Old Master, British and European Art 25 June 2024

& EUROPEAN ART

Tuesday 25 June 2024 at 10am

OLD MASTER, BRITISH & EUROPEAN ART

TUESDAY 25 JUNE, 10AM

Lots 1-75 Old Master

Lots 76-80 Still Life

Lots 81-93 18th Century

Lots 94-161 Miniatures and Portraiture

Lots 162-314 19th Century

Lots 315-333 Marine

Lots 334-383 20th Century

Lots 384-461 Sporting Art and Wildlife

VIEWING

Viewing will be held at our Stansted Mountfitchet Saleroom as follows:

Friday 21 June 10am-4pm

Sunday 23 June 10am-1pm

Monday 24 June 10am-4pm

BIDDING

IN ROOM Attend the live auction in person ONLINE Bid live at www.sworder.co.uk (0% surcharge)

SWORDERS’ DELIVERY SERVICE

Sworders offer a delivery service for item(s) purchased. Please see our website for further details.

CONTACT T 01279 817778 E pictures@sworder.co.uk

Amy Scanlon Head of Department Pictures Marianne Richardson Cataloguer

Zimeng Li Picture Department Assistant

Andrew Bowyer Sale Consultant

Lot 1

Attributed to George Gower (c.1540-1596)

Portrait of a lady, said to be Lady Arabella Stuart, daughter of Charles, 5th Earl of Lennox, half-length, in a richly embroidered and bejewelled dress with a white lace ruff oil on canvas

64 x 53cm, in an Italian carved giltwood frame

£30,000 - 40,000

Provenance: The Savile family, Rufford Abbey, Nottingham, their sale, Christie’s, 18 November 1938, lot 153 (as by Zuccaro); Sotheby’s, London, ‘British Paintings, 1500-1850’, 8 November 1995, lot 20.

Exhibited: National Exhibition of Works of Art, Leeds, 1868.

George Gower (c.1540-1596) is a painter about whose personal life we know little, but whose professional status as Serjeant Painter to Queen Elizabeth I granted him access to many noble personages of his day. He is notable for his use of complex symbolism, as in his self-portrait where a painter’s tools outweigh his coat of arms in a balance, or in the portrait of Elizabeth I in which she is represented with a sieve in reference to Tuccia, a virginal figure from antiquity.

In this portrait, said to be of Lady Arabella Stuart, one piece of many amongst her jewellery stands out as peculiar. The pendant earring she wears is not a simple pearl, as might be expected, but is rather a device composed of interlocking triangles, closely resembling the Seal of Solomon or Star of David. Such a device also appears in the gold necklace worn by the 23-month-old Arabella in the Hardwick Hall portrait of her. In this portrait of the very young Arabella, she holds a doll which the National Trust argues bears a strong resemblance to Elizabeth I, the then-Queen. Henry VIII, Edward VI, Elizabeth I and James VI/I were often tied to Solomon, including explicitly in speeches given by the monarchs, in contemporary writing, in portraiture and in court masques.

After the rupture from the Catholic Church, English monarchs sought to underline their status as Solomonic antitypes in an effort to consolidate their ecclesiastical authority. The line in 2 Chronicles 9:8, ‘Blessed be the Lord they God, which loued thee, to set thee on his throne as King, in the steade of the Lorde thy God’, was oft-quoted as an assurance that a monarch could be the direct representation of God on earth, as is brilliantly explored in Victoria Brownlee’s ‘Biblical Readings and Literary Writings in Early Modern England, 1558-1625’.

No such literature exists to tie Arabella herself to these traditions, and yet we find this politically charged symbol in two portraits of the young woman. If Solomon is taken as a symbol of a powerful, unifying ruler in a time of some tumult, then Arabella’s association with him through this symbol might be taken as her assertions towards the throne. She stood to inherit, as James VI did, though she was not chosen. The presence of the symbol in this portrait seems to reinforce the status of its sitter as a hopeful for the throne, and thus to tie it more directly to Lady Arabella.

Molly Gearen, Picture Department Intern

Lot 2

Attributed to Sir William Segar (fl.1588-1633)

Portrait of Gilbert Talbot, 7th Earl of Shrewsbury, three-quarter-length, in a grey and white striped doublet with white ruff, and a black cape and black hat inscribed ‘ANNO:1596:/AETAT:SUAE/:43:’, oil on panel

112 x 77cm

£15,000 - 20,000

Provenance: Sotheby’s London, ‘British Paintings,1500-1850’, 9 April 1997, lot 6.

Lot 3

Attributed to Sir William Segar (fl.1588-1633)

Portrait of a lady, said to be Anne of Hardwick, half-length, in a black and grey bejewelled dress and a white lace ruff, holding a glove in her left hand and a flower in her right hand inscribed ‘AETATIS SUAE 22/ANo 1588’ u.r., oil on panel

90 x 73cm

£15,000 - 20,000

Provenance: Evans Collection, Sandbach, Cheshire; with Lane Fine Art, London; Sotheby’s London, ‘British Paintings,1500-1850’, 9 April 1997, lot 11.

Lot 4

Dutch School, 16th century

Portrait of a young man, half-length seated, in a black coat with a white ruff inscribed ‘AE TATIS. ZZ/1579’ u.r., with a coat of arms u.l., oil on panel

93 x 72cm

£6,000 - 8,000

Provenance: Arthur Granville Soames, Sheffield Park, Sussex; Sotheby’s, Sale of the Contents of Sheffield Park, March 1954.

There is a handwritten note on House of Commons headed paper from the Right Hon. Alan Lennox-Boyd MP, dated Christmas 1985, attached verso. A second note states that the work was no.379 at the sale of Sheffield Park in March 1954.

Manner of Sir Anthony van Dyck

Portrait of King Charles I and Queen Henrietta Maria, bust-length in a painted stone surround oil on canvas

67 x 81cm

£1,500 - 2,000

Lot 6

After Sir Anthony van Dyck

Portrait of Sir Kenelm Digby, bust-length in black oil on canvas

60 x 51cm

£400 - 600

Lot 5

Lot 7

Circle of Francisco Ribalta (Spanish, 1565-1628)

Portrait of a knight, three-quarter-length in black, standing at a table, his right hand resting on a book oil on canvas

133 x 95cm, unframed

£1,000 - 1,500

Provenance: Christie’s, South Kensington, 11 March 1993, lot 175; Mr Evan & Mrs Patricia Steadman - Mr Steadman was the former organiser of The Grosvenor House Antiques Fair.

£1,000 - 1,500 8 7

Lot 8

Manner of Nicolas de Neufchâtel

Portrait of a man, bust-length, in a black coat and holding a book oil on canvas

61 x 51cm, unframed

Portrait of a lady, three-quarter-length seated, in a gold dress, her young daughter in a white dress, standing at her knee oil on canvas

127 x 102cm, in a carved giltwood Lely frame

£5,000 - 7,000

Lot 9

Circle of Sir Peter Lely (1618-1680)

Lot 10

After Sir Peter Lely

Portrait of Oliver Cromwell (1599-1658), bust-length in armour, in a painted stone cartouche

oil on canvas

73 x 61cm

£500 - 700

Lot 11

Flemish School, early 17th century

Portrait of a gentleman, head and shoulders, in black with a lace collar oil on canvas

43 x 35cm

£600 - 800

Lot 12

Dutch School, 17th century

Portrait of a boy, half-length in a white shirt and red cloak oil on canvas, oval

72 x 59.5cm

£600 - 800

Provenance: Christie’s, 26 March 1902, lot 44, as ‘Boy in Red Cloak’.

Lot 13

Circle of Thomas Murray (1663-1715)

Portrait of a young lady, said to be Lucy Whalley, three-quarter-length, in a blue dress oil on canvas

94 x 79cm

£1,500 - 2,000

Lot 14

Follower of Sir Peter Lely

Portrait of a young lady, previously identified as Louise de Kérouaille, Duchess of Portsmouth, half-length in a white dress and yellow wrap oil on canvas

76 x 64cm

£600 - 800

Lot 15

Dutch School, 17th century

Portrait of a lady, bust-length, in a white lace ruff and headdress oil on canvas

61 x 49cm

£400 - 600

Lot 16

Manner of Rembrandt

Portrait of an old woman, bust-length in profile, in a black woollen hat and white shawl oil on panel

55 x 45.5cm

£600 - 800

Lot 17

After Balthasar Denner

Portrait of an old lady, bust-length, in a headscarf oil on canvas

40 x 30cm

£400 - 600

Lot 18

English School, 17th century

Portrait of a cleric, half-length, in clerical robes oil on canvas

77 x 62.5cm

£300 - 500

Lot 19

Follower of Nicolas de Largillière

Portrait of a young lady, half-length in a gold-embroidered red dress and blue wrap; Portrait of a young lady, half-length in a white dress and blue wrap

a pair, oil on canvas laid on panel, oval

39.5 x 32cm, in ornate 19th-century gilt gesso frames (2)

£800 - 1,200

Lot 20

Circle of Philippe Mercier (French, 1689-1760)

Portrait of a young child, full-length standing, in a white dress, with a dog and drum beside a pillar oil on canvas

86.5 x 124.5cm

£3,000 - 5,000

Provenance: Anon. sale, Christie’s, 11 Jun 2002, lot 14.

Lot 21

Nicolaes Maes (Dutch, 1634-1693)

Portrait of a young gentleman, half-length, in a gold embroidered coat, lace stock and red mantle, his left hand resting on a pedestal;

Portrait of a lady, half-length, in a gold-embroidered white dress and blue wrap a pair, both signed ‘Maes’, oil on canvas

48 x 37cm (2)

£8,000 - 12,000

Provenance: Ann Page Croft, née Page, of Fanhams Hall, Ware, Hertfordshire. She started enlarging the house in the 1890s, and to that end, she purchased the contents of a palace in the Hague which was being demolished. There is no record of whether the portraits were acquired then or on another of her trips to Holland; thence by descent.

Nicolas Maes, a Dutch Golden Age painter, is celebrated for his masterful portraits that capture the subtleties of human expression and character. A pupil of Rembrandt, Maes initially gained acclaim for his intimate domestic scenes, capturing everyday life with warmth and subtlety. In the 1660s, he began to devote himself to small-scale, detailed portraiture, marking a significant shift in his artistic focus. His portraits are distinguished by their intimate realism and attention to detail, often portraying middle-class individuals with a dignified, yet approachable air. Maes’ work reflects a profound understanding of his sitters’ personalities, blending technical prowess with psychological insight. His prolific output during the second half of the 17th century enriched Dutch portrait painting, and his works have continued to be admired since.

Lot 22

Giovanni Pettovelli (Italian, 17th century)

A design, possibly for a casket - the central panel depicting a stag hunt, the flanking shaped panels displaying the Labours of Hercules, a bacchanalian procession and Poseidon in his chariot signed and dated ‘Gio. Pettovelli 1672’, pen and brown ink image 33 x 49.2cm

£1,500 - 2,500

Possibly commissioned by the patron to show himself fighting a doe, as in the Ceryneian Hind from the Labours of Hercules.

Lot 23

Italian School, 17th century

Priests in an interior pen and ink and grey wash 14 x 9cm

£300 - 400

Lot 24

Follower of Adam Frans van der Meulen

A stable boy with two horses pencil

11.5 x 16.5cm, unframed

£200 - 300

Lot 26

North Italian School, 17th century

A female figure restraining her lover red chalk

14 x 19.5cm

£200 - 300

Charles-Nicolas Cochin (French, 1715-1790)

Venus surrounded by putti signed ‘Cochin…’ l.l., pencil

7 x 13cm

£300 - 500

Lot 27

Karl Gustav Klingstedt (Swedish, 1657-1734)

Venus and Cupid

pen and ink and brown wash, circular 7.2cm diameter

£300 - 400

Lot 25

Lot 28

Conrad Martin Metz (German, 1749-1827)

The death of Florine of Burgundy signed and dated ‘C. Metz/1813’ l.r., pen and ink, bodycolour and wash

56 x 70cm

£600 - 800

Lot 29

Adrian Zingg (Swiss, 1734-1816)

Houses in a village signed, indistinctly inscribed and dated ‘Zingg F Nach…1793’, pen and ink and grey washes

35 x 47.5cm, unframed

£600 - 800

Provenance: J Kuderna (Lugt, suppl, 1626a).

Lot 30

Continental School, c.1800

Figures and sheep by classical ruins pencil, pen and ink

47 x 61cm

£200 - 300

Lot 31

North Italian School, 16th century

The nursing Madonna tempera on panel

104 x 46cm

£2,000 - 3,000

Lot 32

After Raphael

The Madonna della Sedia oil on canvas, painted oval

95 x 76cm

£600 - 800

Lot 33

Manner of Fra Angelico

Angel

oil and gold paint on canvas, within a gilt border, arched top

67 x 35.5cm

£300 - 500

Lot 34

After Vittore Carpaccio

A boy playing a lute

signed ‘A. Bedini’ l.r., oil on canvas and another painting by Bedini of an angel tuning a lute

42 x 32.5cm, framed as a pair (2)

£300 - 500

Provenance: Her Grace Anne Duchess of Westminster and members of the Grosvenor Family; Christie’s, 23 November 2004, lot 590.

Lot 35

After Jacopo da Carucci Pontormo ‘The Ten Thousand Martyrs’ (detail) oil on panel

97 x 82cm, in a 17th-century Italian carved giltwood frame

£3,000 - 4,000

Lot 36

Lombard School, 15th century

The Madonna in prayer, from the Visitation oil on panel, arched top 78 x 37cm, in a Renaissance-style carved giltwood frame

£1,000 - 1,500

The reverse of the frame is inscribed ‘Proveniente dall’antica collezione del principe Don Prospero Lancilotti di Sirignano (Napoli)’.

After Raphael

The Madonna della Sedia oil on canvas, painted circle 36cm diameter, in an ornate 19th-century Florentine giltwood frame

£600 - 800

Provenance: The collection of the late Sir Donald Cory.

Lot 37

Lot 38

After Titian

The Venus of Urbino oil on canvas

118 x 170cm, unframed

£3,000 - 5,000

After the original in the Uffizi Gallery, Florence.

Lot 39

A Galeotti (19th century), after Paolo Veronese

The infant St John the Baptist signed ‘A Galeotti’ l.l., watercolour

32 x 21cm, in a fine 19th-century gilt gesso frame

£300 - 500

The present lot shows a single figure from ‘Madonna Enthroned with Saints’, c.1562.

Lot 40

Circle of Sir James Thornhill (1675-1734)

Allegory of Painting oil on canvas

36 x 59.5cm, mounted in a mid-18th-century carved giltwood Chippendale frame incorporating a lunette-shaped mirror

£1,000 - 1,500

Lot 41

After Carlo Cignani Madonna and Child oil on canvas

46 x 34cm, in a 19th-century Italian carved giltwood frame

£600 - 800

After the original in the Uffizi Gallery, Florence.

Lot 42

After Guido Reni

Mary Magdalene in prayer; A Sybil a pair, oil on board, oval

22 x 17.5cm (2)

£300 - 500

Provenance: inscribed ‘Galleria Metzger/ Piazza d’Ognissanti/ 3424 Firenze’ verso.

Spanish Colonial School, 17th/18th century

‘I Sleep but my Heart Watches’ - the Christ Child sleeping on the Cross inscribed ‘EGO DORMIO ETCOR MEVM VIGILAT’ l.c., oil on canvas

62 x 83cm

£1,500 - 2,000

Lot 44

Italian School, 17th century

Christ appearing in a vision to Saint Catherine of Siena oil on canvas

123 x 96cm, unframed

£1,000 - 1,500

Lot 43

Lot 45

After Bartolomé Esteban Murillo

‘The Heavenly and Earthly Trinities’ oil on canvas

79 x 68cm, unframed

£500 - 700

Lot 46

After Bartolomé Esteban Murillo

Saint Francis embracing Christ on the Cross oil on canvas

78 x 54cm, unframed

£400 - 600

A copy of the original in the Museum of Fine Arts, Seville.

Lot 47

Genoese School, 17th century

The banishment of Hagar and Ishmael oil on canvas, oval

136 x 156cm

£1,000 - 1,500

dressing Jacob in

garments signed with monogram and dated ‘1630’ l.r., oil on canvas

146 x 116cm

£4,000 - 6,000

Lot 48

Florentine School, 1630

Rebecca

Esau’s

Lot 49

Louis Pisani (Italian, late 19th century), after Raphael Self-portrait (detail);

The Madonna del Cardellino (detail) a pair, both signed and inscribed verso, oil on board, oval

21.5 x 17cm and 22.5 x 18cm respectively, in the original Florentine carved giltwood frames (2)

£400 - 600

Provenance: The collection of the late Sir Donald Cory.

Lot 50

After Raphael

The Madonna della Sedia painted circle, oil on canvas

31.5cm diameter, in an ornate 19th-century gilt gesso frame

£400 - 600

Lot 51

Italian School, 17th century

Christ at the house of Mary and Martha, an ornamental garden beyond, with a painted coat of arms oil on canvas

82 x 143cm

£600 - 800

Lot 52

Italian School, 17th century

A portrait of a philosopher in his study oil on canvas

75 x 64cm, in a carved giltwood frame

£400 - 600

Lot 53

Follower of Sir Godfrey Kneller ‘Caritas Romana’ (Christian Charity) oil on canvas

81 x 66cm

£400 - 600

Lot 54

Circle of Carle-André van Loo (French, 1705-1765)

Children playing a game of pick-up-sticks oil on canvas

82 x 64cm

£1,000 - 1,500

Lot 55

Eastern European School, 19th century

The Baptism of Christ; verso the Crucifixion oil on panel of cruciform shape, in an integrated frame carved at the intersection with a gilt sunburst

83cm wide

123cm high, overall

£1,500 - 2,000

Provenance: Dr Michael Waistell Cowan (1830-1903); Surgeon Vice-Admiral Sir James Porter (1851-1935) and Lady Porter, Cowan’s daughter; thence by descent.

Dr Michael Waistell Cowan, Inspector-General of Hospitals and Fleets, and Fleet Surgeon in the Royal Navy during the Crimean War, 1854-55, served on the flagship HMS Agamemnon, under Admiral Lord Lyons. He was ordered to take charge of the Russian wounded, at the age of twenty-four, after the landings at Kerch on 25 May 1855. These landings were unopposed and the troops under General Sir George Brown marched from the landing at Kerch and on to Yenikale. In the collections of the National Museum of Scotland there is a half-relief carving in wood of a crown or coronet, brought back from Kerch, Crimea, and given to the collection by the descendants of Dr Michael Waistell Cowan. Reference A.1994.566.

56

Attributed to Alessandro Piazza (Italian, 1652/65-1727)

A religious festival in St Peter’s Square, Rome, with the Pope carried by bearers and a procession of bishops, other clerics, soldiers and courtiers oil on canvas

121 x 171cm, in a 19th-century Italian carved giltwood frame

£10,000 - 15,000

Lot

Lot 57

Follower of Sir Peter Paul Rubens Bacchus; A satyr a pair, oil on panel

16 x 14.5cm (2)

£1,500 - 2,000

Lot 58

Spanish Colonial School, 17th century

St Jerome oil on canvas, with a painted border of flowers

82 x 58.5cm, in a foliate carved frame

£600 - 800

Lot 59

Charles Amand Durand (French, 1831-1905)

Six etchings to include, After Albrecht Dürer

Jesus Christ expirant sur la Croix etching, with Durand monogram stamp verso sheet 15.5 x 10.5cm; After Rembrandt Van Rijn

Saint Jerome ecrivant etching, with Durand monogram stamp verso sheet 19 x 14cm;

Les Chaumieres pres du canal etching, with Durand monogram stamp verso plate 16.5 x 22cm;

Le Marchand de mort aux rats etching

sheet 15 x 12.5cm;

Le Cochon etching

sheet 14.5 x 18.5cm; After Francesco Goya

Le Supplice du Garrot etching, with Durand monogram stamp verso 31.5 x 21cm, all unframed (6)

£200 - 300

Lot 60

Flemish School, early 17th century

An allegory of Vice and Virtue indistinctly inscribed in old German verso, oil on copper 18 x 17.5cm

£800 - 1,200

59 part lot

Lot 61

Dutch School, 19th century

A winter landscape with skaters painted ivory

7.7 x 11.6cm

£300 - 400

Lot 62

Aert van der Neer (Dutch, 1603-1677)

A river landscape at sunset with fishermen in the foreground oil on canvas

35.5 x 39cm

£3,000 - 5,000

Provenance: Baron von Konigswarter, Vienna; Auction, Schulte, Berlin, 20 Nov 1906 lot 603 (4100 Mark); Frederik Muller, Amsterdam, 1906, no. 8, ill.; Jacques Goudstikker, Amsterdam, 1906; Sale, Vienna, 11 March 1907, lot 34, ill.; Sale, London, 16 March, 1907, lot 22; Lord and Lady Moser, London.

Exhibited: Amsterdam, 1906, no. 91; Berlin, 1906, no. 127, ill.

Literature: Cornelis Hofstede der Groot, ‘A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century’, based on the work of John Smith, volume 7, no.131, pp.395-396; Wolfgang Schulz, ‘Aert van der Neer: Life and Work, with a Catalogue Raisonné of the Paintings and Drawings’, Davaco, 2002, cat. no. 764, as ‘River landscape at sunset with evening red’.

63

School of Fontainebleau, 17th century

Venus and putti with a basket of flowers in a woodland setting oil on panel

26 x 31.5cm

£2,000 - 3,000

The Second School of Fontainebleau, flourishing in late 16th-century France, represents a pivotal moment in art history, blending French elegance with Italian Mannerism. Renowned for their intricate compositions and refined aesthetics, these paintings exude an ethereal beauty characterised by a fusion of naturalistic details with idealised forms, sophisticated ornamentation and vibrant colour palettes.

Lot 64

Manner of Jasper van der Lanen

A wooded landscape with figures resting near a lake oil on canvas

50 x 77cm

£400 - 600

Lot

Lot 65

Attributed to Dirck Hals (Dutch, 1591-1656)

Portrait of an officer in militia uniform, half-length seated, holding a clay pipe dated ‘1642’ l.r., oil on panel

22 x 17cm

£1,500 - 2,000

Lot 66

After Frans van Mieris the Elder

A man and a woman enjoying a meal of oysters oil on canvas

31.5 x 26.5cm

£400 - 600

Provenance: The collection of the late Sir Donald Cory.

Lot 67

Circle of Joos van Craesbeeck (Flemish, c.1605-1660)

Figures smoking in a tavern interior oil on canvas

52 x 40cm

£400 - 600

Manner of Jan Frans Soolmaker

An Italianate river landscape, with figures tending sheep and goats by classical ruins oil on canvas

53.5 x 89cm

£1,000 - 1,500

Lot 69

Attributed to Pieter de Molijn (1595-1661)

An open landscape with horsemen and figures resting near a cottage indistinctly signed l.r., oil on panel

40 x 59.5cm

£800 - 1,200

Lot 70

Follower of Jacob van Ruisdael

A landscape with three figures on a path oil on canvas

34 x 40.5cm, unframed

£600 - 800

Lot 68

Lot 71

Flemish School, 18th century

Christ Crowned with Thorns oil on canvas

26 x 20cm

£300 - 500

Provenance: The collection of the late Sir Donald Cory.

Lot 72

Flemish School, 17th century

‘The Satyr and the Peasant’, from Aesop’s Fables

with a collector’s stamp for Etienne Deperet (1804-1895) Lugt 721 l.r., and another indistinct stamp l.l., watercolour

23 x 29cm

£250 - 350

Lot 73

Flemish School, early 17th century

Saint Mathew and the Devil inscribed ‘S. MATHEW’ u.l., oil on panel

59 x 43cm

£300 - 500

74

Flemish School, 18th century Christ at the house of Martha and Mary, a park with birds and animals beyond oil on canvas

71 x 104.5cm, unframed

£800 - 1,200

This painting is loosely based on a composition by Jan Brueghel the Younger and his studio.

Lot 75

Petrus Kiers (Dutch, 1807-1875)

A young women selling eggs by the light of a lantern signed and dated ‘P. Kiers fect/1850’, oil on panel

40 x 32cm

£800 - 1,200

Lot

Lot 76

Dutch School, 19th century

A still life of summer flowers in an ornate vase on a stone ledge oil on panel

61 x 48cm

£800 - 1,200

Lot 77

Alfred Frederick William Hayward (1856-1939) Chrysanthemums signed ‘A F W Hayward’ l.r., dated ‘1935’ on a label verso, oil on canvas

56 x 43cm

£600 - 800

Provenance: The Fine Art Society, London.

Lot 78

H… M… (19th century)

A still life of poppies in an ornamental vase on a wooden ledge signed with initials and dated ‘1889’ l.l., oil on canvas

77 x 64cm, in a carved giltwood frame

£300 - 500

Lot 79

Studio of Miguel Canals (Spanish, 1925-1995)

Birds and cherries

with studio stamp on stretcher verso, oil on canvas

30 x 50cm, in a painted frame

£1,000 - 1,500

Lot 80

Gaspar Peeter de Verbruggen the Younger (Flemish, 1664-1730)

A still life of flowers around an ornamental vase on a pedestal

signed and dated ‘Gasper Pedro Verbruggen 1695’ l.r., oil on canvas

120 x 79cm

£3,000 - 5,000

Attributed to Angelica Kauffman (Swiss, 1740-1807)

Venus and Cupid pen and ink and wash, circular 15cm diameter, unframed, with Robert Witt collection stamp on mount (Lugt 2228b)

A similar drawing, depicting Venus, Cupid and Psyche with two female attendants, is in the Courtauld Gallery, London.

After Angelica Kauffman

‘Beauty Directed by Prudence’ oil on canvas, painted tondo

Lot 83

Spanish School, 18th century

The Presentation of the Young Blessed Virgin Mary to the High Priest of the Temple oil on tin

15.5 x 12cm, together with a modern stand (2)

£200 - 300

Provenance: Sworders, ‘The Jan Finch Collection’, 9 November 2022, lot 257.

Lot 84

Manner of Amos Green

View of the Bristol Area; Over the Hotwicks, Bristol; The River Sid; The River Sid a group of four, watercolour

20.5 x 26cm and similar (4)

£200 - 400

Provenance: With the Church Street Gallery, Saffron Walden.

Lot 85

After François Boucher

Diana leaving her bath oil on canvas, oval

60 x 72cm

£1,000 - 1,500

Provenance: The collection of the late Sir Donald Cory.

Lot 86

Circle of George Chinnery (1774-1852)

Figures with a sampan near a shrine in a wooded landscape oil on canvas

29 x 23.5cm

£300 - 500

Lot 87

Richard Westall RA (1765-1836)

The young David and King Saul oil on canvas

72 x 52cm

£1,000 - 1,500

Lot 88

Giacomo Guardi (Italian, 1764-1835)

‘Veduta del Ponte di Rialto’; ‘Veduta della Piazza di San Marco’

a pair, both signed and inscribed in brown ink verso and numbered ‘II’ and ‘III’ respectively, gouache on blue paper

13.5 x 24.5cm (2)

£4,000 - 6,000

Giacomo Guardi was a prominent Venetian painter known for his exquisite vedute, or cityscapes, which captured the essence of Venice during the late 18th and early 19th centuries. The son of the celebrated Francesco Guardi, he inherited not only his father’s artistic talent, but also a deep appreciation of the uniqueness of the city.

Guardi’s popularity during his lifetime stemmed from his ability to convey the ephemeral beauty of Venice. His works - typically landmarks such as the Grand Canal, the Rialto Bridge and St Mark’s Square - were cherished by both locals and travellers who sought to take home a piece of the city’s magic. His meticulous attention to detail and his mastery of light and shadow allowed him to create scenes that were both realistic and evocative.

One of the distinctive aspects of Guardi’s work was his choice of medium, particularly his use of blue paper. This was both a stylistic and a practical preference. Blue paper provided a neutral yet luminous background that enhanced the vibrancy of the colours applied over it. It allowed Guardi to achieve a particular atmospheric effect, capturing the ethereal quality of Venetian light and the shimmering reflections on the city’s waterways. The blue paper also facilitated quicker sketches, which was advantageous for capturing fleeting moments and scenes in a bustling city. The paper’s texture added depth and richness to his drawings, creating a unique interplay between the paper and the pigments. This technique became a hallmark of Guardi’s work, setting him apart from his contemporaries and contributing to his enduring legacy.

Lot 89

Italian School, early 18th century

‘Voi Che State A Osservar Questo Quadrato Dite Chi Di

Costoro E’ In Meglio Stato’;

‘Voi Che State A Osservar Questo Quadrato Dite Chi Di

Costoro E’ In Peggio Stato’

a pair, each with four panels, three in each painting depicting animals and birds fighting, the fourth with a young man drinking and eating in the former, a young man being questioned by lawyers in the latter, oil on canvas

86 x 71cm (2)

£2,000 - 3,000

Lot 90

Follower of Francesco Zuccarelli

A mountainous landscape with figures near a waterfall; A mountainous landscape with figures by a pool and a distant village a pair, oil on canvas

77 x 64cm, in carved giltwood Maratta frames (2)

£1,500 - 2,000

90 x 120cm

£1,500 - 2,000

Provenance: Bonhams Knightsbridge, 23 October 2012, lot 157.

Lot 91

After Canaletto

The Bucintoro returning to the Molo on Ascension Day oil on canvas

Lot 92

English School, 18th century

A tailor indistinctly inscribed ‘a Taylor of the First…a York Mil’, pen and ink and watercolour

21 x 18.5cm

£200 - 300

Provenance: The Estate of Christopher Bangs.

Lot 93

Thomas Rowlandson (1756-1827)

‘Miseries of London’ hand-coloured etching, published by R Ackerman, 1807; 25.5 x 36cm, visible and two others:

‘The Light Horse Volunteers of London and Westminster’, hand-coloured etching and aquatint, published H Amelo, 1798

image 31 x 43.5cm;

‘St Valentine’s Day or John Bull Intercepting a Letter to his Wife’, hand-coloured etching, published by Thomas Tegg, 1809

image 32 x 22cm (3)

£250 - 350

Lot 94

Follower of Frans Pourbus the Younger

Portrait of a young noblewoman, head and shoulders, in an elaborate dress with a white lace ruff oil on copper, oval

4.5 x 3.5cm, in a 19th-century ormolu frame, cast with ribbon-tied garlands

£500 - 800

Lot 95

Circle of Gonzales Coques (Flemish, c.1614-1684)

Portrait of a young gentleman, bust-length, in a striped doublet with a lace ruff oil on copper, oval

4 x 3.5cm, in a 19th-century gilt-metal frame

£300 - 500

Lot 96

Dutch School, 17th century

Portrait of a young man, bust-length, in black with a white lace collar oil on copper, oval

6 x 4.7cm

£300 - 500

Lot 97

French School, 17th century

Portrait of St Francis de Sales, bust-length, in grey robes oil on copper, with a stamp of a monstrance verso, oval 17 x 13cm

£300 - 400

Lot 98

Italian School, 17th century

St Clare of Assisi; St Francis of Assisi a pair, oil on copper, oval 9 x 7cm, in carved gilt frames (2)

£400 - 600

Lot 99

Flemish School, 17th century

Portrait of a young man, bust-length, in black indistinctly inscribed verso, oil on copper, oval

5.8 x 4.2cm

£600 - 800

Lot 100

Italian School, 17th century

The Mother of God with the Infant Jesus oil on copper, oval

8 x 6.5cm, framed with a damask background

£200 - 300

Lot 101

North Italian School, 17th century

Portrait of a young man, half-length, in a black doublet oil on copper, oval

11.7 x 9.3cm, framed against a damask background

£200 - 300

Lot 102

Follower of William Hogarth

Portrait of a gentleman, bust-length, in a blue coat

miniature on copper, oval

4.5 x 4cm

£300 - 500

Peter Lely

Portrait of a young gentleman, bust-length, in armour miniature on vellum, oval

Lot 104

English School, late 17th century

Portrait of a lady, bust-length, in a lace dress with a pearl necklace oil on copper, oval

5.4 x 4.6cm

£200 - 300

Lot 105

Nathaniel Hone RA (Irish, 1718-1784)

Portrait of a gentleman, bust-length, in a blue and gold-embroidered coat signed with monogram and dated ‘1749’, miniature on ivory, oval

4 x 3.5cm

£800 - 1,000

Lot 106

Christian Friedrich Zincke (German, c.1683-1767)

Portrait of Sir J Bernard, bust-length, in a blue coat

miniature on ivory, oval

4.8 x 4cm

£800 - 1,200

Christian Friedrich Zincke was a renowned German miniature painter. Trained under the guidance of his father, and later under influential artists such as Boit, Zincke established himself as a prominent figure in 18th-century portraiture after moving to England. One of his most notable contributions to the art world was his exceptional use of the colour blue. He developed a distinctive palette that brought vibrancy and depth to his miniatures, setting them apart from his contemporaries. His blue hues, rich and luminous, were particularly admired for their clarity and intensity, adding a lifelike quality to his subjects’ eyes and garments. Zincke’s innovative techniques and his keen eye for colour nuances not only earned him patronage from the British aristocracy, including members of the royal family, but also established his legacy as a pivotal figure in the evolution of miniature painting.

Lot 107

Christian Friedrich Zincke (German, c.1683-1767)

Portrait of Sir John Dryden, 7th Baronet Dryden of Canons Ashby (1704-1770), bust-length, in a blue coat

miniature (enamel), oval

4.5 x 3.5cm

£600 - 800

Lot 108

Circle of John Smart (1741-1811)

Portrait of a gentleman, bust-length, in a red coat, cream embroidered waistcoat and white stock

miniature on ivory, oval

3.5 x 3cm

£600 - 800

Lot 109

Circle of John Smart (1741-1811)

Portrait of a gentleman, bust-length, in a pale grey coat with striped green edging miniature on ivory, oval

4.2 x 3.5cm

£300 - 500

Lot 110

Circle of Richard Cosway (1742-1821)

Portrait of a young lady, bust-length, in a white dress

miniature on ivory, oval

7.5 x 5.9cm

£400 - 600

Lot 111

Circle of Samuel Shelley (1750-1808)

Portrait of John Blackley, bust-length, in a blue coat

miniature on ivory, oval, inscribed verso

7.6 x 6cm; and another, English School, c.1830

Portrait of John Smith Esq., half-length, in a black coat

miniature on ivory

8.5 x 7cm (2)

£200 - 300

Lot 112

English School, c.1780

Portrait of a gentleman, bust-length, in a green coat miniature on ivory, oval

4.6 x 3.7cm

£300 - 500

Lot 113

Horace Hone (1754-1825)

Portrait of a lady, half-length, in a blue and white dress signed with monogram and dated ‘1795’, miniature on ivory, oval

5.3 x 4.2cm

£400 - 600

Lot 114

Circle of Andrew Plimer (1763-1837)

Portrait of a young man, bust-length, in a dark grey coat miniature on ivory, oval 8 x 6.3cm

£400 - 600

Lot 115

Circle of Andrew Plimer (1763-1837)

Portrait of a young lady, bust-length, in a white dress miniature on ivory, oval

6.8 x 5.3cm

£300 - 500

Lot 116

Attributed to Frederick Buck (Irish, 1771-1839)

Portrait of a lady, half-length, in a white dress and a wide-brimmed hat with green ribbons miniature on ivory, oval, 6.2 x 5.1cm

£300 - 500

Lot 117

George Engleheart (1750-1829)

Portrait of a man, bust-length, in a brown coat and white stock signed with initials ‘G. E.’ l.r., miniature on ivory, oval

3.5 x 3cm, in a 9-carat gold frame

£500 - 700

Lot 118

Sampson Towgood Roch (Irish, 1757-1847)

Portrait of John Smith Esq., half-length, in a blue coat, gold-trimmed waistcoat and white cravat

signed and dated ‘S. Roch/1788’, inscribed verso, miniature on ivory, oval

7.5 x 5.5cm

£200 - 400

Lot 120

George Slous (1777-1839)

Portrait of an army officer, half-length, in uniform miniature on ivory, oval

8 x 6cm, in a red leather case

£400 - 600

Lot 119

George Perfect Harding (1779-1843), after Isaac Oliver

Portrait of Mary, Queen of Scots, half-length miniature on vellum, oval, bears monogram for Issac Oliver

9.8 x 7.8cm

£300 - 500

Lot 121

Attributed to John Barry (Irish, fl.1784-1827)

Portrait of a gentleman, bust-length, in a purple coat

miniature on ivory, oval

3.5 x 2.5cm, in a black case

£200 - 300

Lot 122

English School, 18th century

Lot 124

English School, mid-18th century

Portrait of a gentleman, bust-length, in a black coat, waistcoat and white stock

miniature on card, oval

6.5 x 6cm, in a gilt mount with plaited hair verso

£150 - 250

Lot 123

English School, mid-18th century

Portrait of a gentleman, bust-length, in a gold-trimmed lilac coat and white stock

miniature on ivory, oval

3 x 2.5cm

£150 - 250

Portrait of an officer, bust-length, in a red coat and cream waistcoat signed and dated ‘IR/1761’ l.l., miniature on ivory, oval

3.5 x 3cm, in an 18-carat gold frame

£200 - 300

Lot 125

English School, mid-18th century

Portrait of a gentleman, half-length, in a blue coat and white waistcoat and stock

miniature on ivory, oval

5.5 x 4.5cm, in a blue guilloché enamel frame, with cushion-shaped paste set in silver cut-down collets, and plaited hair to the reverse

£200 - 300

124

Lot 129



English School, early 19th century

Portrait of a gentleman, bust-length, in a black coat, waistcoat and white stock

miniature on ivory, oval

6 x 5cm, in a 14-carat gold frame with a 9-carat gold body

£250 - 350

Lot 126

English School, late 18th century

Portrait of a lady, bust-length, in a white dress

miniature on ivory, oval, with plaited hair to the reverse

7.4 x 5.5cm

£200 - 300

Lot 127

English School, late 18th/ early 19th century

Portrait of a gentleman, half-length, in a blue coat and white stock signed with monogram l.r., miniature on ivory, with plaited hair verso, oval

8 x 6cm

£250 - 350

Lot 128

English School, c.1810

Portrait of a young lady, half-length, in a white dress with red ribbon

miniature on ivory

6.2cm diameter

£200 - 300

Lot 130

English School, mid-19th century

Portrait of a young boy, bust-length in profile, in a blue coat with white ruff

miniature on card, oval

7.5 x 5.5cm, in a red leather

travelling case

£100 - 150

Lot 131

French School, early 18th century

Portrait of a lawyer, bust-length, in black oil on canvas, oval 74 x 60cm, in a Charles II-style carved giltwood frame, re-gilt

£800 - 1,200

Lot 132

English School, 18th century

Portrait of Rosamund Clifford, Mistress of Henry II, or Jane Shore, Mistress of Edward IV, bust-length, in an ermine-trimmed black robe with lace ruff oil on canvas, painted oval 75 x 62cm, unframed

£800 - 1,200

Lot 133

Circle of John Hoppner (1758-1810)

Portrait of a gentleman, bust-length, in a black coat oil on canvas

68.5 x 59cm

£500 - 700

Lot 134

English School, early 18th century

Portrait of a gentleman, half-length, in a dark green coat and white stock oil on canvas

60.5 x 50.5cm, unframed

£300 - 500

Lot 135

Attributed to Anton von Maron (Austrian, 1733-1808)

A portrait study of a man, bust-length, in a red coat oil on canvas

46 x 35cm

£800 - 1,200

Lot 136

Swedish School, c.1780

Portrait of a gentleman, half-length, in a buff-coloured coat and lace jabot;

Portrait of a lady, half-length, in a silver dress with ornate lace ruff and a hat bedecked with flowers

a pair, the latter indistinctly inscribed l.c., oil on canvas, oval

70 x 53cm (2)

£600 - 800

Lot 137

English School, 18th century

Portrait of a scholar, half-length, in black robes and holding a volume of the works of Thomas Sydenham oil on canvas

80 x 64cm

£300 - 500

Lot 138

Italian School, mid-18th century

Portrait of a bishop, half-length, in black vestments, his mitre beside him oil on canvas

73 x 47cm

£600 - 800

Lot 139

David Martin (1737-1797)

Portrait of Captain Charles Kerr of Buchtrigg and Calderbank (1753-1813), half-length, wearing the uniform of the Royal Edinburgh Volunteers, his right arm resting on a ledge oil on canvas

75 x 60cm

£2,000 - 3,000

Provenance: The Kerr family; Sworders, 27 April 2010, lot 661, where acquired by the vendor; Wood Hall, Arkesden, Essex.

David Martin was born in Anstruther Easter, Fife; a portrait painter and engraver, he was taught by Allan Ramsay in London, and subsequently travelled with him to Rome. He established his own studio in Edinburgh in the 1770s and became the most important portrait painter in Scotland before Henry Raeburn. Appointed portrait painter to HRH The Prince of Wales in Scotland, David Martin’s other sitters included members of the Scottish Enlightenment and society figures. His portrait of Benjamin Franklin (1767) hangs in the White House, Washington DC, USA.

Lot 140

John Maclaren Barclay RSA (1811-1886)

Portrait of George Augustus Frederick John Murray, 6th Duke of Atholl (1814-1864), full-length oil on card

23 x 14.5cm

£300 - 500

Possibly a preparatory sketch for the portrait in the Perth Art Gallery.

Lot 141

Hugh Douglas Hamilton RHA (Irish, 1739-1808)

Portrait of a gentleman, half-length, in a cream coat;

Portrait of a lady, half-length, in a blue and cream striped dress and black lace shawl a pair, both signed and dated ‘H. D. Hamilton fect Sept 1770’, pastel, oval 21 x 17cm (2)

£2,000 - 3,000

Lot 142

Margaret Sarah Carpenter (1793-1872)

Portrait of Mrs Simpson as a young woman, three-quarter-length seated, in a white dress and holding a pink rose signed and dated ‘Margaret Carpenter/1850’ c.l., oil on canvas

109 x 89cm

£2,000 - 3,000

Provenance: Bonhams, The Contents of The Old Rectory, Banningham, Norfolk, 22-24 March 2004, lot 251.

of Charles-Philippe, Comte d’Artois (1757-1836), the future King Charles X of France, three-quarter-length seated, in uniform oil on canvas

127 x 103cm

£2,000 - 3,000

Lot 143

Sophie de Tott (French, 1758-1848)

Portrait

Lot 144

After Élisabeth Louise Vigée Le Brun

Self-portrait of the artist at her easel indistinctly signed, inscribed and dated ‘Florence 31-1-1902’ verso, oil on canvas

78 x 63cm

£600 - 800

A copy of the painting in the Uffizi Gallery, Florence.

Lot 145

Circle of Franz Xaver Winterhalter (German, 1805-1873)

Portrait of a lady, three-quarter-length, in a green velvet dress, holding a spaniel under her left arm oil on canvas

57 x 46cm

£600 - 800

Lot 146

Circle of Margaret Sarah Carpenter (1793-1872)

Portrait of a girl, thought to be a member of the Meux family, half-length, in a white and blue dress oil on canvas, painted oval

61 x 51cm

£300 - 400

English Naive School, early 19th century

Portrait

76 x 91cm

£4,000 - 7,000

The present lot is another version of the painting offered by Sworders on 26 September 2023, lot 136. Presumably both portraits were commissioned by the same family.

Lot 147

of three sisters oil on canvas

Lot 148

Attributed to Vita d’Ancona (Italian, 1825-1884)

A young woman reading signed with initials u.r., oil on canvas

42.5 x 28.5cm

£800 - 1,200

Lot 149

English School, 19th century

Portrait of a young officer, half-length, in uniform

inscribed ‘G. H. Arnold’ on the frame, oil on canvas laid on board

30.5 x 25cm

£300 - 500

148

46

£5,000

Lot 150

Circle of Konstantin Kapidagli (Greek-Ottoman, fl.1789-1806)

Portrait of an Ottoman nobleman, half-length, thought to be Mehmed Said Pasha (d.1761) indistinctly inscribed, painted oval, oil on canvas

x 34cm

- 7,000

Lot 151

Continental School, c.1840

Portrait of a young woman, three-quarter-length, in a black dress oil on canvas

102 x 72cm

£300 - 500

Lot 152

English School, c.1820

Portrait of D F Abraham, half-length seated, in a black coat indistinctly signed l.l., watercolour

13 x 11.5cm

£200 - 300

Provenance: Christie’s, South Kensington, ‘The Property of the Estate of the Late Lord Farnham’, 15 May 2002, lot 138.

Lot 153

English School, c.1840

Portrait of a gentleman, bust-length, in a black coat oil on canvas

75 x 63cm

£200 - 300

Lot 154

Clement Burlison (1815-1899)

Portrait of F D Johnson, bust-length, in a dark coat and white waistcoat

inscribed ‘F. D. Johnson/ Natus 25 Decri 1803/ pixt C. Burlison/ Aprile 5. 1847’ verso, oil on canvas

58 x 48cm

£300 - 500

Lot 155

Circle of Sir John Lavery RA RSA RHA (Irish, 1856-1941)

Portrait of an actress, possibly Ellen Terry, three-quarter-length, in a blue dress oil on canvas board

40.5 x 30.5cm

£300 - 500

Lot 156

Sir John Lavery RA RSA RHA (Irish, 1856-1941)

Portrait sketch of a young woman, bust-length signed and indistinctly dated ‘J. Lavery 94(?)’ l.r., brush and ink on board, varnished

29 x 21.5cm

£600 - 800

Lot 157

English School, late 19th century

Portrait of a woman with red hair, half-length, seated in profile oil on canvas

51 x 41cm

£300 - 500

Lot 158

Charles Sillem Lidderdale (1831-1895)

Daydreaming

signed with monogram and dated ‘94’ l.l., oil on canvas

69 x 50cm

£600 - 800

Lot 159

Italian School, 19th century

Portrait study of a girl oil on board

33 x 26cm

£300 - 500

Provenance: Given to the vendor’s great-grandfather by Sir Lawrence Alma-Tadema when he lived in St John’s Wood.

Lot 160

Adriano Bonifazi (Italian, 1858-1914)

‘He loves me, he loves me not’ signed, inscribed and dated ‘Bonifazzio Roma 73’ u.l., oil on canvas

70 x 56cm

£1,000 - 1,500

Lot 161

James Hayllar (1829-1920)

Portrait of Hon. George Denman, head and shoulders signed and dated ‘J. Hayllar/July 1880’ l.r., gouache and oil on paper

21.5 x 16.5cm

£300 - 400

160

Lot 162

Edward Angelo Goodall RWS (1819-1908)

‘The Church of Santi Giovanni e Paolo with the statue of Bartolomeo Colleoni, Venice’ signed ‘E A Goodall’ l.r., inscribed with title on a label verso, watercolour 37 x 55.5cm

£1,500 - 2,000

Provenance: Bonhams, New Bond Street, 27 January 2011, lot 76.

Lot 163

Edward Angelo Goodall RWS (1819-1908)

The Basilica of Santa Maria della Salute from the Grand Canal, Venice signed ‘E A Goodall RWS’ l.l., watercolour over pencil heightened with white 34 x 51.5cm

£1,000 - 1,500

Provenance: Bonhams, New Bond Street, 27 Jan 2011, lot 77.

Lot 164

Edward Angelo Goodall RWS (1819-1908)

‘The Evening Gun, Venice’ - a view of the Salute and the Dogana signed ‘E. A. Goodall R.W.S’ l.r., further signed and inscribed with title on an original label verso, watercolour

45.5 x 81cm

£2,000 - 3,000

Provenance: Bonhams, New Bond Street, 27 January 2011, lot 75.

Lot 165

Hercules Brabazon Brabazon (1821-1906)

The Basilica of Santa Maria della Salute’, Venice coloured pastel and pencil

15 x 22.5cm

£400 - 600

Hercules Brabazon Brabazon was celebrated for his exquisite watercolour landscapes. Combining a keen eye for nature with an intuitive understanding of colour and light, his works exude a serene, almost lyrical quality. His distinctive style, influenced by JMW Turner, captures the essence of his subjects with an effortless impressionistic touch.

Lot 166

Hercules Brabazon Brabazon (1821-1906)

A market scene

signed with initials l.l., inscribed ‘Tou’(?) l.r., watercolour and black chalk

12.5 x 18.5cm

£200 - 400

Lot 167

Lionel Aggett (1938-2009)

‘Evening Glow, Florence, Tuscany’ signed ‘L. Aggett’ l.l., pastel

22.5 x 30.5cm

£200 - 400

Lot 168

Myles Birket Foster RWS (1825-1899) ‘Bordighera’ inscribed l.l., with artist’s studio stamp and further pencil inscriptions, watercolour and pencil

12.5 x 16.5cm

£300 - 500

Lot 169

Thomas Miles Richardson Jnr (1813-1890)

A view of an Italian bay, possibly Naples signed ‘M Richardson’ l.l., watercolour heightened with white 39.5 x 64.5cm

£300 - 400

Lot 170

Angelo Della Mura (Italian, 1867-1922)

A view of Amalfi signed ‘A. Della Mura’ l.r., watercolour

48 x 31cm

£250 - 350

Lot 171

Continental School, 19th century Lake landscapes with classical buildings, probably Northern Italy a pair, watercolour

33 x 50.5cm (2)

£600 - 800

170

169 168

Lot 172

French School, early 19th century

The Colosseum

pen and ink and watercolour

43.5 x 60cm

£600 - 800

Lot 173

George Samuel Elgood (1851-1943)

An Italianate landscape signed and dated ‘George S Elgood 1905’ l.r., watercolour

14 x 25.5cm

£250 - 350

Lot 174

Tristram James Ellis (1844-1922)

‘Tromsö Midnight’, signed ‘Tristram Ellis’, inscribed with title and dated ‘15 July 1893’ l.l., watercolour

22 x 51cm

£300 - 500

Lot 175

Eugène Galien-Laloue (French, 1854-1941)

La Théâtre du Châtalet, Paris

signed ‘E. Galien-Laloue’ l.l., watercolour heightened with white

19.5 x 30.5cm

£2,000 - 3,000

Provenance: With Gladwell & Patterson.

Lot 176

Frederick Edward Joseph Goff (1855-1931)

St Mary’s Church and Lambeth Palace signed ‘FRED E. J. GOFF’ and inscribed with title l.r., watercolour

24.5 x 34.5cm

£300 - 500

Lot 177

Attributed to James Abbot McNeill Whistler

RBA (American, 1834-1903)

A Thames barge, c.1870 pastel

13.5 x 18cm

£400 - 600

Provenance: Said to be from the collection of W R Way.

Lot 178

Thomas Mackay (1851-1920)

Catching tiddlers on the riverbank a pair, both signed and dated ‘T Mackay 92’, watercolour

12 x 17cm (2)

£300 - 400

Lot 179

William Marshall Brown RSA (1863-1936)

Launching the boats

signed ‘Marshall Brown’ l.r., watercolour

24 x 33cm

£600 - 800

179

Lot 180

William Marshall Brown RSA (1863-1936)

Fishing for tiddlers signed ‘Marshall Brown’ l.r., watercolour 24 x 33.5cm

£600 - 800

Lot 181

Attributed to William James Muller (1812-1845)

‘The Brook, Clifton Woods’; A path through the woods a pair, watercolour heightened with white 35 x 51cm (2)

£300 - 500

Lot 182

John Ernest Aitken RSW (1880-1957)

A Dutch river landscape with a woman feeding ducks and a windmill

signed ‘John E. Aitken’ l.r., watercolour

33.5 x 48.5cm

£200 - 300

Lot 183

John Ernest Aitken RSW (1880-1957)

A Dutch town with barges on a river, a church dome in the distance, possibly the Koepelkerk, Amsterdam signed ‘John E Aitken’ l.l., watercolour

48 x 69cm

£300 - 500

Lot 184

Carleton Grant RBA (1858-1899)

Views of a river estuary with boats on the shore a pair, both signed and dated ‘CARLETON GRANT 1893’ l.l., watercolour

15 x 33.5cm (2)

£300 - 500

Lot 185

Carleton Grant RBA (1858-1899)

A young girl gathering flowers in a meadow, an estuary at low tide beyond signed and dated ‘CARLETON GRANT 1890’ l.l., watercolour

21.5 x 33xm

£300 - 500

Lot 186

English School, early 20th century

Fourteen watercolours recording travels in India and Burma, including views of Shwedagon from the Cantonment Gardens, Rangoon, the Eden Gardens, Calcutta, the Great Bell, Burmah and a tomb in Futehpur, Sikri

21.5 x 26.5cm and smaller, unframed (14)

£300 - 400

Lot 187

English School, early 20th century

Sixteen watercolours recording travels in India, Burma and Egypt, including views of the Suez Canal, Port Said, Darjeeling, the Irrawady and Mandalay

20.5 x 20cm and smaller, unframed (16)

£300 - 400

Lot 188

English School, early 20th century

Fifteen watercolours recording travels in India, including views of the Taj Mahal, Agra, Bombay, Delhi and Benares

19.5 x 26.5cm and smaller, unframed (15)

£300 - 400

(French, 1829-1905)

silvered bronze, signed ‘P. Dubois’ and

Lot 190

Ferdinand Schmutzer (Austrian, 1870-1928)

‘The Joachim Quartet playing Beethoven’ etching, 1904, signed and inscribed in pencil l.r. plate 86 x 124cm £600 - 800

Lot 191

Louis Haghe (Belgian-British, 1806-1885)

A musical recital

signed and dated ‘Louis Haghe 1858’ l.r., watercolour

51 x 66cm

£250 - 350

Lot 192

George Goodwin Kilburne (1839-1924)

‘Going Shopping’ signed ‘G G Kilburne’ l.l., titled on mount, watercolour

35.5 x 52cm

£1,000 - 1,500

Provenance: With Gladwell & Patterson, London.

Lot 193

George Goodwin Kilburne (1839-1924)

A family in a garden with a peacock

signed and dated ‘G G Kilburne 1897’ l.l., watercolour

30.5 x 42.5cm

£400 - 600

192 191

Lot 194

George Goodwin Kilburne (1839-1924)

‘Off to the Hunt’ signed ‘G G Kilburne’ l.l., titled on mount, watercolour heightened with white

35.5 x 52cm

£1,000 - 1,500

Provenance: With Gladwell & Patterson, London.

Lot 196

Edward Killingworth Johnson RWS (1825-1896)

A woman in a blue dress playing with a dog in a garden signed and dated ‘E. K. Johnson 1869’ l.l., watercolour and bodycolour

29.5 x 20.5cm

£400 - 600

Lot 195

George Goodwin Kilburne (1839-1924)

‘The Fairest of Them All’ signed ‘G G Kilburne’ l.r., titled on mount, watercolour heightened with white

35.5 x 52cm

£1,000 - 1,500

Provenance: With Gladwell & Patterson, London.

Lot 197

James Hardy Jnr (1832-1889)

‘The Pedler’s [sic] Promise’ signed and dated ‘J. Hardy Jnr/63’ l.l., watercolour and bodycolour 46 x 58.5cm

£400 - 600

Lot 199

Helen Cordelia Angell RWS (1847-1884)

Lot 198

James Hardy Jnr (1832-1899)

‘The Bird’s Nest’ signed and dated ‘J. HARDY. JUN/1856’ l.r., watercolour heightened with white 21.5 x 31.5cm

£300 - 500

Portrait of Master Jack Wentworth Angell, the artist’s son, with a fishing net watercolour on buff paper 32 x 23cm

£300 - 500

Provenance: By descent within the family of the sitter.

Helen Cordelia Angell was one of twelve children. She learned painting and drawing from her older brother, the painter and illustrator, William Stephen Coleman, and was awarded membership of the Royal Watercolour Society and the Royal Institute of Painters in Watercolours. Mrs Angell became Flower Painter to HM Queen Victoria in 1879 and held the position until her early death. Her painting ‘Study of a Bird’s Nest’ was included in the 1905 book ‘Women Painters of the World’ and her work is in the collection of the Victoria and Albert Museum.

Lot 200

Henry Meynell Rheam (1859-1920)

Figures in a Cornish fishing village signed ‘HENRY M RHEAM’ l.l., watercolour over pencil

58.5 x 42.5cm

£300 - 400

Lot 201

Sir George Back (1796-1878)

‘A Buffalo Pond’; ‘Manner of Making a Resting Place on a Winter Night’ a pair, both inscribed with title, and dated ‘8th Feby.1820’ and ‘15th March 1820’ respectively, pen and brown ink and wash 13 x 19cm (2)

£2,000 - 3,000

Sir George Back was a British naval officer, explorer, naturalist and artist, who helped to trace the Arctic coastline of North America.

His naval career began in 1808, when he joined HMS ‘Arethusa’; he saw action off Cherbourg before being captured by the French near San Sebastian in 1809. He spent five years in prison before returning to England and joining HMS ‘Akbar’, which was stationed in Halifax, Nova Scotia, as midshipman. After volunteering for service under Commanders Buchan and Ross on ‘Dorothea’ and ‘Trent’ in 1818, in a failed attempt to cross the Arctic Ocean from Spitzbergen, he came into contact with the explorer John Franklin, commanding officer of the ‘Trent’, who was impressed by his usefulness as an artist. In May 1819 he set out with Franklin on the Hudson’s Bay Company ship ‘Prince of Wales’ for York Factory. They spent the following winter at Cumberland House, the first inland port established by the company, and these two drawings are clearly among those he produced during that stay.

In 1821-22 and again in 1825-27 he accompanied Franklin to Canada’s Northwest Territories. Back’s drawings are illustrated as engravings in Franklin’s narrative of the latter expedition, and some of the original drawings have appeared at auction in recent years. He returned to the same region on two expeditions of his own, the first in 1833 to search for John Ross, who had disappeared on a voyage four years earlier, and he went on to explore the Great Fish River, now renamed the Back River. He returned in 1836 to explore the coastal region east of the mouth of the river, and his journey is recorded in his ‘Narrative of the Arctic Land Expedition to the Mouth of the Great Fish River’.

Lot 202

Abel Pann (Latvian-Israeli, 1883-1963)

‘The Sacrifice of Abraham’ signed ‘Abel Pann’ l.r., pastel

28 x 40cm

£1,000 - 1,500

Lot 203

Edward Stott ARA (1855-1918)

A nude figure on a branch signed with monogram l.l., coloured pastel

17.5 x 16.5cm together with: ‘Washing Day’ stamped l.r., chalk and charcoal, believed to be a study for the painting ‘Washing Day’, 1899, in the collection of the Watts Gallery Trust 31.5 x 31.5cm (2)

£300 - 500

Lot 204

Stephen Catterson Smith (1806-1872)

A portrait of three sisters, three-quarter-length, the two elder seated, the younger with a sketchpad indistinctly signed and dated l.r., pencil and coloured washes 22 x 27cm

£300 - 400

Lot 205

After Sir William Charles Ross ARA

Portrait of Prince Albert of Saxe-Coburg and Gotha, half-length, in a green coat watercolour on paper 23.5 x 19cm

£200 - 300

Lot 206

John Linnell (1792-1882)

Study of a girl reading signed ‘J. Linnell’ l.r., pencil 19 x 14cm

£250 - 350

Provenance: Mrs J P Linnell.

Lot 207

Friedrich Wilhelm von Schadow (German, 1788-1862)

An old man and a young girl pen and ink and watercolour 14 x 10.5cm, unframed

£400 - 600

Provenance: The collection of Johann Jorg von Saxony (Lugt 4485); Helmut Tenner, Heidelberg, 1961.

Exhibited: Art Museum of the City of Düsseldorf, ‘Wilhelm von Schadow’, Düsseldorf, July-August 1962, catalogue no.141.

Antonietta Brandeis (Czech-Italian, 1849-1926)

The Palazzo Mastelli del Cammello, Cannaregio, Venice signed ‘A Brandeis’ l.r., oil on canvas

17.5 x 24cm

£2,500 - 3,500

Lot 209

Antonietta Brandeis (Czech-Italian, 1849-1926)

The Santa Maria della Salute and the Dogana, Venice signed ‘A Brandeis’ l.r., oil on board

17.5 x 24cm

£4,000 - 6,000

Lot 208

210

Antonietta Brandeis (Czech-Italian, 1849-1926)

The Rialto, Venice

signed ‘A Brandeis’ l.l., oil on canvas

50 x 60cm

£10,000 - 15,000

Lot

210A

Lot 210A

Italian School, 19th century

View of the Uffizi Palace and the Arno, Florence, with groups of figures conversing; View of the Porta Romana, Florence oil on canvas

50 x 39cm and 48 x 37cm respectively (2)

£3,000 - 5,000

Lot 211

Henry Woods RA (1846-1921)

Figures beneath an archway by a Venetian canal

signed ‘Henry Woods’ l.r., oil on canvas

40 x 26cm

£800 - 1,200

Lot 212

James Holland (1799-1870)

A view of a canal, Venice oil on panel

49 x 39cm

£800 - 1,200

Provenance: Bonhams, London, 23 October 2012, lot 59.

Lot 213

Venetian School, 19th century

St Mark’s Square, Venice; St Mark’s Square with the Basilica and Campanile, Venice

a pair, oil on canvas

54 x 82cm (2)

£800 - 1,200

Lot 214

Follower of Carlo Grubacs

The Piazzetta and the Doge’s Palace, Venice oil on board

25 x 40cm

£300 - 500

Lot 215

Ludwig Hermann (German, 1812-1881)

A view of the Doge’s Palace from the Grand Canal, Venice signed and dated ‘L. HERMANN 1876’ l.r. oil on canvas board

69 x 97cm

£3,000 - 5,000

Ludwig Hermann (German, 1812-1881)

A view of the Grand Canal, Venice, with the Salute and the Dogana in the distance signed and dated ‘L. HERMANN/1876’ l.l., oil on canvas

90 x 143cm

£4,000 - 6,000

Lot 216

Lot 217

Alfred Pollentine (1836-1890)

The Grand Canal, Venice, looking toward the Salute and the Dogana; The Grand Canal, Venice, looking towards the Doge’s Palace and the Piazzetta a pair, each signed and dated ‘A. Pollentine/81’, oil on canvas

31 x 52.5cm (2)

£2,000 - 3,000

Provenance: Christie’s, South Kensington, 17 November 2010, lot 39.

Lot 218

Alfred Pollentine (1836-1890)

San Giorgio Maggiore, Venice signed and dated ‘A Pollentine/81’ l.r., oil on canvas

41 x 61.5cm

£1,200 - 1,800

Provenance: Bonhams, 26 October 2010, lot 2.

Lot 219

Alfred Pollentine (1836-1890)

The Grand Canal looking towards the Rialto, Venice signed ‘A. Pollentine’ l.r. oil on canvas

50.5 x 76cm

£1,000 - 1,500

Provenance: Christie’s, South Kensington, 17 November 2010, lot 38.

Lot 220

Alfred Pollentine (1836-1890)

The entrance to the Grand Canal, Venice, with the Salute and the Dogana signed ‘A Pollentine’ l.r., oil on canvas

50.5 x 76cm

£2,000 - 3,000

Provenance: Bonhams, London, 30 November 2010, lot 98.

Giuseppe Canella the Younger (Italian, 1837-1913) View of the Piazza della Signoria from the Loggia dei Lanzi, Florence signed ‘G. Canella’ l.r., oil on canvas

71.5 x 96cm, in an ornate 19th-century carved giltwood frame

£6,000 - 8,000

Lot 221

Lot 222

Franz Richard Unterberger (Austrian, 1838-1902)

Siracusa

signed ‘F R Unterberger’ l.r., oil on canvas

82 x 72cm

£15,000 - 20,000

Provenance: With W H Patterson, London.

Franz Richard Unterberger is celebrated for his luminous depictions of landscapes and cityscapes. His journey to Sicily in the late 19th century marked a significant period in his artistic career. He was profoundly inspired by the island’s vibrant scenery, coastal views and historical architecture.

His Sicilian paintings are distinguished by their intricate detail and dynamic compositions, reflecting the island’s rich cultural heritage and natural beauty. His ability to blend realism with a romanticised vision of the Mediterranean landscape made his Sicilian works highly sought after by collectors.

Lot 223

Charlotte Nasmyth (1804-1884)

A view of Rome with travellers on a road at sunset

signed and dated ‘C Nasmyth/ augt 1838’ l.r., oil on canvas

71 x 91.5cm

£3,000 - 5,000

Lot 224

Penry Williams (1802-1885)

The Roman Campagna with St Peter’s in the distance oil on canvas

21.5 x 29.5cm

£400 - 600

Provenance: With Thomas Agnew & Sons Ltd., London.

Lot 225

Richard Bankes Harraden (1778-1862)

A panoramic view of Florence from the Piazzale Michelangelo, with groups of figures in the foreground signed ‘R. B. Harraden’ l.r., with a later transcription verso, ‘R. B. Harraden/Pinxt 1836/ Cambe [sic]’ oil on canvas

76 x 129cm

£4,000 - 6,000

Provenance: Christie’s, London, 9 November 2000, lot 215.

Lot 226

Italian School, 19th century

The Loggia dei Lanzi and the Piazza della Signoria, Florence indistinctly signed l.r., oil on canvas

30.5 x 40.5cm

£2,000 - 3,000

Lot 227

Italian School, early 19th century

An extensive landscape with a storm threatening, figures on a road in the foreground oil on canvas

97 x 125.5cm

£2,000 - 3,000

Lot 228

Giovanni Battista Ferrari (Italian, 1829-1906)

An Italian lake scene with a figure and cow in the foreground signed ‘G B Ferrari’ l.r. and dated ‘1890’ l.l., oil on board

20 x 35cm

£300 - 500

Lot 229

David Roberts RA (1796-1864)

The West Front of Notre Dame Cathedral, Rouen signed and dated ‘D. Roberts/1825’ l.r., oil on canvas

86.3 x 71cm

£6,000 - 8,000

Provenance: The property of an eminent collector; Christie’s, London, 23 June 1842, lot 384 (unsold); Christie’s, London, 20 April 1844, lot 45 (22.10.0 to Antrobus); Christie’s, London, 4 August 1978, lot 321; Christie’s, South Kensington, 29 June 2011, lot 79.

Exhibited: Society of British Artists, London, 1825, no.14.

Lot 231

David Roberts RA (1796-1864)

‘Jerusalem from the Road Leading to Bethany’; ‘Cana’

Lot 230

Louis Haghe (Belgian-British, 1806-1885), after David Roberts RA ‘The Destruction of Jerusalem by the Romans, Under the Command of Titus, A.D. 70’ lithograph in colours, published by Hering & Remington, London, 1851

image 68 x 105cm

£1,000 - 1,500

Provenance: Bonhams Knightsbridge, ‘Travel & Exploration’, 1 February 2017, lot 116.

Lot 232

David Roberts RA (1796-1864)

two hand-coloured tinted lithographs, from ‘The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia’, published by F G Moon, London, 1841 and 1844

image 32 x 48.5cm (2)

£300 - 500

‘Citadel of Jerusalem’; ‘Jerusalem from the Mount of Olives’ two hand-coloured tinted lithographs, from ‘The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia’, published by F G Moon, London, 1841

image 32.5 x 38.5cm (2)

£300 - 500

Provenance: Lord and Lady Moser.

A church interior signed ‘David Roberts’ l.l., pencil and watercolour heightened with white 40.5 x 28cm

£1,000 - 1,500

Provenance: Bonhams, London, 26 October 2010, lot 52.

Lot 233

David Roberts RA (1796-1864)

Lot 234

Sir Joseph Edgar Boehm RA (1834-1890)

Grenadier

bronze with brown patination, signed ‘J. E. BOEHM. SCR’ and inscribed ‘ELKINGTON & Co.’ on base

44cm high

£600 - 800

Lot 235

… Lahure (French, 19th century)

A cavalry skirmish

signed ‘LAHURE’ and indistinctly dated l.r., oil on canvas

42 x 70cm

£400 - 600

Lot 236

After Sir David Wilkie

‘The Parish Beadle’ oil on canvas

61 x 91cm

£400 - 600

After the original painting in the Tate Gallery, London.

Lot 237

William Magrath (Irish-American, 1838-1918)

The butter churn

signed and dated ‘W. MAGRATH/1876’ l.l., watercolour

45 x 35cm

£400 - 600

Lot 238

Edwin Hughes (1842-1922)

Preparing the meal

signed and dated ‘Edwin Hughes 1870’ l.l., oil on canvas

37 x 47cm

£300 - 500

Lot 239

Johann Heinrich Hasselhorst (German, 1825-1904)

A woman seated at a spinning wheel signed ‘J HASSELHORST’ l.r., oil on canvas

16 x 11cm

£300 - 500

Lot 240

Louis de Bergere (French, 19th century), after Alexandre François Xavier Sigalon ‘The Young Courtesan’ signed, inscribed and dated ‘Louis de Bergere d’apres Sigalon/1842’ l.r., oil on canvas

82 x 114cm

£800 - 1,200

A copy of the painting in the Louvre, Paris.

Lot 241

English School, early 19th century

A family group in an interior oil on canvas

86 x 127cm

£500 - 700

Lot 242

Luigi Moroni (Italian, 19th century)

The negotiation signed ‘Luigi Moroni’ l.r., oil on canvas

57 x 76cm

£400 - 600

Admiring the baby a pair, both signed ‘E. Zampighi’, oil on canvas

25 x 35.5cm (2)

£3,000 - 4,000

Lot 243

Eugenio Zampighi (Italian, 1859-1944)

Lot 244

Thomas Valentine Garland (fl.1868-1914)

‘Left in Charge’ - a child and small dog beside a cradle with a sleeping infant

signed and dated ‘T. Valentine Garland 1871’ l.l., oil on panel

25 x 20.5cm

£300 - 400

Lot 245

Michel Arnoux (French, 1833-1877)

A mother and child in an interior signed ‘M. Arnoux’ l.l., oil on canvas

38 x 30cm

£400 - 600

Lot 246

George Bernard O’Neill (Irish, 1828-1917)

‘Grandfather’s Pet’ signed ‘G. B. O’Neill’ l.r., oil on panel

30 x 25cm

£800 - 1,200

Provenance: With Gladwell & Patterson, London.

Lot 247

John Calcott Horsley RA (1817-1903)

‘Cupboard Love’ signed and dated ‘J. C. Horsley 1879’ l.r., inscribed verso ‘no other sketch or replica of any kind exists/of the original picture but this/J. C. Horsley July 1879’, oil on board

33.5 x 26cm

£6,000 - 8,000

Lot 248

Edward Antoon Portielje (Belgian, 1861-1949)

‘The Fisherman’s Proposal’ signed ‘Edward Portielje’ u.l., oil on canvas

46 x 38cm

£2,000 - 3,000

Lot 249

John Joseph Barker of Bath (1824-1904)

The confidante

signed and dated ‘J. J. Barker pinxt/1872’ l.l., oil on canvas

51 x 41cm

£250 - 350

Provenance: The collection of the late Sir Donald Cory.

Lot 250

Attributed to William Powell Frith RA (1819-1909)

‘At the Opera’ bears signature l.r., oil on canvas

35.5 x 30.5cm

£1,000 - 1,500

Lot 251

John Bridges (1803-1856)

Portrait of three young ladies seated at a table embroidering and reading signed and dated ‘John Bridges 1849’ (on the edge of the table), oil on board

63 x 76cm

£800 - 1,200

252

Arthur Rankley (1819-1872)

A moment’s thought signed with monogram and dated ‘1862’ l.l., oil on board

61 x 51cm

£500 - 700

Lot 253

T… Turton (19th century)

Playing for her admirer signed and inscribed ‘T TURTON/Firenze’ l.r., oil on canvas

40 x 33cm

£600 - 800

Provenance: With Frost & Reed.

Lot

Lot 254

George Smith (1829-1901)

A family in a cottage interior signed and dated ‘George Smith/1867’ l.l., oil on panel

36 x 47cm

£600 - 800

Lot 255

Jean-Pierre Haag (French, 1842-1921)

Breakfast time signed ‘J HAAG’ l.r., oil on panel

41 x 32.5cm, unframed

£400 - 600

Lot 256

Thomas McEwan (1846-1914)

At her grandfather’s knee indistinctly signed and dated ‘T… McEWAN/1876’ l.l., oil on canvas

35 x 44cm

£300 - 500

Lot 257

Robert Alexander RSA RSW (1840-1923)

‘Drowsy Cronies’ signed and dated ‘R ALEXANDER 1892’ l.r., oil on panel

19 x 26cm

£300 - 500

This work is believed to be a sketch for ‘Drowsy Cronies’, 1898, in Dundee’s Art Gallery and Museum collection.

Lot 258

James John Hill RBA (1811-1882)

Mother and child oil on card laid on board

20.5 x 17.5cm

£300 - 400

Lot 259

James H Parry (c.1805-1871)

Villagers and itinerant musicians outside a tavern

signed and indistinctly dated ‘Ja. Parry 18..’ l.l., oil on canvas

71 x 92cm

£300 - 400

Lot 260

August de Wilde (Belgian, 1819-1886)

An interior scene with figures enjoying the dance of the broomstick signed ‘August de Wilde’ and dated 1879 l.l., oil on canvas

53.5 x 66cm

£800 - 1,200

Lot 261

Victor Schivert (Romanian, 1863-1929)

‘The Visitor’ signed ‘V. Schivert/Mümehem’ l.r., oil on canvas

64 x 53.5cm

£1,500 - 2,500

Provenance: With Gladwell & Patterson, London.

260

259 261 258

P… de Deltour (French, 19th century)

The visitor signed ‘P. de. Deltour’ l.r., oil on canvas

53 x 66cm

£300 - 500

George Fox (1816-1910)

Playing chess signed ‘Geo Fox’ l.r., oil on board

24 x 31cm

£200 - 300

P… Duhamel (French, late 19th century)

A monkey with a drum signed ‘P Duhamel’ l.l., oil on canvas

40.5 x 32.5cm

£200 - 300

Lot 265

Claude Hunt (1863-1949)

‘Dinner Time’ signed ‘Claude Hunt’ l.r., also signed and inscribed with title verso, oil on canvas

30.5 x 41cm

£300 - 500

Lot 264

Lot 262

Lot 263

265

264

263 262

Lot 266

William McTaggart RSA (1835-1910)

‘The Young Waltonians’ oil on canvas

45 x 36.5cm

£2,000 - 3,000

Lot 267

George Clare (c.1830-1900)

A nest of blackbird eggs amongst blossom signed ‘George Clare’ l.r., oil on canvas

26 x 36cm

£300 - 400

Lot 268

George Clare (c.1830-1900)

A bird’s nest, eggs and pansies on a mossy bank; A still life of greengages, plums and raspberries a pair, both signed ‘George Clare’ l.r., oil on canvas

17.5 x 23cm (2)

£600 - 800

Lot 269

William Kay Blacklock (1872-1924)

‘Under the Trees’ signed ‘W. KAY BLACKLOCK’ l.r., inscribed with title and dated ‘Spring 1920’ verso, oil on canvas board 18 x 26cm

£300 - 500

Lot 270

William Banks Fortescue (1850-1924)

‘The Young Angler’

signed ‘W. B. Fortescue’ l.l., oil on canvas

30.5 x 23cm

£1,000 - 2,000

Provenance: With Gladwell & Patterson, London.

Lot 271

Continental School, late 19th century

A fisherman mending his nets oil on canvas

168 x 101cm

£400 - 600

Lot 272

French School, late 19th century

A basket of mussels and prawns oil on canvas

46 x 55cm

£300 - 500

Lot 274

Frans de Beul (Belgian, 1848-1919)

A woman on a donkey, driving a cow and sheep to market signed ‘Frans de Beul’ l.l., oil on canvas

90 x 65cm

£600 - 800

Lot 275

James Lawton Wingate RSA (1846-1924)

‘Gathering Peat Moss’ signed ‘WINGATE’ l.r., oil on canvas laid on board

33 x 48cm

£400 - 600

Provenance: J W Blyth Esq., Kirkcaldy; Cora W Blyth de Portillo.

Exhibited: Royal Academy of Arts, Exhibition of Scottish Art, 1939.

Lot 276

James Lawton Wingate RSA (1846-1924)

‘Sunset Sands at Fairlie’ signed ‘WINGATE’ l.r., oil on canvas laid on board

39 x 49cm

£400 - 600

Provenance: J W Blyth Esq.; Cora W Blythe de Portillo; Ernest Hopkins.

Lot 273

George Jackson Hutchison (1896-1918)

A donkey signed ‘George J Hutchison’ l.c., oil on canvas laid on board

29 x 39.5cm

£300 - 500

Exhibited: Royal Academy of Arts, Exhibition of Scottish Art, 1939.

Lot 277

Follower of Richard Parkes Bonington

A beach scene at low tide with fisherfolk unloading the catch oil on canvas

92 x 152cm

£1,000 - 1,500

Provenance: Christie’s, 15 March 2006, lot 403.

Lot 278

Frederick Gerald Kinnaird (1844-1881)

‘The Gatherers’ indistinctly signed and dated l.l., oil on canvas

77 x 63cm

£400 - 600

Lot 279

Joseph Clark (1834-1926)

‘Sharing Between Friends’ signed and dated ‘J. Clark 1897’ l.l., oil on canvas

46 x 60cm

£800 - 1,200

Provenance: With Gladwell & Patterson, London.

Lot 280

Hugo Mühlig (German, 1854-1929)

Figures with cows and chickens standing before a cottage signed ‘Hugo Mühlig’ l.r., oil on board

34 x 27cm

£1,000 - 1,500

Lot 281

Lexden Lewis Pocock (1850-1919)

Farmworkers with a horse and cart on a country lane signed with monogram l.l., oil on board

16 x 33cm

£200 - 300

Lot 282

Guillaume Vogels (Belgian, 1836-1896)

Cattle in a meadow by a stream oil on canvas

43 x 53cm

£300 - 500

Lot 283

Paul Paul (1865-1937)

A wooded landscape with sheep grazing signed ‘P. PAUL’ l.r., oil on canvas

36 x 46cm, unframed

£300 - 500

Lot 284

Frederick William Jackson (1859-1918)

Runswick Bay, North Yorkshire, with children playing on a beach oil on canvas laid down on board

37 x 49cm

£600 - 800

Lot 285

Frederick William Jackson (1859-1918) Hayricks oil on canvas

25 x 35cm

£400 - 600

Lot 286

Frederick William Jackson (1859-1918)

‘The Last Load’ oil on canvas laid on board

35 x 46cm

£600 - 800

This painting is believed to be a working study for ‘The Last Load’, c.1897, in the Pannett Art Gallery, Whitby, accession no.007.

Provenance: The artist’s studio; given to Mary Hunter by the artist’s niece, Ann Dubois; thence by descent.

Lot 287

John Frederick Herring Jnr (1815-1907)

Horses, pigs and ducks in a farmyard signed ‘J. F. Herring’ l.r. (on post), oil on canvas

36.5 x 56.5cm

£1,200 - 1,800

Lot 288

Circle of Samuel David Colkett (1806-1863)

A wooded landscape with figures resting outside a thatched cottage, cattle in the foreground and a figure driving sheep oil on panel

45 x 61cm

£400 - 600

Lot 289

Edmund Morison Wimperis (1835-1900)

A man and his dog minding sheep, with cattle beyond signed with monogram l.l., oil on canvas

61 x 92cm

£400 - 600

Lot 290

Paul Baum (German, 1859-1932)

A wooded landscape signed and dated ‘Paul Baum 1881’ l.l., oil on board

22.5 x 29cm

£800 - 1,200

Lot 293

Arthur Gilbert (1819-1895)

‘Among the Welsh Hills, Noon’ signed ‘A Gilbert’ l.r., oil on canvas

20 x 31cm

£300 - 400

Lot 294

John Brandon Smith (1848-1884)

A river landscape with a waterfall signed with monogram l.l., oil on canvas

46 x 36cm

£400 - 600

Lot 291

Edwin Henry Boddington (1836-1905)

‘Mapledurham, Water Mill on the Thames’; ‘The Haunt of the Kingfisher’ a pair, the first signed ‘Edwin Boddington’ l.l., the second signed and dated ‘Edwin Boddington 1869’ l.r., oil on canvas

21 x 36.5cm (2)

£400 - 600

Lot 292

Karl Heffner (German, 1849-1925)

‘The Norfolk Broads’ signed ‘K. Heffner’ l.r., oil on canvas

57 x 82.5cm

£400 - 600

Provenance: With M Newman Fine Art Dealers, London; Christie’s, South Kensington, 8 Nov 2001, lot 128.

Lot 295

English School, mid-19th century

A winter scene oil on board

34 x 35cm

£200 - 300

Lot 296

Edward Wilkins Waite RBA (1854-1924)

Ducks on the banks of a river

signed ‘E. W. Waite’ l.r., oil on canvas

36 x 46cm

£300 - 500

Lot 297

William Bradley Lamond RBA (1857-1924)

A farmer feeding his sheep in a winter landscape

signed ‘W B Lamond R.B.A’ l.l., oil on canvas laid down on board

25 x 35.5cm

£300 - 400

Lot 298

Alexandre René Véron (1826-1897)

A wooded landscape

signed and dated ‘A Veron/1869’, oil on canvas

133 x 196cm

£500 - 800

Lot 299

Henry Brittan Willis (1810-1884)

Cattle in a mountainous landscape with figures and a pony resting

signed and dated ‘H B Willis 59’ l.r., oil on canvas

53 x 88cm

£1,000 - 1,500

Lot 300

Circle of Sidney Richard Percy (1822-1886)

A highland river landscape oil on canvas

32 x 51cm

£500 - 700

Lot 301

William Temple Muir (1828-1910)

Culzean Castle, Ayrshire

signed and dated ‘W Muir 1890’ l.r., oil on canvas

51 x 92cm

£400 - 600

Provenance: The selected contents of Comforts Place, Tandridge Lane, Lingfield, Surrey.

Lot 302

Sarah Louise Kilpack (1839-1909)

The Harbour of Gorey with the castle of Mont Orgueil, Jersey, at dusk; A coastal scene with a castle; A coastal scene with figures and sheep at dusk three, all signed ‘S. L. Kilpack’ l.l., oil on board

13.5 x 24cm (3)

£600 - 800

Lot 303

Sarah Louise Kilpack (1839-1909)

A rocky coastal scene with a lighthouse; A coastal scene with figures at sunset a pair, both signed ‘S L Kilpack’ l.l., oil on board

24 x 14cm (2)

£300 - 500

Lot 304

Circle of John Paul (c.1830-1890)

‘Old London Bridge, 100 Years Ago’ inscribed ‘R. Scott’ and with title verso, oil on canvas

51.5 x 108cm

£800 - 1,200

Lot 305

George Clarkson Stanfield (1828-1878)

A view of a town on the Rhine signed and dated ‘George C. Stanfield 1869’ l.r., oil on canvas

51 x 76cm

£1,500 - 2,500

Lot 306

German School, 19th century

A river landscape with a suspension bridge and monastery oil on canvas

27.5 x 43cm

£300 - 400

Lot 307

Daniel Sherrin (1868-1940)

A river landscape signed ‘D Sherrin’ l.l., oil on canvas

52 x 76cm

£300 - 400

Lot 308

George Augustus Williams (1814-1901)

‘Winter Morning on Reigate Heath’ signed with monogram l.l., signed and inscribed with title on artist’s label verso, oil on canvas

63 x 108cm

£500 - 700

Lot 309

Edmond Marie Petitjean (French, 1844-1925)

Houses on the banks of a river signed ‘E. Petitjean’ l.r., oil on canvas

46 x 66cm

£1,500 - 2,000

Lot 310

Attributed to Mark Senior (1864-1927)

Lost in thought signed with initials l.r., oil on canvas board

25.5 x 30.5cm

£400 - 600

Provenance: With William Sissons Gallery.

Lot 311

French School, late 19th century

A nude on a branch over a pool; A nude amongst rocks a pair, oil on canvas

30.5 x 20.5cm (2)

£300 - 400

Lot 312

William Mark Fisher RA (American-British, 1841-1923)

‘Bathers’ oil on canvas

30 x 50cm

£400 - 600

Provenance: Sotheby’s, London, 1 October,1997, lot 36; the collection of the late Sir Donald Cory.

Lot 313

Frederick Goodall RA (1822-1904) ‘Leaving the Village (Time of the Overflow)’

signed with monogram l.l., signed and inscribed with title on artist’s label verso, oil on canvas

101.5 x 90cm

£3,000 - 5,000

Provenance: Bonhams, London, 12 January 2012, lot 53.

Lot 314

Edward Atkinson Hornel (1864-1933)

A young geisha in an interior signed and dated ‘E. A. Hornel/94’, oil on canvas

33 x 28cm

£10,000 - 15,000

Edward Atkinson Hornel was a notable Scottish painter associated with the Glasgow Boys, a group of influential artists who sought to break away from traditional Victorian art styles. Born in Bacchus Marsh, Australia, Hornel moved to Scotland at an early age, where he later developed his distinctive style, which combined elements of impressionism and post-impressionism.

A close friendship with fellow artist George Henry was pivotal in his artistic development. The two artists collaborated extensively, sharing ideas and techniques that helped shape their individual and collective works, and one of the most significant events in Hornel’s life was a trip he and Henry took to Japan in 1893. The pair spent over a year there, immersing themselves in the local culture and art. This journey profoundly influenced Hornel’s artistic perspective and output, involving a deep study of traditional Japanese art forms, including woodblock prints and screens. The Japanese approach to composition and use of colour made a great impression on Hornel, leading to a noticeable shift in his style on his return to Scotland.

Hornel’s depictions of geishas are among the most remarkable products of his Japanese sojourn. Through a Western lens he portrayed geishas with a blend of authenticity and idealisation. His paintings often feature vibrant colours, intricate patterns and a sense of movement and grace that capture the essence of Japanese aesthetics whilst infusing them with his unique artistic vision. The geishas in Hornel’s works are not mere subjects, but symbols of a refined, almost other-worldly, beauty that fascinated Western audiences. His paintings convey a sense of tranquillity and timelessness, reflecting the influence of Japanese art’s emphasis on harmony with nature and the elegance of everyday life.

Hornel’s portrayal of geishas also highlighted the cultural exchange between East and West during the late 19th and early 20th centuries. His works provided a Western audience with a glimpse into a world that was both exotic and enchanting. By interpreting Japanese themes through his Western perspective, Hornel contributed to the growing interest and appreciation of Japanese culture in Europe.

Lot 315

Willem van de Velde the Younger (Dutch, 1633-1707)

An English yacht under sail with initials ‘W.V.V.J’ l.l., black chalk and grey wash

19.5 x 22cm

£2,000 - 3,000

Provenance: Sotheby’s, New York, 25 January 2017, lot 138.

Lot 316

Follower of Willem van de Velde the Younger

A naval engagement pen and ink and wash

10 x 16.5cm

£300 - 500

Lot 317

Hendrick Jacobsz. Dubbels (Dutch, 1621-1707)

A coastal scene with fisherfolk and boats under stormy skies oil on canvas

27 x 32cm, unframed

£1,000 - 1,500

John Francis Salmon (1808-1886)

A pair of marine scenes with fisherfolk tending their nets and boats offshore one signed and dated ‘J Salmon/1869’ l.l., the second indistinctly signed, oil on canvas

34.5 x 51cm (2)

£600 - 800

Provenance: With The City Gallery, London.

Lot 318

Lot 319

Follower of Sir Augustus Wall Callcott

Shipping in an estuary oil on canvas

61 x 91cm

£300 - 400

Lot 320

Circle of Thomas Buttersworth (1768-1842)

A ship in a storm off a rocky coast oil on canvas

23 x 30.5cm

£300 - 400

Lot 321

William Thornley (fl.1858-1898)

‘Old Hulks on the Hamoaze’; ‘Moonrise, Low Tide’ a pair, both signed ‘THORNLEY’ l.r., oil on canvas

25.5 x 40.5cm (2)

£600 - 800

Lot 322

William Widgery (1826-1893)

A shipwrecked boat in rough seas with Tintagel Castle, Cornwall, beyond oil on canvas

77 x 123cm

£300 - 500

A typed note verso states: ‘This is a reply to my note to F. J. Widgery./14/12/1933./Dear Mr Chalk, “From the description given/I have no doubt the locality is Tintagel.N. Cornwall. My/late father did a lot of work, both there and at Bude. I/also remember that the size was one he favoured for coast/scenes. Yours Sincerely. F. J. Widgery.”’

Provenance: Bonhams, London, 24 November 2009, lot 15.

Lot 323

August von Siegen (German, 1850-1910)

A ship in stormy seas with figures on the shore; Boats moored in a harbour; A coastal scene with figures aboard barges each signed ‘Aug. Siegen’, oil on board 18.5 x 31.5cm (3) £600 - 800

Lot 324

Attributed to Henry Scott Tuke RA RWS (1858-1929)

A two-masted sailing boat at anchor, possibly off Falmouth watercolour

14 x 20cm

£400 - 600

Provenance: The collection of the late Sir Donald Cory.

Lot 325

Follower of Pieter Cornelis Dommershuijzen

Fishing hoogaars by the shore oil on canvas

37 x 58cm

£500 - 800

Provenance: With Royal Exchange Art Gallery, London.

Lot 326

Edward Wesson (1910-1983)

Wherries at dawn

signed ‘Wesson’ l.r., oil on board

31 x 44cm

£300 - 500

Lot 327

George Shaw (1929-1989)

A fishing boat, a tug and sailing vessel in the distance signed ‘GEORGE SHAW’ l.r., oil on canvas

30 x 40cm

£250 - 350

Lot 328

Charles Edward Dixon (1872-1934)

Shipping on the Thames at Greenwich signed and dated ‘Charles Dixon/1910’ l.l., watercolour

27 x 76cm

£500 - 700

Lot 329

Charles Edward Dixon (1872-1934)

The Pool of London under snow signed and dated ‘Charles Dixon/1911’ l.l., watercolour heightened with white

52.5 x 73.5cm

£1,000 - 1,500

Provenance: With Eland’s Art Gallery, Exeter.

Lot 330

Charles Edward Dixon (1872-1934)

A dockland scene with figures in a rowing boat signed ‘Charles Dixon’ l.l., watercolour

52.5 x 39.5cm

£400 - 600

Lot 331

Frank William Scarbrough (1860-1939)

‘Lower Pool, London’ signed ‘F. W. SCARBROUGH’ l.r., inscribed with title l.l., watercolour and bodycolour

32.5 x 51.5cm

£1,000 - 1,500

Lot 332

Charles John de Lacy (c.1856-1929)

‘The Attack on the Zeebrugge Mole by H.M.S ‘Vindictive’ under the control of Roger Keyes, April 22/23rd 1918’ signed and dated ‘Charles. J. de Lacy 1918’ l.l., watercolour and bodycolour

59 x 105cm

£600 - 800

Provenance: With Markswood Gallery, Great Bardfield, Essex.

65 x 90cm

£4,000 - 6,000

Lot 333

Anglo-Chinese School, 19th century

The clipper ‘Killeena’ in Hong Kong harbour oil on canvas

Lot 334



Edward Seago RWS (1910-1974)

‘North Sea Beach’

signed ‘Edward Seago’ l.l., inscribed with title verso, oil on board 41 x 61cm

£5,000 - 8,000

Edward Seago was renowned for his atmospheric landscapes and seascapes. His works, characterised by their fluid brushwork and subtle use of light, capture the changing seasons and dramatic weather patterns, particularly in the wide open spaces of East Anglia. Influenced by both traditional Dutch landscapes and the Impressionists, he remains an immensely popular figure in 20th-century British art.

Lot 335

Edward Seago RWS (1910-1974)

‘The Flooded River’

signed ‘Edward Seago’ l.l., inscribed with title verso, oil on canvas

40.5 x 50.5cm

£4,000 - 6,000

Provenance: With P & D Colnaghi & Co. Ltd., London.

Lot 336

Edward Seago RWS (1910-1974)

‘Mud Flat, Walton on the Naze’ signed ‘Edward Seago’ l.l., inscribed with title and dated ‘19/9/63’ verso, oil on board 50.5 x 66cm

£6,000 - 8,000

Lot 337

Alois Arnegger (Austrian, 1879-1967)

Varenna, Lake Como

signed ‘A. Arnegger’ l.r., oil on canvas

70 x 100cm

£1,000 - 1,500

Lot 338

Antoine Bouvard (French, 1875-1957)

A Venetian backwater

signed ‘Bouvard’ l.r., oil on canvas

27 x 34cm

£1,000 - 1,500

Lot 339

Antoine Blanchard (French, 1910-1988)

Boulevard des Capucines, Paris

signed ‘Antoine. Blanchard’ l.l., inscribed with title verso, oil on canvas

33 x 46cm

£2,000 - 3,000

339

Lot 340 

Antoine Bouvard (French, 1875-1957)

The Grand Canal, Venice, looking towards the Piazzetta and the Doge’s Palace signed ‘Marc Aldine’ l.r., oil on canvas

37 x 54cm

£3,000 - 5,000

Provenance: With Gladwell & Patterson, London.

Antoine Bouvard often used the name Marc Aldine, coined after his time in Venice. It is thought that ‘Bouvard’ was a name chosen for the English market while ‘Aldine’ was used for the French.

Lot 341 Antoine Bouvard (French, 1875-1957)

A Venetian canal with figures outside a shop signed ‘Bouvard’ l.l., oil on canvas

46 x 61cm

£2,000 - 3,000

Lot 342

Antoine Bouvard (French, 1875-1957)

A Venetian backwater with a gondola signed ‘Bouvard’ l.l., oil on canvas

49 x 65cm

£2,000 - 3,000

Lot 343

Antoine Bouvard (French, 1875-1957)

A Venetian backwater with gondolas signed ‘Bouvard’ l.l., oil on canvas

46 x 62cm

£2,000 - 3,000

Lot 344

… Bouvard (French, 19th/20th century)

The Grand Canal, Venice, with the Doge’s Palace and the Piazzetta in the distance signed ‘Bouvard’ l.l., oil on canvas

38 x 55cm

£2,000 - 3,000

Lot 345

Antoine Bouvard (French, 1875-1957)

Houses by a lake signed with pseudonym ‘Pelletier’ l.r., oil on canvas

38 x 56cm

£1,000 - 1,500

Provenance: With Gladwell & Co., London.

Lot 346

Constant Artz

(Dutch-British, 1870-1951)

A duck and ducklings by a pool

signed ‘Constant Artz’ l.l., oil on board

25 x 40cm

£300 - 500

Lot 347

Constant Artz

(Dutch-British, 1870-1951)

A family of ducks signed ‘Constant Artz’ l.r., oil on canvas

30.5 x 39.5cm

£300 - 500

Lot 348

Percy Leslie Lara (1870-1951)

Harvesting signed ‘P. Leslie. Lara’ l.r., oil on canvas

61 x 92cm

£300 - 500

Lot 349

Charles Edwin Baldock (1876-1941)

‘Cropwell Pride II’ signed and dated ‘Chas. E Baldock/1903’ l.c. and inscribed with title, oil on canvas

31 x 41cm, unframed

£400 - 600

Lot 350

Albert Claeys (Belgian, 1889-1967)

A river landscape signed ‘Claeys’ l.r., oil on canvas

80 x 100cm

£300 - 500

349 348 347 346

Lot 351

Jonathan Wylder (b.1957)

A seated female nude playing a flute bronze with mid-brown patination, signed ‘J Wylder’ twice, dated ‘2008’ and numbered ‘1/9’

60cm high

£500 - 700

Lot 352

Jonathan Wylder (b.1957)

A seated woman bronze with rich brown and green patination, signed ‘Wylder’ twice, dated ‘2005’ and numbered ‘1/9’ on the left arm

70cm high

£700 - 1,000

Lot 353

Enzo Plazzotta (Italian-British, 1921-1981)

‘Attitude’ bronze with rich brown patination, numbered ‘8/12’ with artist’s stamp and foundry mark

110cm high

115cm high overall, on a black marble base

£2,500 - 3,500

Lot 354

Enzo Plazzotta (Italian-British, 1921-1981)

‘Vanessa Redgrave as Isadora Duncan’ bronze, numbered ‘6/9’ with artist’s stamp

68cm high overall

£1,500 - 2,500

Lot 355

Julia Beatrice How (1867-1932)

‘La Boîte à Musique’ signed ‘B. How’ l.r., also signed and inscribed with title on a label verso, oil on canvas

81 x 65cm

£1,000 - 1,500

Lot 356

Hennie de Korte (Dutch, b.1941)

Portrait of a lady with flowers in her hair, seated at a mirror signed ‘H. G. de. Korte’ l.r., oil on canvas

70 x 60cm

£300 - 400

357

Serge Marshennikov (b.1971)

Reclining nude signed in Cyrillic l.l., also signed and dated ‘Serge Marshennikov/2004’ verso, oil on canvas 55 x 90cm

£6,000 - 8,000

Lot

Lot 358

Margaret Dovaston (1884-1954)

‘After Dinner, Rest a While’ signed ‘M. Dovaston’ l.r., inscribed with title on the frame verso, oil on canvas

46 x 61.5cm

£2,500 - 3,500

Lot 359

Otto Hagborg (Swedish, 1854-1927)

Portrait of a fisherman in a hat signed, inscribed and dated ‘Otto Hagborg/ Ponte-Aven/85’ l.r., oil on panel

38 x 33cm

£300 - 500

Lot 360

Emily Dixon (19th/20th century)

‘Love me, Love my Dog’ signed and dated ‘Emily Dixon/1904’ l.l., inscribed with title on label verso, oil on canvas

73 x 63cm, unframed

£400 - 600

Lot 361

Frank Moss Bennett (1874-1952)

The violinist signed and dated ‘F M Bennett /1915’ l.l., oil on canvas

35.5 x 26cm

£600 - 800

Lot 362

Felix Kelly (1914-1994)

A house seen from a garden signed with initials and dated ‘86’ l.r., inscribed ‘To dear Rhonda With Love/from Fix/a Kelly miniture [sic]/Friday 4th July 86’ on a label verso, oil on board

12.5 x 16cm

£1,000 - 1,500

Lot 363

Viktor Koshevoi (Ukrainian, 1924-2006)

The autumn forest, 1984 indistinctly signed l.r., oil on card

50 x 44.5cm

£250 - 300

Lot 364

Yevgeni Gololobov (b.1981)

A warm summer evening, 2008 signed in Cyrillic l.r., oil on canvas

61.5 x 91.5cm

£600 - 900

Lot 365

Alexander Shevchuk (Ukrainian, b.1960)

Lily pond signed in Cyrillic l.r., also signed, inscribed and dated ‘2002’ verso, oil on canvas

49.5 x 69.5cm

£200 - 300

364 363

362

Lot 366

Natalia Zaruba (Ukrainian, 1915-2008)

Chrysanthemums and Daffodils, 1970

signed in Cyrillic l.r., oil on canvas

90 x 118cm

£800 - 1,000

Lot 367

Natalia Zaruba (Ukrainian, 1915-2008) Lilac signed in Cyrillic l.l., oil on card

43 x 33cm

£200 - 300

Lot 368

Yakov Khaimov (1914-1991)

Still life with roses and a bowl of fruit signed in Cyrillic l.l., also signed, inscribed, and dated ‘50’ verso, oil on canvas

40 x 50cm

£800 - 1,200

Lot 369

Nikolai Kalmykov (1924-1994)

Still life of watermelon, grapes and pears signed in Cyrillic and dated ‘1950’ l.l., also inscribed verso, oil on canvas

79 x 99cm

£1,000 - 1,500

Lot 370

Sophia Khrustalyova (1915-2006)

Sunflowers

signed in Cyrillic l.r., also signed, inscribed in Cyrillic and dated ‘1969’ verso, oil on canvas

56 x 48cm

£200 - 300

Lot 371

Mikhail Zharov (Ukrainian, b.1974)

Lilies

signed in Cyrillic l.r., also signed, inscribed in Cyrillic and dated ‘2009’ verso, oil on canvas

50 x 75cm

£200 - 300

Lot 372

Viktor Templin (1920-1994)

The autumn forest signed in Cyrillic l.r., oil on card

43 x 58cm

£500 - 700

Lot 373

Viktor Templin (1920-1994)

Washing in the river signed in Cyrillic l.r., oil on board

49 x 66cm

£600 - 800

Lot 374

Sarkis Mangasaryan (Armenian, 1918-1991)

A girl on a hammock reading a book signed with initials and dated ‘55’ l.r., oil on canvas board

35 x 49.5cm

£300 - 400

Lot 375

Artashes Abraamyan (Armenian, 1921-2003)

A river landscape

signed in Cyrillic l.r., also signed and inscribed verso, oil on canvas

53 x 74cm

£500 - 700

Lot 376

Andrei Petrovich Polyushenko (1911-1985)

Sunset

signed in Cyrillic and dated ‘63’ l.r., coloured pastel

41 x 50cm

£400 - 600

Lot 377

Anatoliy Demenko (Ukrainian, b.1979)

Passing train, 2008

signed l.c., oil on canvas

59 x 80cm

£400 - 600

376

375

Lot 378

Paul Cazot (French, 1882-1963)

Still life of a dish of oranges and vases of anemones and broom

signed and dated ‘P. Cazot 53’ l.r., oil on canvas

54 x 65cm

£500 - 800

Lot 379

Blanche Odin (French, 1865-1957)

Still life of sweet chestnuts

signed ‘Blanche Odin’ l.l., watercolour

38 x 55.5cm

£400 - 600

Lot 380

Paul Brown (b.1967)

‘Croft 1963’ - a still life of bottles of port, decanters, coasters, grapes and cheese

signed ‘P BROWN’ l.r., and dated ‘MMVI’, oil on canvas

80 x 100cm

£400 - 600

Provenance: With W H Patterson, London.

Lot 381

Willem Dolphyn (Belgian, 1935-2016)

‘Days Gone By’

signed, inscribed and dated ‘W Dolphyn

2006 Excudit’ l.l., oil on board

70 x 60cm

£800 - 1,200

Provenance: With W H Patterson, London.

Lot 382

Willem Dolphyn (Belgian, 1935-2016)

Still life of a white ewer, a tall glass vase and a dish of pears

signed, inscribed and dated ‘W Dolphyn

2006 Excudit’ l.l., oil on board

60 x 50cm

£800 - 1,200

Lot 383

Willem Dolphyn (Belgian, 1935-2016)

Still life of a bowl of pears

signed and dated ‘W. Dolphyn 2001 Excudit’, oil on board

52 x 62cm

£1,000 - 1,500

Lot 384

John Trickett (b.1952)

Spaniels flushing woodcock

signed ‘John Trickett’ l.l., oil on canvas

51 x 71cm

£1,000 - 1,500

Lot 385

John Trickett (b.1952)

‘Going Home’

signed ‘John Trickett’ l.r., oil on canvas, painted circle

61.5cm diameter

£800 - 1,200

Lot 386

John Trickett (b.1952)

A seated Labrador signed ‘John Trickett’ l.l., oil on canvas board, tondo

40cm diameter

£300 - 500

Lot 388

John Trickett (b.1952)

A Labrador and puppies

signed ‘John Trickett’ l.l., oil on canvas

61 x 102cm

£800 - 1,200

Lot 387

John Trickett (b.1952)

‘Golden Girls’ signed ‘John Trickett’ l.r., oil on canvas

61 x 51cm

£800 - 1,200

Illustrated: ‘John Trickett: Reflections of the Countryside’, compiled and edited by Sally Mitchell, published by Palette Press, Notts., 2008, p.44.

Lot 389

Mick Cawston (1959-2006)

A terrier and a calf in a barn

signed ‘Mick Cawston’ and dated ‘2000’ l.r., oil on canvas

51 x 66cm

£800 - 1,200

Lot 390

John Trickett (b.1952)

Hares in the snow

signed ‘John Trickett’ l.r., oil on canvas

50 x 50cm

£500 - 700

Lot 391

Attributed to John Jackson (1778-1831)

Portrait of Benjamin Thompson Esq. of Tadcaster, full-length, in a landscape, holding a gun over his shoulder, his black retriever at his feet

oil on canvas

76 x 63cm

£1,000 - 1,500

Lot 392

French School, 19th century

Two young men shooting pheasant pencil

15 x 23cm

£200 - 300

Lot 393

R M Baily (19th century)

A kitchen still life of hanging game and blue and white china

signed, inscribed and dated ‘RM Baily/pinx/1854’ u.r., oil on canvas

61 x 46cm

£400 - 600

Lot 394

English School, 19th century

The day’s catch; Fish on the bank of a river, a castle beyond a pair, the first indistinctly signed l.r., oil on canvas laid on board

20 x 25cm (2)

£500 - 700

Lot 395

Basil Ede (1931-2016)

A house martin in flight over water signed ‘BASIL EDE’ l.r., watercolour and gouache

27 x 17cm

£600 - 800

Provenance: A private collection, South Africa.

Lot 396

Basil Ede (1931-2016)

A great crested grebe signed and dated ‘BASIL EDE 1976’ l.l., watercolour and gouache

20 x 29cm

£600 - 800

Provenance: With the Tryon Gallery, London; With Rountree Tryon Galleries, West Sussex.

Lot 397

George Edward Lodge (1860-1954)

Ptarmigan in flight in a snowy landscape signed ‘G. E. Lodge’ l.r., gouache

26.5 x 42.5cm

£800 - 1,200

Lot 398

Hugh Monahan (Irish, 1914-1970)

‘Almost Ready to Fly, a Canada Geese Family’ signed ‘H MONAHAN’ l.r., titled verso, oil on canvas board

30.5 x 40cm

£200 - 300

Lot 399

Basil Ede (1931-2016)

Blackbirds and a thrush signed ‘BASIL EDE’ l.r., watercolour and gouache

43.5 x 34cm

£700 - 1,000

Lot 400

Basil Ede (1931-2016)

A bearded tit, ‘Panurus biarmicus’ signed and dated ‘BASIL EDE 1977’ l.r., inscribed with title l.l., watercolour and gouache

20 x 30.5cm

£500 - 700

Provenance: With Rountree Tryon Galleries.

Lot 401

Basil Ede (1931-2016)

A lesser spotted woodpecker, ‘Dendrocopos minor’

signed ‘BASIL EDE’ l.r., inscribed with title l.l., watercolour and gouache

21.5 x 27.5cm

£500 - 700

Provenance: With Rountree Tryon Galleries, West Sussex.

Lot 402 Basil Ede (1931-2016)

A barn swallow and young at a nest signed and dated ‘BASIL EDE 1978’ l.l., watercolour

20 x 29cm

£400 - 600

Provenance: With Kennedy Galleries, New York; with the Tryon Gallery, London; with Rountree Tryon Galleries, West Sussex. 402

Lot 403

John Cyril Harrison (1898-1985)

Grouse by a loch signed ‘J. C. Harrison’ l.r., watercolour over pencil

32.5 x 46.5cm

£500 - 700

Lot 404

John Cyril Harrison (1898-1985)

Swans on a lake and geese in flight signed ‘J C Harrison’ l.r., watercolour over pencil

37 x 54.5cm

£800 - 1,200

Lot 405

Philip Rickman (1891-1982)

White Chinese geese, ‘Prince’ in the foreground signed and dated ‘Philip Rickman/1974’ l.l., watercolour and bodycolour

55 x 78cm

£400 - 600

Provenance: Christopher Marler.

Lot 406

Charles Frederick Tunnicliffe RA (1901-1979)

‘Gull V. Hoodies’

signed ‘C. F. Tunnicliffe’ l.r., watercolour over pencil

47 x 57cm

£2,000 - 3,000

Exhibited: The Royal Academy Summer Exhibition, 1967, catalogue no. 731.

Lot 407

Richard Robjent (b.1937)

Harlequin ducks

signed ‘Richard Robjent’ l.l., with artist’s label verso, watercolour and bodycolour

29 x 45cm

£300 - 400

407

406

Lot 408 Rodger McPhail (b.1953)

A robin on a holly branch signed ‘R. McPhail’ l.r., watercolour and gouache

22 x 30cm

£500 - 700

Provenance: With Rountree Tryon Galleries, West Sussex.

Lot 409 Rodger McPhail (b.1953)

Rooks signed ‘R. McPhail’ l.r., gouache

30.5 x 20cm

£400 - 600

Lot 410 Raymond Harris-Ching (New Zealand-British, b.1939)

Study of an eagle signed ‘Raymond Ching’ u.r., pencil

73 x 50cm

£500 - 700

Provenance: With Russell A Fink Gallery, Lorton, Virginia, US.

Lot 413

Colin Burns (b.1944)

A woodcock signed ‘Colin Burns’ l.l., oil on canvas

30 x 40cm

£500 - 700

Provenance: With the Tryon and Swann Gallery Ltd., London.

Lot 411

Attributed to Archibald Thorburn (1860-1935)

Head of a young pheasant pencil and watercolour

16 x 11cm

£200 - 300

Provenance: With the Tryon Gallery, London.

Lot 412

Winifred Austen (1876-1964)

A woodcock signed ‘W. Austen’ l.r., pencil and coloured pastel

12.5 x 18cm

£200 - 300

Provenance: With the Wildlife Art Gallery, Suffolk.

412 411

Manner of Alexandre-François Desportes

Sporting scenes of dogs and game a set of five cartouche-shaped panels, oil on canvas 104 x 147cm, unframed (5)

£1,500 - 2,500

Lot 414

Lot 415

Hippolyte Moreau (French, 1832-1926) and Prosper Lecourtier (French, 1851-1925)

‘Piqueur au Relais’

bronze with rich brown patination, signed ‘Lecourtier Hip Moreau’ with ‘Société des Bronzes de Paris’ foundry mark

48cm high

53cm high overall

£1,500 - 2,500

Provenance: Lord and Lady Moser.

Lot 416

Philip Blacker (b.1949)

A boy on a horse with a dog

bronze with dark brown patination, artist’s copy, signed with initials, dated ‘87’ and marked ‘a.c ©’

59cm wide

14cm deep

27cm high

29cm high overall, on a wooden base

£1,200 - 1,500

Lot 417

Louis Riché (French, 1877-1949)

Two German shepherds

bronze with gold patination, signed ‘L. RICHÉ’ with ‘Colin Paris’ foundry stamp

37cm wide

18cm deep

32cm high

37cm high overall, on a wooden base

£500 - 600

417

416

415

Lot 418

George Armfield (1808-1893)

A terrier with a rabbit in an open landscape signed with initials and dated ‘1847’ l.r., oil on canvas

43 x 54cm

£400 - 600

Lot 419

Edward Armfield (1817-1896)

Terriers playing in a barn signed ‘E. Armfield’ l.r., oil on canvas

50 x 90cm

£400 - 600

Lot 420

Edward Armfield (1817-1896)

Terriers in a barn a pair, both signed ‘E. Armfield’ l.l., oil on canvas

41 x 61cm (2)

£600 - 800

Lot 423

Alfred Wheeler (1851-1932)

Two Jack Russell terriers

signed ‘J. A. WHeeler’ l.l., oil on panel

16 x 29cm

£800 - 1,200

Alfred Wheeler (1851-1932)

Horses and hounds

five studies, each signed with initials, oil on board

10 x 14cm and smaller, framed together (5)

£400 - 600

Michael Lyne (1912-1989)

‘Master and Hounds of the United Cotswold Beagles’, 1939

signed ‘Michael Lyne’ l.r., watercolour and bodycolour

29 x 46cm

£300 - 500

Provenance: With Frost & Reed.

Lot 422

Lot 421

423 422

421

Lot 424

English School, 19th century

A foxhound and her puppies oil on canvas

29 x 35.5cm

£400 - 600

Lot 425

Robert Richard Scanlan (1801-1876)

‘Duchess and Dido’, two foxhounds signed with monogram l.r., inscribed with title and dated ‘1871’, watercolour

13.5 x 19cm

£200 - 300

Lot 426

Samuel Howitt (1756-1822)

A foxhound pen and ink and wash 13 x 21.5cm

£200 - 300

Provenance: With Sabin Galleries Limited, London. A label verso states that the work is a study of ‘Merkins’, owned by Colonel Thomas Thornton of Thornville Royal.

Lot 427

Charles Frederick Tunnicliffe RA (1901-1979)

A fox with cubs signed ‘C F Tunnicliffe’ l.r., watercolour over pencil

28 x 43cm

£1,200 - 1,800

Lot 428

William Strutt RBA (1825-1915)

Head of a fox

signed with monogram and dated ‘1873’ l.l., oil on board, painted oval

24.5 x 27cm

£500 - 700

Lot 429

Sir Alfred James Munnings PRA RWS (1878-1959)

A landscape sketch with annotations, pencil

15 x 25.5cm

£200 - 300

Exhibited: Cadogan Gallery, London, ‘An Exhibition of Dog Pictures and Sketches by Sir Alfred Munnings PRA’, 1982.

429 428

427

Lot 431

John Rattenbury Skeaping RA (1901-1980)

‘Taking the Fence’ signed and dated ‘JOHN SKEAPING 70’ l.r., oil on canvas

70 x 90cm

£800 - 1,200

Provenance: With Rountree Tryon Gallery.

Lot 430

Martin Theodore Ward (1799-1874)

‘Thrumpton Lass’, a chestnut hunter in a stable with a white cat signed ‘M. T. Ward’ l.r., inscribed with title u.l., oil on canvas

50 x 61cm

£400 - 600

Lot 432

David Howell (b.1939)

‘The Heat is On’ signed and dated ‘David Howell 98’ l.r., oil on canvas board

46 x 62cm

£300 - 500

Lot 433

Ayerst Young (early 20th century)

Waiting for a scent oil on canvas

40.5 x 56cm

£300 - 500

Lot 434

Ayerst Young (early 20th century)

After the hunt, horses by a stable oil on canvas

51 x 66.5cm

£300 - 500

Lot 435

Ayerst Young (early 20th century)

Polo ponies with military grooms in the grounds of a castle, possibly Cowdray

signed ‘Ayerst Young’ l.r., oil on canvas

56 x 76cm

£300 - 500

434

433

Lot 436

Maurice Blik (Dutch-British, b.1939) Head of a horse plaster

47cm wide

27cm deep

38cm high

£300 - 400

Possibly the artist’s plaster cast for the bronze ‘Many Summers’.

Lot 437

Malcolm Coward (b.1948)

Horses and a foal

signed ‘M Coward’ l.l., oil on canvas

46 x 76cm

£800 - 1,200

Lot 438

Debbie Dunbar (b.1963)

‘My Mutual Friends’ - a study of grey horses

signed ‘D Dunbar’ l.r., oil on canvas

49.5 x 49.5cm

£300 - 400

Lot 439

Debbie Dunbar (b.1963)

‘Under the Lights’ signed ‘D Dunbar’ l.l., inscribed with title verso, oil on canvas

45 x 75cm

£600 - 800

Lot 440

French School, 18th century

Three cats fighting oil on canvas

81 x 91cm

£800 - 1,200

Lot 441

Carl Emil Mücke (German, 1847-1923)

An unexpected visitor signed ‘Carl Mücke D…’ l.l., oil on canvas

31 x 26.5cm

£400 - 600

Lot 442

G… Cox

(late 19th/early 20th century)

A group of kittens signed ‘G Cox’ l.r., oil on canvas

23 x 61cm

£250 - 350

Lot 443

English School, late 19th century

A Yorkshire terrier oil on board

21 x 15cm

£400 - 600

Lot 444

After Sir Edwin Henry Landseer

‘A Jack in Office’ oil on panel

34 x 44cm

£300 - 500

After the painting in the Victoria and Albert Museum, London.

Lot 445

Peter Kenneth Cowley Jackson (1930-2006)

A basset hound

signed and dated ‘P.K.C. Jackson 1971’ l.r., oil on board

45 x 61cm

£400 - 600

Lot 446

Frederick Thomas Daws (1878-1956)

A poodle

signed and dated ‘F T DAWS./44’, oil on canvas

50 x 37cm

£400 - 600

Lot 447

Flemish School, 19th century

Three thieves oil on canvas

65 x 81cm

£400 - 600

Lot 448

Wilson Hepple (1854-1937)

Two kittens signed ‘Wilson Hepple’ l.l., oil on canvas laid on board

13 x 18cm

£300 - 500

450

Lot 449

Louis Eugène Lambert (French, 1825-1900)

A cat and kittens signed ‘L. E… Lambert’ l.l., watercolour

25 x 32cm

£200 - 300

(1810-1894)

A dog chasing a cat pencil, pen and ink and coloured washes

11 x 19.5cm

£200 - 300

Lot

Circle of Samuel Henry Alken Jnr

Lot 451

Wilhelm Kuhnert (German, 1865-1926)

A toad

pencil heightened with white 10.5 x 16cm

£300 - 400

Lot 452

Wilhelm Kuhnert (German, 1865-1926)

A llama

pencil and wash heightened with white 13.5 x 15cm

£300 - 400

Provenance: With Mathaf Gallery Ltd., London.

Lot 453

Joshua Cristall POWS (1767-1847)

Mackerel

signed with initials and dated ‘1807’ l.l., watercolour over pencil

9 x 13.5cm

£200 - 300

Lot 454

Harry Becker (1865-1928)

Carthorse studies

inscribed ‘17/170’ u.r., pencil

38 x 25cm

£500 - 700

Provenance: With the Wildlife Art Gallery, Suffolk.

452 451



‘Marauders’ etching, signed ‘Herbert Dicksee’ in pencil l.l., signed with initials in the plate

image 16 x 25cm

£200 - 300

‘Maternal Care’ etching, signed ‘Herbert Dicksee’ in pencil l.l., signed with initials in the plate

image 40 x 65cm

£300 - 500

A leopard signed ‘Joel Kirk’ l.r., oil and acrylic on canvas

64 x 76cm, unframed

£300 - 500

Lot 455

Herbert Thomas Dicksee RE (1862-1942)

Lot 456

Herbert Thomas Dicksee RE (1862-1942)

Lot 457

Joel Kirk (b.1948)

456 455

33.5 x 28cm

£1,000 - 1,500

Provenance: Purchased from Rountree Tryon

Lot 458

David Shepherd (1931-2017)

A bull elephant signed ‘David Shepherd’ l.r., pencil

Galleries, Petworth, West Sussex.

Lot 459

Louis Riché (French, 1877-1949)

A resting lioness bronze with rich brown patination, signed ‘L. RICHÉ’

58cm wide

25cm deep

46cm high

£600 - 700

Provenance: Christie’s, sale 8942, December 1998, lot 125 (label in base).

Lot 460

Louis Riché (French, 1877-1949)

A panther drinking bronze with green and black patination, signed and inscribed ‘L. Riche/Médaille d’Or’ and marked ‘Patrouilleau. Editeur’

42cm wide

14cm deep

26cm high

£1,000 - 1,500

Lot 461

Rosa Bonheur (French, 1822-1899)

A resting bull bronze with brown patination, signed ‘Rosa B’, with ‘Peyrol’ foundry stamp

29cm wide

17cm deep

16cm high

£500 - 700

Ivon Hitchens (1893-1979) ‘Tree Arch’

on canvas

GLOSSARY OF PICTURE CATALOGUING TERMS

A work catalogued with the forename(s) and surname of a recognised destination of an artist is or is probably a work by the artist, eg. David Cox. Nevertheless, intending buyers are reminded that while a full designation is our highest category or authenticity, no unqualified statement as to the authorship is made or intended. A full cataloguing does not necessarily imply a full warranty.

Attributed to David Cox in our opinion a work of the period of the artist which may be in whole or in part the work of the artist.

Circle of David Cox in our opinion a work from the period of the artist and showing his influence.

Follower of David Cox in our opinion a work executed in the style of David Cox

After David Cox in our opinion a copy of any date after a work by the artist

Signed/inscribed/dated in our opinion the work has been signed/inscribed/dated by the artist

ARTIST’S RESALE RIGHT (ARR)

What is Artist’s Resale Right?

Following a European Directive in 2006, the Artist’s Resale Right entitles creators of original works of art to a royalty each time their work is resold, with the involvement of an auction house, for £1,000 or more.

This right covers sales of work by living artists and also the beneficiaries and heirs of artists deceased within the last 70 years of the sale.

How are resale royalties calculated?

The artist’s royalty depends on the hammer price (sale price without any VAT or Buyer’s Premium). The higher the sale price of the artwork, the lower the overall royalty rate. The royalty is worked out according to a sliding scale from 4% to 0.25%.

From £1,000 to £50,000

From £50,000.01 to £200,000 3%

From £200,000.01 to £350,000 1%

From £350,000.01 to £500,000 0.5%

Exceeding £500,000

What is the qualifying threshold?

An artwork must sell for more than £1,000 to qualify for a royalty and the maximum amount an artist can receive is capped at £12,500 per transaction.

Bears/with signature, inscription, date in our opinion the signature/inscription/date are not by the hand of the named artist.

The addition of a question mark (?) after any of the above cataloguing terms indicates an element of doubt.

A work catalogued as ‘School’ accompanied by the name of a place or country and a date means that in our opinion the work was executed at that time and in the location, eg. South Netherlands School, circa 1750.

All references to signatures, inscriptions and dates refer to the present state of the work, ie. as at the time of inspection for the purpose of cataloguing.

Condition reports are not included in the descriptions.

What nationality must an artist be to qualify?

Following the UK’s exit from the European Union, the ARR has continued to apply to the sale of artworks by nationals of countries in the European Economic Area (EEA), as well as the UK. The following countries are in the EEA:

Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, plus the UK, and Australia was added to the list for the purposes of ARR with effect from 31 March 2024.

Artists who are nationals of these countries are therefore generally eligible to receive resale royalties. The nationality criteria only applies to the artist and not to the beneficiaries or heirs.

Are all sales of artwork covered?

The Artist’s Resale Right does not apply to all sales of artworks. A royalty is only due if the following conditions are met:

• the artwork is a copyright protected work of graphic or plastic art;

• it is sold for more than £1,000;

• it is sold in the secondary market with the involvement of an art market professional (e.g. auction house);

• and it is sold in the UK, Australia or a country in the European Economic Area (EEA)

Lots that may be subject to Artist’s Resale Right will be denoted by this symbol: 

This royalty, where applicable, will be charged to the purchaser.

INDEX OF ARTISTS

A Abraamyan, Artashes 375

Aggett, Lionel 167

Aitken, John Ernest 182, 183

Alexander, Robert 257

Alken Jnr, Circle of Samuel Henry 450

Angelico, Manner of Fra 33

Angell, Helen Cordelia 199

Anglo-Chinese School, 19th century 333

Armfield, Edward 419, 420

Armfield, George 418

Arnegger, Alois 337

Arnoux, Michel 245

Artz, Constant 346, 347

Austen, Winifred 412

B

Back, Sir George 201

Baily, R M 393

Baldock, Charles Edwin 349

Barclay, John Maclaren 140

Barker of Bath, John Joseph 249

Barry, Attributed to John 121

Baum, Paul 290

Becker, Harry 454

Bennett, Frank Moss 361

Blacker, Philip 416

Blacklock, William Kay 269

Blanchard, Antoine 339

Blik, Maurice 436

Boddington, Edwin Henry 291

Boehm, Sir Joseph Edgar 234

Bonheur, Rosa 461

Bonifazi, Adriano 160

Bonington, Follower of Richard Parkes 277

Boucher, After François 85

Bouvard, Antoine 338, 340, 341, 342, 343, 345

Brabazon, Hercules Brabazon 165, 166

Brandeis, Antonietta 208, 209, 210

Bridges, John 251

Brown, Paul 380

Brown, William Marshall 179, 180

Buck, Attributed to Frederick 116

Burlison, Clement 154

Burns, Colin 413

Buttersworth, Circle of Thomas 320

C

Callcott, Follower of Sir Augustus Wall 319

Canaletto, After 91

Canals, Studio of Miguel 79

Canella the Younger, Giuseppe 221

Carpaccio, After Vittore 34

Carpenter, Circle of Margaret Sarah 146

Carpenter, Margaret Sarah 142

Cawston, Mick 389

Cazot, Paul 378

Chinnery, Circle of George 86

Cignani, After Carlo 41

Claeys, Albert 350

Clare, George 267, 268 Clark, Joseph 279

Cochin, Charles-Nicolas 26 Colkett, Circle of Samuel David 288 Continental School, c.1800 30 Continental School, c.1840 151 Continental School, 19th century 171 Continental School, late 19th century 271 Coques, Circle of Gonzales 95 Cosway, Circle of Richard 110 Coward, Malcolm 437

Cristall, Joshua 453

D da Carucci Pontormo, After Jacopo 35 d'Ancona, Attributed to Vita 148

Daws, Frederick Thomas 446 de Bergere, Louis, after Alexandre François Xavier Sigalon 240 de Beul, Frans 274 de Deltour, P... 262 de Korte, Hennie 356 de Lacy, Charles John 332 de Largillière, Follower of Nicolas 19 de Molijn, Attributed to Pieter 69 de Neufchâtel, Manner of Nicolas 8 de Tott, Sophie 143 de Verbruggen the Younger, Gaspar Peeter 80 de Wilde, August 260

Della Mura, Angelo 170 Demenko, Anatoliy 377 Denner, After Balthasar 17 Desportes, Manner of Alexandre-François 414 Dicksee, Herbert Thomas 455, 456

Dixon, Charles Edward 328, 329, 330 Dixon, Emily 360 Dolphyn, Willem 381, 382, 383 Dommershuijzen, Follower of Pieter Cornelis 325 Dovaston, Margaret 358 Dubbels, Hendrick Jacobsz. 317 Dubois, Paul 189

Duhamel, P... 264

Dunbar, Debbie 438, 439

Durand, Charles Amand 59

Dutch School, 16th century 4

Dutch School, 17th century 12, 15, 96

Dutch School, 19th century 61, 76

E Eastern European School, 19th century 55

Ede, Basil 395, 396, 399, 400, 401, 402

Elgood, George Samuel 173

Ellis, Tristram James 174

Engleheart, George 117

English Naive School, early 19th century 147

English School, 17th century 18

English School, late 17th century 104

English School, 18th century 92, 122, 132, 137

English School, early 18th century 134

English School, c.1820 152

English School, c.1840 153

English School, mid-18th century 123, 124, 125

English School, late 18th century 126

English School, 19th century 149, 394, 424

English School, early 19th century 129, 241

English School, mid-19th century 130, 295

English School, late 19th century 157, 443

English School, early 20th century 186, 187, 188

F Ferrari, Giovanni Battista 228

Fisher, William Mark 312

Flemish School, early 17th century 11, 60, 73

Flemish School, 17th century 72, 99

Flemish School, 18th century 71, 74

Flemish School, 19th century 447

Florentine School, 1630 48

Fontainebleau, School of, 17th century 63

Fortescue, William Banks 270

Foster, Myles Birket 168

Fox, George 263

French School, 17th century 97

French School, 18th century 440

French School, early 18th century 131

French School, 19th century 392

French School, early 19th century 172

French School, late 19th century 272, 311

Frith, Attributed to William Powell 250

G Galeotti, A, After Paolo Veronese 39

Galien-Laloue, Eugène 175

Garland, Thomas Valentine 244

Genoese School, 17th century 47

German School, 19th century 306

Gilbert, Arthur 293

Goff, Frederick Edward Joseph 176

Gololobov, Yevgeni 364

Goodall, Edward Angelo 162, 163, 164

Goodall, Frederick 313

Gower, Attributed to George 1

Grant, Carleton 184, 185

Green, Manner of Amos 84

Grubacs, Follower of Carlo 214

Guardi, Giacomo 88

H

Haag, Jean-Pierre 255

Hagborg, Otto 359

Haghe, Louis 191

Haghe, Louis, after David Roberts RA 230

Hals, Attributed to Dirck 65

Hamilton, Hugh Douglas 141

Hardy Jnr, James 197, 198

Harraden, Richard Bankes 225

Harris-Ching, Raymond 410

Harrison, John Cyril 403, 404

Hasselhorst, Johann Heinrich 239

Hayllar, James 161

Hayward, Alfred Frederick William 77

Heffner, Karl 292

Hepple, Wilson 448

Hermann, Ludwig 215, 216

Herring Jnr, John Frederick 287

Hill, James John 258

Hogarth, Follower of William 102

Holland, James 212

Hone, Horace 113

Hone, Nathaniel 105

Hoppner, Circle of John 133

Hornel, Edward Atkinson 314

Horsley, John Calcott 247

How, Julia Beatrice 355

Howell, David 432

Howitt, Samuel 426

Hughes, Edwin 238

Hunt, Claude 265

Hutchison, George Jackson 273

I Italian School, 17th century 23, 44, 51, 52, 98, 100

Italian School, early 18th century 89

Italian School, mid-18th century 138

Italian School, 19th century 159, 210A, 226

Italian School, early 19th century 227

J Jackson, Attributed to John 391

Jackson, Frederick William 284, 285, 286 Jackson, Peter Kenneth Cowley 445 Johnson, Edward Killingworth 196

K

Kalmykov, Nikolai 369 Kapidagli, Circle of Konstantin 150 Kauffman, After Angelica 82 Kauffman, Attributed to Angelica 81 Kelly, Felix 362 Khaimov, Yakov 368 Khrustalyova, Sophia 370 Kiers, Petrus 75 Kilburne, George Goodwin 192, 193, 194, 195 Kilpack, Sarah Louise 302, 303 Kinnaird, Frederick Gerald 278 Kirk, Joel 457 Klingstedt, Karl Gustav 27 Kneller, Follower of Sir Godfrey 53 Koshevoi, Viktor 363 Kuhnert, Wilhelm 451, 452

L Lambert, Louis Eugène 449 Lamond, William Bradley 297 Landseer, After Sir Edwin Henry 444 Lara, Percy Leslie 348 Lavery, Circle of Sir John 155 Lavery, Sir John 156

Lely, After Sir Peter 10 Lely, Circle of Sir Peter 9 Lely, Follower of Sir Peter 14 Lely, Manner of Sir Peter 103 Lidderdale, Charles Sillem 158

Linnell, John 206

Lodge, George Edward 397

Lombard School, 15th century 36

Lyne, Michael 423

M

Mackay, Thomas 178

Maes, Nicolaes 21

Magrath, William 237

Mangasaryan, Sarkis 374

Marshennikov, Serge 357

Martin, David 139

McEwan, Thomas 256

McPhail, Rodger 408, 409

McTaggart, William 266

Mercier, Circle of Philippe 20

Metz, Conrad Martin 28

Monahan, Hugh 398

Moroni, Luigi 242

Mücke, Carl Emil 441

Mühlig, Hugo 280

Muir, William Temple 301

Muller, Attributed to William James 181

Munnings, Sir Alfred James 429

Murillo, After Bartolomé Esteban 45, 46

Murray, Circle of Thomas 13

N

Nasmyth, Charlotte 223

North Italian School, 16th century 31

North Italian School, 17th century 25, 101

O

Odin, Blanche 379

O'Neill, George Bernard 246

P

Pann, Abel 202

Parry, James H 259

Paul, Circle of John 304

Paul, Paul 283

Percy, Circle of Sidney Richard 300

Petitjean, Edmond Marie 309

Pettovelli, Giovanni 22

Piazza, Attributed to Alessandro 56 Pisani, Louis, after Raphael 49 Plazzotta, Enzo 353, 354

Plimer, Circle of Andrew 114, 115 Pocock, Lexden Lewis 281

Pollentine, Alfred 217, 218, 219, 220

Polyushenko, Andrei Petrovich 376

Portielje, Edward Antoon 248

Pourbus the Younger, Follower of Frans 94

R

Rankley, Arthur 252

Raphael, After 32, 37, 50

Rembrandt, Manner of 16

Reni, After Guido 42

Rheam, Henry Meynell 200

Ribalta, Circle of Francisco 7

Richardson Jnr, Thomas Miles 169

Riché, Louis 417, 460

Rickman, Philip 405

Roberts, David 229, 231, 232, 233

Robjent, Richard 407

Roch, Sampson Towgood 118

Ross, After Sir William Charles 205

Rowlandson, Thomas 93

S Salmon, John Francis 318

Scanlan, Robert Richard 425

Scarbrough, Frank William 331

Schivert, Victor 261

Schmutzer, Ferdinand 190

Seago, Edward 334, 335, 336

Segar, Attributed to Sir William 2, 3

Senior, Attributed to Mark 310

Shaw, George 327

Shelley, Circle of Samuel 111 Shepherd, David 458

Sherrin, Daniel 307

Shevchuk, Alexander 365

Skeaping, John Rattenbury 431

Slous, George 120

Smart, Circle of John 108, 109 Smith, George 254 Smith, John Brandon 294 Smith, Stephen Catterson 204

Soolmaker, Manner of Jan Frans 68

Spanish Colonial School, 17th century 58

Spanish Colonial School, 17th/18th century 43

Spanish School, 18th century 83 Stanfield, George Clarkson 305 Stott, Edward 203 Strutt, William 428 Swedish School, c.1780 136

T Templin, Viktor 372, 373 Thorburn, Attributed to Archibald 411 Thornhill, Circle of Sir James 40 Thornley, William 321

Titian, After 38

Trickett, John 384, 385, 386, 387, 388, 390 Tuke, Attributed to Henry Scott 324 Tunnicliffe, Charles Frederick 406, 427 Turton, T... 253

U Unterberger, Franz Richard 222

V van Craesbeeck, Circle of Joos 67

van de Velde the Younger, Follower of Willem 316 van de Velde the Younger, Willem 315 van der Lanen, Manner of Jasper 64 van der Meulen, Follower of Adam Frans 24 van der Neer, Aert 62 van Dyck, After Sir Anthony 6 van Dyck, Manner of Sir Anthony 5 van Loo, Circle of Carle-André 54 van Mieris the Elder, After Frans 66 van Ruisdael, Follower of Jacob 70 Venetian School, 19th century 213 Véron, Alexandre René 298 Vigée Le Brun, After Élisabeth Louise 144 Vogels, Guillaume 282 von Maron, Attributed to Anton 135 von Schadow, Friedrich Wilhelm 207 von Siegen, August 323 W Waite, Edward Wilkins 296 Ward, Martin Theodore 430 Wesson, Edward 326 Westall, Richard 87 Wheeler, Alfred 421, 422 Whistler, Attributed to James Abbot McNeill 177 Widgery, William 322 Wilkie, After Sir David 236 Williams, George Augustus 308 Williams, Penry 224 Willis, Henry Brittan 299 Wimperis, Edmund Morison 289 Wingate, James Lawton 275, 276 Winterhalter, Circle of Franz Xaver 145 Woods, Henry 211 Wylder, Jonathan 351, 352 Y Young, Ayerst 433, 434, 435 Z Zampighi, Eugenio 243 Zaruba, Natalia 366, 367 Zharov, Mikhail 371 Zincke, Christian Friedrich 106, 107 Zingg, Adrian 29 Zuccarelli, Follower of Francesco 90

TERMS AND CONDITIONS

These conditions of business consist of:

1. Information for Buyers;

2. Terms of Consignment (for Sellers) - not included in this catalogue ;

3. Terms of Sale (for Bidders and Buyers).

1. INFORMATION FOR BUYERS

Introduction

The following notes are intended to assist Bidders and Buyers, particularly those that are inexperienced or new to our salerooms. All of our auctions are governed by our Terms and Conditions and any notices that are displayed in our salerooms or announced by the Auctioneer at the auction. Our Terms and Conditions are available for inspection at our salerooms and the Terms of Sale are printed in the back of our auction catalogues. Our staff will be happy to help you if there is anything in our Terms and Conditions that you do not fully understand.

Please make sure that you read our Terms of Sale carefully before bidding in the auction. If your bid is successful, you will be obliged to comply with our Terms of Sale.

Methods of payment

Lots must be paid for before they are collected or shipped. For those attending the auction we ask that Lots are paid for on the day of the sale. Methods by which we accept payment are detailed on our Website, including online payment upon receipt of your invoice, and these should be paid by 5pm on the Friday following the sale. We accept cash to an upper limit of 10,000 euros equivalent. We accept credit card payments to an upper limit of £5,000. Usually any cheques will need to be cleared before you can take the Goods away.

Collection and storage

All Lots should be paid for and collected by 5pm on the Friday following the sale. Commission Bidders should check the success of their bids and arrange payment, and collection or shipping within this time. For our specialist auctions please refer to the collection and storage requirements detailed in the catalogue and on our Website, which specifies the applicable fees. For our Homes and Interiors auctions, items not removed by 5pm on Friday may be removed at the purchaser’s expense and storage charges of £10 (plus VAT) for administration and £2 (plus VAT) per lot per day.

Agency

As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your contract for the Goods is with the Seller, not with us as Auctioneer.

Estimates

Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the sale Price. The lower estimate may represent the Reserve Price (the minimum Price for which a Lot may be sold) and will not be below the Reserve Price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot. They are not definitive.

Buyer’s Premium

The Terms of Sale oblige you to pay a Buyer’s Premium at 25% on the Hammer Price of each Lot purchased, except for our Fine Wine and Spirits auctions when it is 18%. In addition, VAT is charged on these Premiums (see below).

VAT

Items in our catalogue may be marked with a dagger † or double dagger ‡, which indicates that VAT is payable by the Buyer on the Hammer Price and the Buyer’s Premium at either the standard rate (currently 20%) or a reduced rate (currently 5%), depending upon the legal requirements relating to that Lot.

Lots which do not have either of the above symbols have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. The VAT included within the Premium is not recoverable as input tax.

Shipping Costs are liable for VAT and are payable by the Buyer.

Inspection of Goods by the Buyer

As we act on behalf of the Seller, we are dependent on information provided by the Seller about their Goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have ample opportunity to inspect the Goods. You must inspect and investigate Lots that you might wish to bid for. Please note carefully the exclusion of liability for the description and condition of Lots set out in the Terms of Sale at clauses 12.2 and 12.4.

Condition reports

We may be able to assist Buyers unable to view by emailing a condition report, but these are based solely on our own opinion and are for guidance only and no responsibility is accepted for their accuracy. Intending Buyers are strongly encouraged to view.

Condition reports cannot be prepared on the day of the sale.

Shipping of Goods

We offer a delivery service for Lots purchased. Estimates for Shipping Costs for smaller items can be calculated pre-sale on our website under each Lot and are based on value, size and your chosen UK destination. For items purchased the actual cost can be added to your account and paid online after the sale. If you purchase multiple Lots from the same auction, we will combine packaging/deliveries to reduce the Shipping Costs. For lots for which Shipping Costs cannot be automatically calculated, such as furniture, you can obtain a bespoke Shipping Cost from our website to any destination in the world either in advance of the sale or after you have purchased.

Estimates of Shipping Costs on our website are based on the low estimate, whilst the actual cost is based on Hammer Price.

Electrical goods

These are sold as ‘antiques’ only. If you buy electrical Goods for use you must ask a qualified electrician to check them for compliance with safety regulations before you use them.

Export of Goods

If you intend to export Goods you must find out:

a. whether an export licence is needed; and b. if there is a prohibition on importing Goods of that character e.g. because the Goods contain prohibited materials such as ivory.

Bidding

Bidders will be required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a Commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please enquire in advance about our arrangements for telephone or online bidding. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.

Commission bidding

You may leave Commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyers’ Premium and/or any applicable VAT). We will execute Commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical Commission bids we may prefer the first bid received (where this can be reasonably ascertained). We recommend leaving Commission bids online via our Website, though please contact us about leaving bids by telephone or fax/email. All absentee bids should be received at least 30 minutes before the auction commences; we cannot guarantee to execute Commission bids received after this time.

Telephone bidding

If you are unable to come to the auction it may be possible to bid on the telephone for higher value Lots. Please note that this service is for Lots with an estimate of £500 or more. 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. It is advisable to leave a maximum covering bid in case we are not able to contact you by telephone. All lines must be booked and confirmed in writing before the day of the auction and preferably some time in advance. Telephone bidding involves many variables and whilst we take every care to ensure the smooth operation of this service, we cannot be held liable if your bids are missed for any reason.

Online bidding

Any Lots purchased via a live online bidding service will be subject to an additional Commission charge on the Hammer Price payable by the Bidder, in accordance with rates specified by the online service. From 1 January 2020, these charges will be charged at 0% while bidding via Sworders Website. If bidding through the-saleroom.com this will be charged at 4.95% plus VAT. These charges will be payable to us on top of the Hammer Price and our Buyer’s Commission.

IMPORTANT NOTICES

Removal of Lots

All Lots are to be removed from the premises by 5.00pm at the latest on the Friday following each sale. Sworders retain the right to remove Lots remaining after this time into safe storage, for which a charge will be made.

Electrical Goods

All electrical Goods offered in this sale have either been tested and certified safe or unsafe by an appropriately qualified electrician. All electrical Goods certified unsafe must be re-commissioned by an appropriately qualified electrician and we recommend those certified safe are similarly re-commissioned.

Post 1950 Upholstered Furniture

All items of furniture included in this sale are offered for sale as works of art. The items may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason, they should not be used in a private dwelling.

Furniture made of Brazilian Rosewood (Dalbergia Negra)

To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture items must have an Article 10 certificate in place, prior to being offered for sale.

If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal and Plant Health Agency (APHA) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number.

It is therefore the responsibility of commercial Buyers to ensure that they obtain a copy of the appropriate certificate, or the certificate reference number, after purchase from Sworders Fine Art Auctioneers. Items are marked with this sign §.

Ivory

Lots marked  contain elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.

3. TERMS OF SALE

Please note that if you register to bid and/or bid at auction this signifies that you agree to and will comply with these Terms of Sale. These Terms of Sale relate to auctions conducted by an Auctioneer only. We have separate terms for online only auctions.

1. Definitions and interpretation

1.1 To make these Terms of Sale easier to read, we have given the following words a specific meaning:

In these Terms of Sale the words ‘you’, ‘yours’, etc. refer to you as the Buyer. The words ‘we’, ‘us’, etc. refer to the Auctioneer. Any reference to a ‘Clause’ is to a clause of these Terms of Sale unless stated otherwise.

3.2 We strongly recommend that you attend the auction in person. You are responsible for your decision to bid for a particular Lot. If you bid on a Lot, including by telephone and online bidding, or by placing a Commission bid, we assume that you have carefully inspected the Lot and satisfied yourself regarding its condition and other characteristics.

3.3 If you instruct us in writing, we may execute Commission bids on your behalf. Neither we nor our employees or agents will be responsible for any failure to execute your Commission bid, unless our failure to do so is unreasonable. Where two or more Commission bids at the same level are recorded we have the right to prefer the first bid made (where this can be reasonably ascertained).

‘Auctioneer’ means GES & Sons Ltd trading as Sworders Fine Art Auctioneers, a company registered in England and Wales with registration number 6858916 and whose registered office is located at Cambridge Road, Stansted Mountfitchet, Essex CM24 8GE or its authorised Auctioneer, as appropriate;

‘Bidder’ means a person who places a bid for Goods at our auction;

‘Buyer’ means the person who makes the highest bid for the Goods accepted by the Auctioneer;

‘Commission’ means the Commission that we charge you on the sale of the Goods as set out in Clause 5 below;

‘Consumer’ means an individual acting for purposes which are wholly or mainly outside that individual’s trade, business, craft or profession;

‘Consumer Contracts Regulations’ means the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013;

‘Deliberate Forgery’ means: (a) an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source; (b) which is described in the catalogue as being the work of a particular creator without qualification; and (c) which at the date of the auction had a value materially less than it would have had if it had been as described;

‘FCA’ means the Financial Conduct Authority;

‘Goods’ means the Goods that have been consigned to us for sale at our auction;

‘Hammer Price’ means the level of the highest bid for a Lot accepted by the Auctioneer;

‘Premium’ means the Premium charged to the Buyer on the sale of the Goods in accordance with the Terms of Sale;

‘Price’ means the total of the Hammer Price, Premium, Shipping Costs (if applicable) and any applicable VAT;

‘Proceeds’ means the Price less the Commission, the Premium, Shipping Costs, any expenses incurred to your account and any applicable VAT;

‘Reserve’ means the minimum Price at which the Goods may be sold;

‘Seller’ means the owner of the Goods and any agent who consigns the Goods for sale on the owner’s behalf (if applicable);

‘Shipping Costs’ means the charges applied to the shipping of all Goods purchased, should the Buyer ask for the Auctioneer’s shipping agent to deliver the Goods (if applicable);

‘Terms of Consignment’ means these Terms of Consignment;

‘Terms of Sale’ means the Terms of Sale for Bidders or Buyers at our auctions;

‘Trader’ means a Seller who is acting for purposes relating to that Seller’s trade, business, craft or profession, whether acting personally or through another person acting in the Trader’s name or on the Trader’s behalf (such as an agent and/or the Auctioneer);

‘VAT’ means any value added tax or equivalent sales tax; and

‘Website’ means our Website available at www.sworder.co.uk.

2. Information that we are required to give to Consumers

2.1 A description of the main characteristics of each Lot as contained in the auction catalogue.

2.2 Our name, address and contact details as set out herein, in our auction catalogues and/or on our Website.

2.3 The Price of the Goods and arrangements for payment as described in Clauses 4, 5, 7 and 8.

2.4 The arrangements for collection or delivery of the Goods as set out in Clauses 8 and 9.

2.5 Your right to return a Lot and receive a refund if the Lot is a Deliberate Forgery as set out in Clause 13.

2.6 We and Trader Sellers have a legal duty to supply any Lots to you in accordance with these Terms of Sale.

2.7 If you have any complaints, please send them to us directly at the address set out on our Website.

3. Bidding procedures and the Buyer

3.1 You must register your details with us before bidding and provide us with any requested proof of identity and billing information, in a form acceptable to us. You must also satisfy any security arrangements we have in place before entering the auction room to view or bid.

3.4 The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price. Any dispute about a bid will be settled at our discretion. We may re-offer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute.

3.5 Bidders will be deemed to act as principals, even if the Bidder is acting as an agent for a third party.

3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.

3.7 We may refuse to accept any bid if it is reasonable for us to do so.

3.8 Bidding increments will be at our sole discretion (but will be in line with standard auction practice).

4. The purchase price

As Buyer, you will pay:

a. the Hammer Price;

b. a premium of 2 5 % plus VAT of the Hammer Price or 1 8 % plus VAT for our Fine Wine and Spirits Auction; c. any artist’s resale right royalty payable on the sale of the Lot; and

d. any VAT due.

5 . VAT

5.1 You shall be liable for the payment of any VAT applicable on the Hammer Price, Premium and Shipping Costs (if applicable) due for a Lot. Please see the symbols used in the auction catalogue for that Lot and the ‘Information for Buyers’ in our auction catalogue for further information.

5.2 We will charge VAT at the current rate at the date of the auction.

6. The contract between you and the Seller

6.1 The contract for the purchase of the Lot between you and the Seller will be formed when the Auctioneer records the winning Lot in the sale book accepting the highest bid for the Lot at auction, unless due diligence information required by the Auctioneer under the Money Laundering Regulations 2019 in accordance with their internal procedure remains outstanding, in which case the contract will be formed when that information is accepted by the Auctioneer as complete.

6.2 You may directly enforce any terms in the Terms of Consignment against a Seller to the extent that you suffer damages and/or loss as a result of the Seller’s breach of the Terms of Consignment.

6.3 If you breach these Terms of Sale, you may be responsible for damages and/or losses suffered by a Seller or us. If we are contacted by a Seller who wishes to bring a claim against you, we may at our discretion provide the Seller with information or assistance in relation to that claim.

6.4 We normally act as an agent only and will not have any responsibility for default by you or the Seller (unless we are the Seller of the Lot).

7. Payment

7.1 Immediately following your successful bid on a Lot you will:

7.1.1 give to us, if not already provided to our satisfaction, proof of identity in a form acceptable to us (and any other information that we require in order to comply with our anti-money laundering obligations); and

7.1.2 pay to us the total amount due in any way that we agree to accept payment.

7.1.3 pay in full the Shipping Costs prior to the Goods being shipped, should you agree to the Auctioneer’s shipping agent delivering the Goods.

7.2 If you owe us any money, we may use any payment made by you to repay these debts.

8. Title and collection of purchases

8.1 Once you have paid us in full the total amount due for any Lot, ownership of that Lot will transfer to you. You may not claim or collect a Lot until you have paid for it.

8.2 You will (at your own expense) collect any Lots that you have purchased and paid for not later than 5pm on the Friday following the auction, or such later date as is specified in the printed catalogue or on our Website.

8.3 If you agree to the Auctioneer delivering the Goods, only when the full Shipping Costs have been paid will the Goods be dispatched. We reserve the right that some Lots will not be suitable for an automated shipping estimate and will require bespoke quotes from the shipping agent.

8.4 Should you decide to use the delivery service, you thereby agree to allow the Auctioneer to share relevant personal data that we hold with the shipping agent in order to allow effective communication between the shipping agent and you, and to enable delivery.

8.5 If you do not collect the Lot within the time period under Clause 8.2, you will be responsible for any reasonable removal and storage charges in relation to that Lot.

8.6 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot.

8.7 If you do not collect the Lot that you have paid for within thirty days after the auction, we may sell the Lot. We will pay the Proceeds of any such sale to you, but will deduct any storage charges or other sums that we have incurred in the storage and sale of the Lot. We reserve the right to charge you a selling Commission at our standard rates on any such resale of the Lot.

9. Remedies for non-payment or failure to collect purchases

9.1 Please do not bid on a Lot if you do not intend to buy it. If your bid is successful, these Terms of Sale will apply to you. This means that you will have to carry out your obligations set out in these Terms of Sale. If you do not comply with these Terms of Sale we may (acting on behalf of the Seller and ourselves) pursue one or more of the following measures:

9.1.1 take action against you for damages for breach of contract;

9.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you;

9.1.3 resell the Lot by auction or private treaty (in which case you will have to pay any difference between the Price you should have paid for the Lot and the Price we sell it for as well as the charges outlined in Clause 8.7). Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller;

9.1.4 remove, store and insure the Lot at your expense;

9.1.5 if you do not pay us within five business days of your successful bid, we may charge interest at a rate not exceeding 1.5% per month on the total amount due;

9.1.6 keep that Lot or any other Lot sold to you until you pay the total amount due, including Shipping Costs where applicable;

9.1.7 reject or ignore bids from you or your agent at future auctions or impose conditions before we accept bids from you; and/or

9.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us.

9.2 We will act reasonably when exercising our rights under Clause 9.1. We will contact you before exercising these rights and try to work with you to correct any noncompliance by you with these Terms of Sale.

10. Health and safety

Although we take reasonable precautions regarding health and safety, you are on our premises at your own risk. Please note the lay-out of the premises and security arrangements. Neither we nor our employees or agents are responsible for the safety of you or your property when you visit our premises, unless you suffer any injury to your person or damage to your property as a result of our employees’ or our agents’ negligence.

11. Warranties

11.1 The Seller warrants to us and to you that:

11.1.1 the Seller is the true owner of the Lot for sale or is authorised by the true owner to offer and sell the L ot at auction;

11.1.2 the Seller is able to transfer good and marketable title to the Lot to you free from any third party rights or claims; and

11.1.3 as far as the Seller is aware, the main characteristics of the Lot set out in the auction catalogue (as amended by any notice displayed in the saleroom or announced by the Auctioneer at the auction) are correct.

11.2 If, after you have placed a successful bid and paid for a Lot, any of the warranties above are found not to be true, please notify us in writing. Neither we nor the Seller will be liable to pay you any sums over and above the total amount due and we will not be responsible for any inaccuracies in the information provided by the Seller except as set out below.

11.3 Please note that many of the Lots that you may bid on at our auction are second-hand.

11.4 If a Lot is not second-hand and you purchase the Lot as a Consumer from a Seller that is a Trader, a number of additional terms may be implied by law in addition to the Seller’s warranties set out at Clause 11.1 (in particular under the Consumer Rights Act 2015). These Terms of Sale do not seek to exclude your rights under law as they relate to the sale of these Lots.

11.5 Save as expressly set out above, all other warranties, conditions or other terms which might have effect between the Seller and you, or us and you, or be implied or incorporated by statue, common law or otherwise are excluded.

12. Descriptions and condition

12.1 Our descriptions of the Lot will be based on: (a) information provided to us by the Seller of the Lot (for which we are not liable); and (b) our opinion (although it is likely that we will not be able to carry out a detailed inspection of each Lot).

12.2 We will give you a number of opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot in advance of the auction.

12.3 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 will be honestly and reasonably held and accept liability for opinions given negligently or fraudulently.

12.4 Please note that Lots (in particular second-hand Lots) are unlikely to be in perfect condition. Lots are sold ‘as is’ (i.e. as you see them at the time of the auction). Neither we nor the Seller accept any liability for the condition of second-hand Lots or for any condition issues affecting a Lot if such issues are included in the description of a Lot in the auction catalogue (or in any saleroom notice) and/ or which the inspection of a Lot by the Buyer ought to have revealed.

13. Deliberate Forgeries

13.1 You may return any Lot which is found to be a Deliberate Forgery to us within thirty days of the auction provided that you return the Lot to us in the same condition as when it was released to you, accompanied by a written statement identifying the Lot from the relevant catalogue description and a written statement of defects.

13.2 If we are reasonably satisfied that the Lot is a Deliberate Forgery we will refund the money paid by you for the Lot (including any Premium and applicable VAT) provided that if:

13.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or 13.2.2 you personally are not able to transfer good and marketable title in the Lot to us, you will have no right to a refund under this Clause 13.2.

13.3 If you have sold the Lot to another person, we will only be liable to refund the Price that you paid for the Lot. We will not be responsible for repaying any additional money you may have made from selling the Lot.

13.4 Your right to return a Lot that is a Deliberate Forgery does not affect your legal rights and is in addition to any other right or remedy provided by law or by these Terms of Sale.

14. Our liability to you

14.1 We will not be liable for any loss of opportunity or disappointment suffered as a result of participating in our auction.

14.2 In addition to the above, neither we nor the Seller shall be responsible to you and you shall not be responsible to the Seller or us for any other loss or damage that any of us suffer that is not a foreseeable result of any of us not complying with the Terms and Conditions. Loss or damage is foreseeable if it is obvious that it will happen or if at the time of the sale of the Lot, we, you and the Seller knew it might happen.

14.3 Subject to Clause 14.4, if we are found to be liable to you for any reason (including, amongst others, if we are found to be negligent, in breach of contract or to have made a misrepresentation), our liability will be limited to the total purchase price paid by you to us for any Lot.

14.4 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for:

14.4.1 death or personal injury resulting from negligence (as defined in the Unfair Contract Terms Act 1977);

14.4.2 fraudulent misrepresentation; or

14.4.3 any liability which cannot be excluded by law.

15. Notices

15.1 All notices between you and us regarding these Terms of Sale must be in writing and signed by or on behalf of the party giving it.

15.2 Any notice referred in Clause 15.1 may be given:

15.2.1 by delivering it by hand;

15.2.2 by first class pre-paid post or recorded delivery; or 15.2.3 by email, provided that receipt of the email is acknowledged by the recipient.

15.3 Notices must be sent:

15.3.1 by hand or registered post;

a. to us, at our address set out in these Terms of Sale or at our registered office address appearing on our Website; and b. to you, at the last postal address that you have given to us as your contact address in writing; or

15.3.2 by email:

a. to us, by sending the notice to the following email address: auctions@sworder.co.uk

b. to you, by sending the notice to any email address that you have given to us as your contact email address in writing.

15.4 Notices will be deemed to have been received:

15.4.1 if delivered by hand, on the day of delivery;

15.4.2 if sent by first class pre-paid post or recorded delivery, two business days after posting, exclusive of the day of posting; or

15.4.3 if sent by email, at the time of transmission unless sent after 17.00 in the place of receipt in which case they will be deemed to have been received on the next business day in the place of receipt (provided that receipt is acknowledged by the recipient).

15.5 Any notice or communication given under these Terms of Sale will not be validly given if sent by fax, email, any form of messaging via social media or text message.

16. Data Protection

We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our Website.

17. General

17.1 We may, acting reasonably, refuse admission to our premises or attendance at our auctions by any person.

17.2 We act as an agent for our Sellers. The rights we have to claim against you for breach of these Terms of Sale may be used by either us, our employees or agents, or the Seller, its employees or agents, as appropriate. Other than as set out in this Clause, these Terms of Sale are between you and us and no other person will have any rights to enforce any of these Terms of Sale.

17.3 We may use special terms in the catalogue descriptions of particular Lots. You must read these terms carefully along with any glossary provided in our auction catalogues.

17.4 Each of the clauses of these Terms of Sale operates separately. If any court or relevant authority decides that any of them are unlawful, the remaining clauses will remain in full force and effect.

17.5 We may change these Terms of Sale from time to time, without notice to you. Please read these Terms of Sale carefully, as they may be different from the last time you read them.

17.6 Except as otherwise stated in these Terms of Sale, each of our rights and remedies are: (a) are in addition to and not exclusive of any other rights or remedies under these Terms of Sale or general law; and (b) may be waived only in writing and specifically. Delay in exercising or non-exercise of any right under these Terms of Sale is not a waiver of that or any other right. Partial exercise of any right under these Terms of Sale will not preclude any further or other exercise of that right or any other right under these Terms of Sale. Waiver of a breach of any term of these Terms of Sale will not operate as a waiver of breach of any other term or any subsequent breach of that term.

17.7 These Terms of Sale and any dispute or claim arising out of or in connection with them (including any noncontractual claims or disputes) shall be governed by and construed in accordance with the laws of England and the parties irrevocably submit to the exclusive jurisdiction of the English courts.

These terms are based upon the recommended terms of sale by the Society of Fine Art Auctioneers and Valuers

OFFICES AND CONTACTS

Stansted Mountfitchet Auction Rooms

Cambridge Road | Stansted Mountfitchet Essex | CM24 8GE

auctions@sworder.co.uk | 01279 817778

Hertford

42 St Andrew Street | Hertford | SG14 1JA hertford@sworder.co.uk | 01992 583508

London

15 Cecil Court | London | WC2N 4EZ london@sworder.co.uk | 0203 971 2500

@sworderspaintings

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