: Private Collection £250 - 350* * 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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341 341 Antoine Bouvard, French 1870-1956 Grand Canal, Venice oil on canvas, signed, 24.5 x 33cm (ARR) (Vat charged on hammer price) Note: Bouvard frequented Venice during the 1920’s and 1930’s, returning to Paris to sell his work. A recluse, he had little contact with the public, selling his views through art dealers. He painted exclusively Venetian views, having clearly identified a market in which he was to achieve considerable commercial success. Bouvard also worked under the pseudonym of Marc Aldine, allowing him further success through alternative markets for his work. £3,500 - 4,500* 342 J V R Parsons, British exh. 1891-1914 Prince’s Dock, Liverpool oil on board, signed, signed and inscribed on the reverse, 35.5 x 25cm £150 - 200*
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343 Frank Moss Bennett, British 1874-1952 Cottage at Amberley oil on canvas board, signed, inscribed and dated 1912, 26 x 36.2cm (ARR) £200 - 300*
343 344 Frank Moss Bennett, British 1874-1952 Whitley oil on canvas laid down on panel, signed, inscribed and dated 1930, 25.5 x 35.5cm (ARR) £200 - 300*
344 345 Frank Moss Bennett, British 1874-1952 Little Pattenden, Goudhurst, Kent oil on board, signed with initials, inscribed and dated 1931, 25 x 35.2cm (ARR) Provenance: with Aldridge Bros., The Little Gallery, Worthing, according to the label attached to the reverse £200 - 300*
345 * 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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346 Augustus Osborne Lamplough ARA RWS, British 1877-1930 A street scene, Cairo watercolour, signed and titled, 35 x 24.5cm; together with two other watercolours by the same artist, one titled ‘Rue Avril, le Caire’, signed, titled and dated 1905, 35 x 22cm, and ‘A bit of old Cairo’, signed and titled, 35 x 25cm (3) £1,500 - 2,000*
346
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347 347 Augustus Osborne Lamplough ARA RWS, British 1877-1930
349 Augustus Osborne Lamplough ARA RWS, British 1877-1930
350 Augustus Osborne Lamplough ARA RWS, British 1877- 1930
Riders on camels in full charge in the desert
The Pyramids of Giza
Cairo and Citadel from the Desert, and In the Libyan Desert
watercolour, signed and dated 1911, 49.5 x 74cm
watercolour, signed and inscribed, 22 x 59cm
watercolours, a pair, both signed and titled, ea. 23.3 x 60.7cm, (2) (unframed)
£600 - 800*
Provenance: Grundy & Smith, Manchester, according to the label attached to the reverse of the frame
£400 - 600*
£3,000 - 5,000* 348 Augustus Osborne Lamplough ARA RWS, British 1877-1930 A desert afterglow watercolour, signed and inscribed, 21.5 x 59cm £600 - 800*
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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351 351 Robert Russell MacNee RGI, Scottish 1880-1952
352 Robert Russell MacNee RGI, Scottish 1880-1952
Farmyard with chickens and horses
Autumn on the River Tay oil on canvas, signed, titled and dated (18)96, 40.5 x 56cm (ARR)
oil on canvas, signed, 34.5 x 44.5cm (ARR)
£400 - 600*
£300 - 500*
352
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353 M Bonhomme, French, mid/late 19th century Cattle in a river, with a chateau in the distance oil on board, inscribed indistinctly, 34.5 x 50cm £300 - 500* 354 Beryl Menzies née Fowler, British 1880-1963, exh. 1924-39 Portrait of a girl seated full length in a mauve coat in a forest setting oil on canvas, signed and dated 1906, 137 x 92cm
353
£800 - 1,200* 355 L M Roth, German, late 19th/early 20th century Portrait of a man, quarter-length turned to the left in a black coat and white stock oil on canvas, signed, inscribed and dated 1909, 67 x 55cm., (unframed) £150 - 200* 356 Gustave Jean Jacquet, French 1846-1909 Study of a lady standing full-length holding a glass red and white chalk with touches of pencil on buff coloured paper, signed and dated 87, 26 x 19cm £200 - 300*
354
* 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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RENÉ PIERRE CHARLES PRINCETEAU French, 18 July 1843 – 31 January 1914A master in the depiction of equestrian subject matter, René Princeteau is considered to be one of the most highly sought-after academic French artists of the late 19th century. Born deaf and mute into a wealthy noble family in Libourne, Princeteau studied sculpture in Bordeaux before enrolling at the École nationale supérieure des Beaux-Arts, Paris, in 1865 under the tutelage of Auguste Dumont, a well-established French sculptor famous for his decorations for Napoleon III's new Louvre. By 1871 inspiration would derive from the Franco-Prussian War, where he would make numerous sketches and compositions of military life, evidently mastering the depiction and conformation of the horse in the process. In 1874 Princeteau opened a studio in the Rue du Faubourg Saint-Honoré. As a good friend of Comte Alphonse Toulouse-Lautrec, he went on to tutor his son; Henri de Toulouse-Lautrec, who entered the artist’s studio at the age of 14. Lautrec was heavily influenced by his tutor in this early period and stylistic and thematic similarities can be seen between both the artists’ work, with the younger artist producing a portrait of Princeteau in his studio in 1881. Princeteau was well known for his depictions of horseracing, equestrian portraits, military scenes and hunting scenes, with some of his earlier works evidently inspired by Alfred de Dreux (1810-1860) and George Stubbs (1724-1806). These themes were highly popular for this period amongst the upper classes, and his unique approach to the equestrian subjects meant he was never short of work. From 1883 onwards, he based himself in the Château de Pontus near Fronsac which marked the beginning of his larger compositions celebrating countryside life. The loose, expressive brushstrokes on his large canvases were still able to accurately depicting the horse in motion, this is most apparent in Lot 358, Veneur pendant un débuché, completed sometime between 1900 and 1905; showing a bay hunter striding across a freshly ploughed field followed by two hounds. His realistic style; combining the colours and tones of the Impressionists with the traditional subject matter, created attractive results. The following selection of hunting scenes (Lots 357-364) depict a subject matter visited by Princeteau frequently. They show his skillful understanding of the sport, creating balanced and dynamic compositions which were repeatedly visited and developed. Several versions of Lot 362 (Veneur et chiens) for example were completed prior to the present painting which was executed later in his artistic career (between 1905-1912). His works were regularly exhibited at the Paris Salon from 1868 until 1904, and his connections amongst the fashionable elite lead him to become in high demand with both wealthy modernists and traditionalists alike, as well as racehorse owners who requested commissions of their ‘Classic’ winning racehorses. Additionally, his connections made within the hunting scene in France encouraged and inspired new compositions, sketched when he followed the meets - which he did so enthusiastically. Lots 359 to 363 all follow a similar format, usually depicting one hunter and a few hounds; these smaller compositions are still lively and colourful, where the horse takes centre stage; captured perfectly in their pose or energetic stride. Lot 364 on the other hand, takes an alternative approach, the large canvas shows figures emerging from the frosty morning mist, striding towards the viewer, the blank background highlighting these moving figures. The result is a balanced and engaging composition so typical of Princeteau’s style. 357 Attributed to René Pierre Charles Princeteau, French 1843-1914 Huntsman and hounds pen and brown ink on laid paper, 18 x 18cm £200 - 300*
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358
358 René Pierre Charles Princeteau, French 1843-1914 Veneur pendant un débuché, c. 1900-05 oil on canvas, 78 x 108cm Provenance: M. Montouroy, Paris; Private collection Literature: Robert and Manuel Schmit, René Princeteau (1843-1914), Chevaux et cavaliers; Catalogue raisonné, éd. Galerie Schmit, Paris, 1994, pl. 147, p. 98 £10,000 - 15,000*
* 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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359 359 René Pierre Charles Princeteau, French 1843-1914 La Chasses Basque, c. 1878-1882 oil on panel, bears partial label verso, 27 x 21.5cm Provenance: sold by the artist to Galerie Adolphe Legoupy, Paris, in 1882 for 400 F; Private collection Literature: R. Martrinchard, Princeteau, Bordeaux, 1956, p. 114; Robert and Manuel Schmit, René Princeteau, Catalogue Raisonné - Chevaux et Cavalier, Paris, 1994, pl. 121, p. 83 £4,000 - 6,000*
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360 360 René Pierre Charles Princeteau, French 1843-1914 Piqueur Foulant, c. 1888-1892 oil on panel, signed, bears label verso, 27 x 21.5cm Provenance: Galerie Adolphe Legoupy, Paris; Private collection Literature: Robert and Manuel Schmit, René Princeteau (1843-1914), Chevaux et cavaliers; Catalogue raisonné, éd. Galerie Schmit, Paris, 1994, pl. 143, p. 96 £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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361
361 René Pierre Charles Princeteau, French 1843-1914 Veneur et chiens, c. 1907-1912 oil on panel, signed, 16 x 22cm Provenance: Private collection Literature: Robert and Manuel Schmit, René Princeteau (1843-1914), Chevaux et cavaliers; Catalogue raisonné, éd. Galerie Schmit, Paris, 1994, pl. 131, p.88 £3,000 - 4,000*
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362 René Pierre Charles Princeteau, French 1843-1914 Veneur et chiens, c. 1905-1912 oil on panel, signed, 24 x 18.5cm Provenance: Private collection Literature: Robert and Manuel Schmit, René Princeteau (1843-1914), Chevaux et cavaliers; Catalogue raisonné, éd. Galerie Schmit, Paris, 1994, pl.161, p.107 Note: Princeteau painted two other very similar versions which can be found in the catalogue raisonné on the artist. One of these was a larger oil on canvas exhibited at Galerie Schmit in 1965 and completed around 1888-1892, the second (on panel) would have also been executed during the same period, however smaller than the present work. £3,000 - 4,000*
362 363 René Pierre Charles Princeteau, French 1843-1914 Veneurs et chiens, c. 1888-1892 oil on panel, signed, 22 x 16cm Provenance: Galerie Adolphe Legoupy, Paris; Private collection Literature: Robert and Manuel Schmit, René Princeteau (1843-1914), Chevaux et cavaliers; Catalogue raisonné, éd. Galerie Schmit, Paris, 1994, pl. 164, p. 109 £3,000 - 4,000*
363
* 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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364 RenĂŠ Charles Pierre Princeteau, French 1843-1919 Early morning, bringing out hounds with huntsmen in attendance oil on canvas, signed, 131 x 98cm Provenance: Private collection Note: two smaller paintings with similar compositions were completed in 1887 and 1892, both titled 'Le Relais' (the relay) (Galerie Schmit, p.117), with one depicting the same horse as the present work. However, in 1881 it is recorded that Princeteau had already exhibited a painting entitled 'Le Relais' at the Paris Salon (no.1932) (Robert Martrinchard, Princeteau, 1843-1914, p. 110 and Marguerite Stahl, Gentleman Princeteau Chasse Ă courre, 2008, p.19), suggesting the present composition and subject matter was a theme explored multiple times. ÂŁ25,000 - 30,000*
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364
* 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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365
365 José Franco Cordero, Spanish 1851-c.1910 A village in a hilly landscape oil on canvas, signed, 25 x 45.5cm £200 - 300
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INDEX OF ARTISTS A Alley, John Amand-Durand, Charles Arnald ARA, George Astruc, Zacharie Augustin, Jean-Baptiste
227 292 179 293 38
B Balaca y Carrion, Attributed to, José 79 Barbiers the Elder, Pieter 158 Barker of Bath, Benjamin 199 Barnard, William H 200 Barret Jnr. OWS, George 197 Bartlett, William Henry 250 Bate, William 36 Bennett, Frank Moss 343, 344, 345 Birkett Foster RWS, Myles 285 Blommaert, Maximilian 139 Bonhomme, M 353 Borrow, William Henry 300 Bouvard, Antoine 341 Brabazon, Hercules Brabazon 213, 214, 215 Brangwyn RA, Sir Frank 218 Briggs R.I., Ernest Edwards 331 Bright, Harry 307 Brown, A 265 Bulteel Fisher, Sir George 190 Busch, Johan Frederik 277 C Caccia il Moncalvo, Attributed to, Guglielmo Carbonnier, Casimir Chinnery, George Chintreuil, Antoine Clairin, Georges Colin, Alexandre Marie Cope RA, Charles West Cordero, José Franco Cort, Cornelis Cox Snr OWS, David Cox Snr. OWS, David Cruikshank, George
93 228 198 270, 271 308 237 266 365 89 223 207, 208 245
D Daniell RA, Attributed to, William Daret, Jean Dayes, Edward De Andreis, Alex De Gallemant, Josephine Deherain, Herminie Dicksee KCVO PRA, Sir Frank Bernard Durer, Albrecht
174 119 175 313 243 235 318 86
E Earlom, Richard Eccardt, John Giles
170 165
F Fontana, Lavinia 96 Forster, Thomas 15 Foster RWS, Attributed to Myles Birket 216 Franco, Giovanni Battista 85 Frere, Theodore 230 G Giallinas, Angelos Gillray, James Glindoni ARWS, Henry Gillard Goethals, Raymond Eugene Gorter, Arnold Marc Grant, Henry Grixoni, Count Mario
310 172 312 238 332 296 335
Grogan, Nathaniel Guilllermin, M
186 67
H Hague, Joshua Anderson 321 Hall, Thomas P. 275 Harrison, H M 64 Havell Snr., Robert 196 Haydon, Attributed to, Benjamin Robert 222 Hayes RHA RI ROI, Edwin 212 Hayes RHA RI ROI, Edwin 255 Hayter, George 56 Henderson, Attributed to, Charles Cooper 257 Herring, John Frederick 242 Heyrault, Louis Robert 80 Hilliard, Attributed to, Laurence 5 Holl RA, Attributed to, Frank 317 Holland OWS, Attributed to, James 244 Holroyd, Charles 327 Horlor, Joseph 259 Horsley, Thomas J 176 Hoskins, Attributed to, John 6 J Jacquet, Gustave Jean Jagger, Charles Jakobides, Attributed to, Georgios Joy, William
356 39 316 254
K Knowles RI, George Sheridan
329
L Lambert, James 159 Lamplough ARA RWS, Augustus Osborne 346, 347, 348, 349, 350 Legros, Alphonse 291 Leighton Leitch RI, William 252 Lewis-Brown, John 280 Loggan, Attributed to, David 12, 13, 14 Lossow, Heinrich 311 M Maggi, Giovanni 90 276 Malmstrom, Attributed to, August Martens, Henry 219 Mason RBA RI RSMA, Frank Henry 338, 339, 340 May, Phil 325 Médard, Jules-Ferdinand 315 Menzies nee Fowler, Beryl 354 Michel, Jean-Baptiste 226 Millais, William Henry 286 Morier, David 156 Morland, George 193 Mosnier, Jean-Laurent 220 Muller, Attributed to, William James 258 Murray Ince, John 247 N Nani, Giacomo Nasmyth, Alexander Niemann, Edward H
73 177 299
O Oliver RI, Emma Sophia
278
P Palmer RWS Hon. RE, Samuel Parsons, J V R Paterson, James Payne, William Peppercorn, Arthur Douglas Perboyre, Paul Emile Léon Percy, Sidney Richard
248, 249 342 319 178 301, 302 314 282
Peruzzini, Antonio Francesco 123 Piranesi, Giovanni Battista 160, 161 Poynter Bt. PRA, Sir Edward John 288 Prayer, Carlo Michelangelo 233 Princeteau, Attributed to, Rene Pierre Charles 357 Princeteau, René Charles Pierre 358, 359, 360, 361, 362, 363, 364 R Rezia, Felice Auguste Rigaud, Jacques Robert Russell MacNee RGI, Robert Russell Robertson Reid RI ROI, John Robie, Jean-Baptiste Robinson RI, Charles Rosenberg Jnr, Charles Roth, L M Rowlandson, Thomas Rowlandson, Thomas Rowlandson, Thomas
303 132 351, 352 320 272 336 253 355 171 173 189
S Sadeler the Elder, Johannes Sargent Noble RBA, John Savini, Attributed to, Alfonso Schotel, Johannes Christian Senex, John Sicardi, Louis-Marie Smith, Hobbe Stanier, Henry Stannard RBA, Henry John Sylvester Suchet, Joseph Francois
91, 92 297 294 231 131 20 334 306 330 281
T Teichel, Franz Thornley, William George Towne, Charles
326 322 180
U Underhill, William Urbain Melin, Joseph
260 273
V Van Balen, Hendrick Van de Velde, C W M van Heemskerck, Attributed to, Van Meunincxhove, Jan Baptist Varley, Attributed to, John I Vernet, Carle Von Breda, Attributed to, Carl Fredrik Von Stuck, Franz Vorsterman I, Lucas Vrancx, Sebastiaen
101 287 129 124 229 77 221 324 110 100
W Walmsley, Thomas Webb, James Wells, George Whaite, James Wheatley RA, Francis Wheatley RA, Francis Wheelhouse, Mary V. Wheelwright, William Henry Wilkie RA, Sir David William Lionel Wyllie Williams, George Augustus Williams, Walter Wilson Woollett, William Woolnough, R C Y Young, Alexander
194, 195 217 283 333 182 187, 188 337 82 202, 203 328 263 298 304 169 60 323
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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.
2.
‘Attributed to Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, probably a work by the artist.
3.
‘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.
4.
‘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.
5.
‘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.
6
‘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.
7.
‘Flemish School, 17th century’ * In our opinion, a work executed during this period and in the style associated with that location.
8.
‘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.
9.
‘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 360
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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 Bill Forrest Associate Director Head of Department Asian Arts billforrest@roseberys.co.uk Helena Anderson Associate Specialist Modern & Contemporary British Art helenaanderson@roseberys.co.uk Alice Bailey Head of Department Islamic & Indian Arts alicebailey@roseberys.co.uk Fiona Baker Head of Department 20th Century & Decorative Arts fionabaker@roseberys.co.uk Mark Bowis FGA DGA FSA Head of Department Jewellery & Watches markbowis@roseberys.co.uk Nigel Dawson-Ellis Junior Cataloguer Furniture & 20th Century Design nigeldawsonellis@roseberys.co.uk Anna Evans Consultant Specialist Works of Art annaevans@roseberys.co.uk Sophie Hetherton Junior Cataloguer & Departmental Assistant Paintings & Prints sophiehetherton@roseberys.co.uk
Roseberys London Main London Saleroom 70/76 Knights Hill London, SE27 0JD
Sam Howard Administrator Asian, Islamic & Indian Arts samhoward@roseberys.co.uk
Complimentary valuations Monday to Friday: 9.30am to 5.00pm
Tess O’Brien Specialist Impressionist, Modern, Post War and Contemporary Art tessobrien@roseberys.co.uk
+44 (0) 20 8761 2522 clientservices@roseberys.co.uk
Kate Pritchard Cataloguer & Valuer Paintings & Prints, Modern & Contemporary Art katepritchard@roseberys.co.uk
Central London OfďŹ ce Valuations by appointment.
Alex Tonkinson Consultant Specialist Modern Design alextonkinson@roseberys.co.uk
Please call us on +44 (0) 20 8761 2522 or email our Professional Services department at valuations@roseberys.co.uk to book your complimentary valuation.
Elizabeth Wormald Cataloguing Assistant & Administrator Prints & Multiples / Japanese Arts elizabethwormald@roseberys.co.uk
Lot 79
Mark Longley Specialist Ceramics & Glass, Works of Art & Collectables marklongley@roseberys.co.uk
Shane Xu Head of Department Modern & Contemporary Prints & Multiples shanexu@roseberys.co.uk Geoff Young FGA DGA Senior Consultant Jewellery geoffyoung@roseberys.co.uk
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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.
4.
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.
5.
Value Added Tax. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged
at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to “Information for Buyers” for a brief explanation of the VAT position). 6.
Payment
(1) (a) (b)
Immediately a Lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in cash, debit, credit card or bank transfer or in such other way as is agreed by us. Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.
(2)
7.
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 “information to buyers�. 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:
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SUBSCRIPTION OPTIONS Auction Title
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Design: Decorative Arts 1860 to Present Day
3
£37.50
£45
£52.50
Chinese, Japanese & South East Asian Art
2
£25
£30
£35
Impressionist, Modern, Post-War & Contemporary Art
2
£25
£30
£35
Fine & Decorative
3
£37.50
£45
£52.50
Islamic & Indian Arts/ Art of India
3
£37.50
£45
£52.50
Jewellery & Watches
3
£37.50
£45
£52.50
Modern & Contemporary British Art
2
£25
£30
£35
Modern & Contemporary Prints
2
£25
£30
£35
Print & Multiples
2
£25
£30
£35
Old Master, 18th & 19th Century Pictures
3
£37.50
£45
£52.50
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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:
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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:
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GBP £ bid price excluding premium
Lot number
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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.
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AUCTION CALENDAR 2020 March
June
Jewellery & Watches Tuesday 24 March
Traditional & Modern Home Saturday 6 June
Old Master, 18th & 19th Century Pictures Wednesday 25 March
Modern & Contemporary British Art Tuesday 16 June
Fine & Decorative Thursday 26 March
Arts of India Wednesday 17 June
April Islamic Art & Manuscripts Friday 3 April Traditional & Modern Home Saturday 25 April
Impressionist, Modern, Post War & Contemporary Art Tuesday 30 June July
May
Design : Decorative Arts 1860 to the Present Day Wednesday 1 July
Prints & Multiples Tuesday 5 May
Jewellery & Watches Tuesday 14 July
Chinese, Japanese & South East Asian Tuesday 19 May
Old Master, 18th & 19th Century Pictures Wednesday 15 July Fine & Decorative Thursday 16 July
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