Old Master, British & European Art Tuesday 4 April

Tuesday 4 April 2023 at 10am

Sporting Art, Wildlife & Dogs

OLD MASTER, BRITISH & EUROPEAN ART

TUESDAY 4 APRIL, 10AM

Lots 1-11 The Collection of the Late John Scott-Oldfield, 65 Warwick Square, London SW1

Lots 12-67 Various Properties

Lots 68-71 Works By and of the Circle of Angelica Kauffman

Lots 72-135 Various Properties

Lots 136-158 The Estate of the Late Sam and Althea Lloyd

Lots 159-209 Various Properties

Lots 210-270 The Property of a Collector

Lots 271-313 Various Properties

CONTACT

Jane Oakley Head of Department

T 01279 817778 E pictures@sworder.co.uk

VIEWING

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

Sunday 2 April 10am-1pm

Monday 3 April 10am-5pm

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 where you can enter the necessary information to obtain a quote.

The Collection of the late John ScottOldfield, 65 Warwick Square, London SW1

John Scott-Oldfield was born in 1933 in Cawnpore, India, before travelling to the UK for his schooling, where he soon displayed a burgeoning talent for sport, going on to win a blue in athletics at Cambridge University, playing rugby for Harlequins as well as representing Great Britain in the 100m sprint and 200m hurdles at the 1958 Commonwealth Games, disciplines in which he was subsequently selected to compete at the Olympic Games. Instead, however, he chose to follow employment with Royal Dutch Shell, which took him to the Philippines, where he met his soon-tobe wife, Honora Baroness von Fürstenberg. The two subsequently moved to Nigeria, starting a family before returning to London in the 1970s, where John carried on forging an illustrious business career and jointly founding The Corporate Consulting Group, advising chairmen and boards in a wide variety of sectors, and making an impact throughout the international corporate world.

John Scott-Oldfield was a lover of music, art and history, with an instinctive desire for adventure to faraway places. The interior of his flat at 65 Warwick Square encapsulated a thoughtful mixture of styles - from Renaissance Europe to Qing Dynasty China to Georgian England - representing the impact of his academic interests as well as his love of travel on his decorative aesthetic. Following on from items presented in our Fine Interiors and sale on the 14 and 15 March, we are delighted to offer for sale lots 1-11 from Scott-Oldfield’s collection.

Lot 1

Studio of Miguel Canals (Spanish, 1925-1995) Bowls of cherries, birds and flowers signed with monogram l.r., oil on canvas 70 x 170cm, in a painted frame £5,000 - 7,000

Provenance: Valerie Wade, London, 1995.

Lot 2

Mexican School, 19th century A retablo of Our Lady of Light oil on panel 50 x 35cm

£300 - 500

Provenance: Lane Fine Art, London, 1982.

Lot 3

Circle of Giovanni Battista Moroni (Italian, 1520-1578)

Portrait of a young nobleman, standing three-quarter-length, in a black striped doublet with ivory sleeves and lace ruff oil on canvas

116 x 91cm, in a carved giltwood frame

£6,000 - 8,000

Lot 4

North Italian School, 17th century Study of a cherub

pen and ink and grey washes

12 x 10cm

£300 - 400

Lot 5

Follower of Antonio Tempesta (17th century)

A battle scene

pen and brown ink

13.2 x 20.8cm

£300 - 500

Lot 6

Italian School, 17th century

The Massacre of the Innocents sanguine chalk over pencil

12.5 x 17.5cm

£400 - 600

Lot 7

French School, 18th century Mars disarmed by Venus

lunette, pen and ink

13 x 19cm

£200 - 300

Lot 8

Follower of Jan Miel

A group of figures by an archway oil on panel 30 x 32cm £500 - 700

Lot 9

Follower of Jan Breughel Horsemen and other figures in a hilly landscape oil on panel 26.5 x 41cm £300 - 500

Lot 10

Tuscan School, early 14th century

A painted fresco fragment depicting a seated figure, with restorations 147 x 97cm £3,000 - 5,000

Lot 11

Lombard School, early 16th century

Two soldiers, full-length in armour, holding a spear and a rondache a pair, fresco supported by a modern board 160 x 90cm (2)

£4,000 - 6,000

Provenance: Roberto di Clemente, Florence, 1992.

Lot 12

After Raphael

La Madonna della Sedia oil on canvas

71.5 x 71cm

£400 - 600

After the original in the Pitti Palace, Florence.

Lot 13

Antwerp School, 17th century

The Annunciation oil on panel

12.2 x 9.8cm, in a later tabernacle frame

£600 - 800

Provenance: Mrs Oliver B James bequest.

Flemish School, early 16th century

Lot 14

A triptych, the central panel with St. Jerome in the wilderness, the wings depicting St. Anthony Abbot and St. Francis receiving the stigmata oil on panel, arched top within an integrated frame

46 x 76cm overall

£2,000 - 3,000

Lot 16

Eastern European School, 18th century

The Holy Great Martyr Varvara holding a palm frond, a sword and a cup, surrounded by scenes from her life inscribed in old Slavonic script, oil and gilt on panel

57 x 46cm, unframed

£400 - 600

Saint Varvara (Barbara) was a Christian martyr from the 3rd century in the city of Iliopolis of Phoenicia. When she refused to renounce her Christian faith, her pagan father, Dioscorus, beheaded her.

Lot 15

Albrecht Dürer (German, 1471-1528)

‘Saint Francis receiving the Stigmata’, 1503-05 (Bartsch 110; Meder-Hollstein 224)

woodcut image 21.9 x 14.5cm

£1,000 - 1,500

Lot 17

Spanish School, 17th century Christ on the Cross oil on panel 102.5 x 63.5cm

£800 - 1,200

Lot 18

Attributed to Jacob Adriaensz. Backer (Dutch, 1608-1651)

Ruth and Naomi signed and dated ‘JB fecit 1641’ l.l., oil on panel 67.9 x 92.6cm £1,500 - 2,000

Lot 20

After Rembrandt

A self portrait; a beggar man and beggar woman by Deuchar; a seated old man; an etching after Adriaen von Ostade of a man and boy with a hoop; and six Dutch landscapes etchings

12 x 11cm and smaller, unframed, some stuck down on paper (10) £150 - 250

Lot 19

Manner of Hans Rottenhammer

The Adoration of the Shepherds oil on metal 46 x 32.5cm £250 - 350

Provenance: Mrs M E Fitzpatrick-Robertson, The Antique Shop, Cowes.

Joseph’s

66.6 x 94.2cm

£2,000 - 3,000

Provenance: Anon. sale, Christie’s, 22 December 1955, lot 80 as ‘Lys’ (10gns to Shalmo).

Lot 21 Circle of Flaminio Torre (Italian, 1621-1661)

blood-stained coat being brought to Jacob oil on canvas

Lot 22

Follower of Pieter Bout

The Angel appearing to the shepherds oil on canvas, laid on panel 22 x 26.2cm

£300 - 500

Italian School, 18th century Lovers in a garden oil on canvas

Lot 23

Flemish School, 17th century Head of a man - a fragment of a larger composition oil on canvas laid down, oval 38 x 30cm, in a swan-carved gilt frame £300 - 500

Lot 25

After Sir Peter Paul Rubens

Thetis receiving the arms of Achilles from Vulcan oil on canvas 49 x 55cm

- 700

£500

23

24

Lot 24

36.5 x 30.5cm £300 - 500

Lot 26

After Raphael

The Creation of Eve oil on canvas, laid on panel 21.5 x 30cm £400 - 600

The fresco, painted by the workshop of Raphael, is in the vault of the Raphael Loggia in the Vatican.

Lot 27

Follower of Philips Wouwerman

A military encampment with horsemen by a forge oil on canvas 63 x 76cm £800 - 1,200

Lot 27A

Manner of Jan Both

An Italianate landscape with figures in the foreground oil on canvas

37 x 47cm

£200 - 300

Lot 28

Follower of Joos de Momper

An extensive river landscape oil on canvas

21.5 x 37cm

£1,000 - 1,500

Lot 28A

Circle of Klaes Molenaer (Dutch, c.1630-c.1676)

A winter landscape with figures on a frozen canal oil on panel

40 x 51cm

£400 - 600

27A

28A

Mountainous river landscapes with figures near ruined towers a pair, oil on canvas

90 x 103cm (2)

£4,000 - 6,000

Lot 29

Attributed to Gerard van Edema (Dutch, c.1652-c.1700)

Lot 30

English School, 1626

Portrait of a gentleman, standing three-quarter-length, in a red doublet with lace collar and cuffs

inscribed and dated ‘Ætatis sua 36/anno 1626’ u.r., with later inscription ‘Zuchero PINXt.’ u.r. and a further indistinct inscription u.l., indicated by the small hand pointing, oil on canvas 73 x 59cm

£3,000 - 5,000

Lot 31

Italian School, 17th century

The fish seller oil on canvas

52 x 50.5cm £800 - 1,200

Lot 32

English School, 1584

Portrait of a young gentleman, aged twenty-four, bust-length, in a black doublet with white ruff

inscribed ‘1584 AT SVA. 24./AMICO HODIE

CRAS MIHI’ u.l. and u.r., oil on panel 46 x 38cm £600 - 800

Lot 33

After Sir Anthony van Dyck

Portrait of the painter Cornelis de Vos and his wife Suzanna Cock with their two eldest children, Magdalena and Jan-Baptist oil on canvas

136 x 111cm, unframed

£1,000 - 1,500

Lot 34

Manner of Tintoretto

Portrait of Antonio Capella, bust-length, in a fur-lined coat with later inscription verso, oil on canvas

61 x 51cm

£300 - 500

Lot 35

Manner of Sir Peter Paul Rubens

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

58.5 x 47.5cm

£600 - 800

Lot 36

Follower of Caspar Netscher

Portrait of a young lady, three-quarter-length seated, in a yellow dress, a dog at her feet, beneath a stone fountain in a wooded landscape oil on panel

34 x 27cm

£1,200 - 1,800

Lot 37

After Sir Anthony van Dyck

Portrait of George Digby, 2nd Earl of Bristol, half-length, in a russet mantle with inscription ‘Philip Herbert, 5th Earl of Pembroke’ verso, oil on canvas 104 x 86.5cm

£1,000 - 1,500

After the original in the Dulwich Picture Gallery.

Lot 38

After Sir Anthony van Dyck

£3,000

After

Portrait of Queen Henrietta Maria (1609-1669), wife of King Charles I, half-length, in a gold dress with lace collar and cuffs, decorated with pearls oil on canvas 105 x 82cm, in a 17th-century-style carved giltwood frame

- 5,000

the original in the Metropolitan Museum of Art, New York.

Lot 39

Follower of Sir Godfrey Kneller

Portrait of a lady, three-quarter-length seated, in a blue and white dress, with fruit in her lap oil on canvas

125 x 101cm, in a later carved giltwood frame

£1,200 - 1,800

Lot 40

After Samuel Cooper (1609-1672)

Portrait of a lady, traditionally identified as Mary of Orange (1831-1660), mother of William III and daughter of Charles I, in a blue and white dress with pearl necklace miniature on ivory, oval

4.4 x 3.6cm

£200 - 300

Provenance: With D S Lavender Antiques.

Lot 41

Follower of William Wissing

Portrait of William of Orange, three-quarter-length in armour, holding a staff of office oil on canvas

155 x 116.5cm

£2,500 - 3,500

Lot 42

Circle of Sir Godfrey Kneller (1646-1723)

Portrait of an officer, three-quarter-length in armour, holding a staff of office, a cavalry skirmish below a castle beyond with erroneous identifying inscription ‘Sir Martin Lister’ l.r., oil on canvas 127 x 101.5 cm

£4,000 - 6,000

Provenance: Christie’s, London, 24 November 1998, lot 11.

Lot 43

Circle of Sir Peter Lely (1618-1680)

Portrait of Hon. Lady Brydges, seated full-length, in a blue dress and brown wrap holding an apple

inscribed ‘The Honble Lady Brydges Wife to Sr John Brydges/& afterwards married to Sir Thos Powell Bart.’ l.l., oil on canvas

240 x 148cm

£6,000 - 8,000

Lot 45

French School, 18th century Portrait of a nobleman, half-length, in armour oil on canvas 74.5 x 61cm £1,000 - 1,500

Lot 44

Follower of Sir Peter Lely Portrait of a lady, half-length, in a silver dress and pearl necklace and holding a flower oil on canvas 73 x 60cm £800 - 1,200

Lot 46

Attributed to George Knapton (1698-1778)

Portrait of Admiral Sir John Norris (c.1660-1749), three-quarter-length, in a brown coat, with tricorn hat under his left arm, leaning on a pedestal, a man-o’-war flying the admiralty flag beyond with identifying inscription on a label verso, oil on canvas

140 x 114cm

£2,000 - 3,000

Sir John Norris was knighted after the battle of Malaga in 1704 and played a prominent role in the Siege of Toulon two years later. Between 1707 and 1749 he was a member of the Houses of Parliament in both Rye (1707-1722 and 1734-1749) and Portsmouth (1722-1734). In 1718 he was appointed Lord of the Admiralty, a post he held until 1730.

A related portrait by Knapton of the sitter is in the National Maritime Museum, Greenwich (BHC2912).

Lot 47

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 48

Circle of Jonathan Richardson (1667-1745)

Portrait of a lady, half-length, in a red dress oil on canvas, oval

76 x 63cm

£600 - 800

Lot 49

Attributed to Thomas Murray (1663-1735)

Portrait of William Fytche, half-length, in a red coat; Portrait of Elizabeth Fytche, half-length, in a blue dress with teal wrap a pair, the first inscribed ‘Willm Fytche Esquire of Danbury Place Essex, son of S. Barrow Fytche of Woodham Walter km:1703 aeta: 32, Married Eliz. Daughter of Robert Cory DD’ l.r., coat of arms u.l., the second inscribed ‘Eliz: wife of Wm Fytche, daur: of Robt Cory DD, Aetatis suaw 1703’ and bearing coat of arms u.l., oil on canvas 127 x 101.5cm (2)

£5,000 - 8,000

Provenance: Edgar Norton Disney, 1887; anon. sale, London, Sotheby’s, 12 November 1997, lot 44.

Follower of Nicolas de Largilliere

Portrait of a gentleman, bust-length, in a red cloak miniature on ivory, oval

6.8 x 5.6cm

£200 - 300

Lot 51

English School, c.1750

Portrait of a gentleman, bust-length, in a grey coat trimmed with gold beading; together with a portrait of a lady, bust-length, in a blue dress with a white veil, probably by different hands miniatures on ivory, oval 2.9 x 2.3cm and 3.5 x 2.7cm (2)

£300 - 500

Provenance: With D S Lavender Antiques.

Lot 52

Follower of Hugh Douglas Hamilton

Portrait of a lady, half-length in profile, in a grey dress decorated with pearls, holding a Venetian mask miniature on ivory, oval 5.4 x 4.5cm; together with a miniature of a lady in costume, flowers in her hair, mounted with artificial pearls; and a portrait miniature of a lady in a blue dress, within a bracelet setting mounted in a larger frame (3)

£500 - 700

Lot 53

English School, c.1770

Portrait of a lady, half-length, in profile miniature on ivory, oval 3.7 x 3.2cm; together with a miniature of a lady in a blue dress in profile, miniature on ivory, oval 3.7 x 3.2cm (2)

£300 - 500

Lot 54

Continental School, mid-18th century

Portrait of a nobleman, half-length, in a blue vest with red cape and regalia

miniature on ivory, oval 5.3 x 4cm

£300 - 500

Provenance: With D S Lavender Antiques.

Lot 55

English School, 18th century

Portrait of a young gentleman, bust-length, in a red coat; Portrait of a lady, bust-length, in a blue dress with white chemise two miniatures on ivory, mounted as a pair, but probably by different hands, oval 4.1 x 3.4cm and 5 x 4cm (2)

£250 - 350

Lot 56

Attributed to Henry Pickering (fl.1740-1770)

Portrait of a lady, half-length, in a lace-trimmed grey dress and blue wrap oil on canvas, feigned oval 77 x 63.5cm, in a carved giltwood William Kent frame £2,000 - 3,000

Portrait

76 x 63cm

£2,500 - 3,500

Provenance:

(c.1705-c.1758)

Lot 57 Circle of Arthur Pond

of a lady, traditionally identified as Peg Woffington (1700-1760), half-length, in a straw hat and striped dress, holding a basket of eggs oil on canvas

Hendon Hall, Middlesex; anon. sale, Christie’s, London, 16 July 1998, lot 40 (as Circle of Philip Mercier).

82

£800

Portrait

76.2 x 63.5cm

£1,500 - 2,000

Provenance: Anon. sale, Christie’s, South Kensington, 10 Jun 1999, lot 45.

Lot 59

Circle of Edward Penny RA (1714-1791)

Portrait of a gentleman, standing full-length, in a red military coat, in a landscape oil on canvas

x 61cm

- 1,200

Lot 58

Circle of Joseph Wright of Derby (1734-1797)

of Aaron Orme (1707-1782), Master of the Cheshire Fox Hounds, half-length, probably in the uniform of the Staffordshire Militia, in a painted stone cartouche oil on canvas

Portrait

lace bonnet oil on canvas, feigned oval

56 x 48cm

£5,000 - 7,000

Lot 60

Attributed to Nathaniel Hone RA (Irish, 1718-1784)

of a lady, half-length, in a red cape, fur stole and white

Lot 61

William Hoare RA (1707-1792)

Portrait of a lady, bust-length, in a white dress with pink ribbons and decorated with pearls pastel

59.5 x 44cm

£2,000 - 3,000

Lot 62

Thomas Hazelhurst (c.1740-c.1821)

Portrait of a young boy, half-length, in a blue coat and white stock

miniature on ivory, inscribed verso ‘Henry Applewheat/Son of Mr Applewheat/[illegible]/Mr. Thos. Johes(?)’

6 x 4.3cm, oval

£400 - 600

Lot 63

English School, late 18th century

Portrait of Hugh Percy, 2nd Duke of Northumberland, bust-length, in full military regalia with woven hair inset verso miniature on ivory, oval

6.2 x 5cm

£400 - 600

Provenance: With D S Lavender Antiques.

Lot 64

Circle of Francis Alleyne (1750-1815)

Portrait of a lady, traditionally identified as Mrs Mary Compton (née Dacres), lady in charge of the royal children of George III, seated half-length, at her needlework oil on canvas, oval

29.5 x 25cm

£400 - 600

Lot 67

Dutch School, 18th century

An elegant lady seated at a writing desk on a riverside terrace watercolour and bodycolour 10 x 19cm

£250 - 350

Flemish School, late 18th/early 19th century

The banquet of Cleopatra, a fan design bodycolour on paper laid down on panel 22 x 82.5cm £300 - 500

Lot 66

Thomas Peat (late 18th century)

Portrait of a lady, half-length, in a blue dress with white bonnet and black lace shawl signed ‘T Peat/Pinxet/Nott.m/1780’, verso, oil on copper, oval 19.5 x 17cm £300 - 500

‘The whole World is Angelica Mad’

Bettina Baumgärtel takes a closer look into the life and works of one of Britain’s most pioneering female artists.

Today it strikes us as strange that during the lifetime of Angelica Kauffman, in the Age of Reason and Enlightenment, the declaration of human rights and the civil principle of the equality of all people was not self-evidently extended to women. It seems all the more courageous to us now, that women in the eighteenth century demanded equal rights and ventured into the public sphere with groundbreaking achievements in art and culture.

Without question, one of these women was Angelica Kauffman, whose astonishing rise from child prodigy to career woman continues to fascinate to this day. Scarcely another eighteenth-century female artist better epitomises the emergence of women from their state of ‘unfreedom’ than the Swiss-born painter, draughtswoman and etcher. At a time when evermore women artists were extricating themselves from the seldom acknowledged, anonymous work they performed in their family workshops, and daring to embark on careers as professional artists, Kauffman was seen as a shining example – for her contemporaries as well as for subsequent generations of women. She trained in Italy, resided in London and Rome, and secured commissions from an international aristocratic and upper-class clientele. The cosmopolitan Kauffman was methodical in building her career as one of the most sought-after history painters and portraitists. In the process, her persona provided ample material for novels, myths and legends – stories that still resonate today.

Greatly admired in her time, Angelica Kauffman’s works are held in high regard today and are found in collections around the world. Her unusual career, her wide-ranging œuvre, and her formative influence on many areas of life contradict the common prejudice that women had little chance of breaking through the glass ceiling to recognition and success. Kauffman’s extraordinary life and work tell a different story.

LOTS 68-71

WORKS BY AND OF THE CIRCLE OF ANGELA KAUFFMAN

She created more than 1,000 mythological, historical, religious and allegorical paintings as well as numerous portraits, wonderful drawings and about 40 etchings by her own hand, which are sought-after by collectors throughout Europe and the USA, and increasingly also in Australia, East Asia or South Africa. Most of the artist’s works, however, are still to be found in the country houses and city mansions of Great Britain, especially in London, where the young artist rose to fame.

One of today’s collections in London, in which numerous works by the artist had been lovingly assembled over the past thirty years, is now parting with some of its paintings. This opens up a good opportunity for the growing circle of Kauffman enthusiasts to expand their collections.

Angelica Kauffman lived in London from 1766 to 1781, and it was there that she first flourished as an artist. She injected new ideas into British art and, with her scenes of medieval Britons, played a role in the revival of history painting there as well as being an active contributor to the Homer and Shakespeare renaissance.

Kauffman benefited primarily from the patronage of her own sex during her early days in London. Her first portrait clients were young, modern women from the upper echelons of society and included Anne Seymour Conway, later Damer, who was to become a sculptress in her own right. Subsequently, the young artist developed a new type of portrait depicting her female clients as creative personalities, as in the portrait offered here of Louisa Henrietta Campbell (lot 68). Kauffman shows her as a draughtswoman with a drawing pencil and a drawing in her hand. Louisa Henrietta (1772-1829) was the daughter of Peter Campbell of Kilmory (1733-1818), Argyllshire, and his wife Mary (1750-1778). Louisa married James Scarlett, 1st Baron Abinger (1769-1844), Lord Chief Baron of the Exchequer, whose first wife she was, on 22 August 1792. But the identification of the person depicted is not entirely certain. The portrait type is typical of Kauffman‘s 1770s in London. The prototype for the interior with a female seated figure enjoying a fine pastime, dressed in a white gown whose delicate fabric is embroidered with small fleurde-lys of gold thread, is Kauffman’s ‘Morning Amusement’ in the Hermitage, Saint Petersburg, from the early 1770s. One would date the portrait accordingly, were it not for the sitter’s dates. Since she was only born in 1772 and the portrait probably shows a woman of at least twenty, the portrait would have to have been painted in Italy in the early 1790s. Since this type of portrait only occurs in England and not in the artist’s late work, it raises a question as to the identity of the sitter.

Image-making by catering to celebrities was a shrewd strategy even in those days, and Kauffman was able to raise her own social status considerably simply by surrounding herself with famous people. She won the support of emperors, queens and nobles all over Europe, among them Empress Catherine the Great of Russia or Joseph II, Emperor of Austria. Her first patrons in London included influential members of the royal family such as the Dowager Princess Augusta, mother of George III, and her art-loving daughter-in-law, Queen Charlotte, who assured Kauffman of a successful launch in London. This royal patronage led to some large-format portraits of female rulers. Having one’s likeness painted by this talented young artist was suddenly all the rage.

Her most important goal, however, was to gain recognition as a history painter, so it was as a history painter that this founding member of the Royal Academy of Arts presented herself at its annual exhibitions. Kauffman contributed some eighty paintings to its annual shows between 1769–97, and while at first these were all history paintings, she later added literary and allegorical subjects and portraits.

George Bowles of Wanstead was her best customer in England and soon owned one of the largest Kauffman collections on the British Isles. Two paintings from his collection are offered here, the biblical scenes David and Nathan and Ahlijah and Abijah (lot 69), giving them a famous provenance. Two scenes of the set of four now belonging to the Bündner Kunstmuseum, in Chur, Switzerland.

In London, Kauffman also began to focus on developing a new subgenre of single-figure history or allegory in small-formats, such as the series offered here (lot 70). The two pairs were painted for the publisher Jane Matthew in London, while Angelica was living in Rome. The single-figures are symbols of abstract concepts and are characterised only by a few attributes. The counterpart to the virtue of Modesty is the vice of Vanity; the muse of Memory is counterpart to the muse of Meditation.

Matthew’s investment in buying the little images paid for itself quickly, as she had them printed as stipple engravings. She quickly made a profit as the demand for Kauffman’s works was so overwhelming that, according to the Danish ambassador Gottlob Friedrich Ernst Graf Schönborn, the saying ‘the whole world is angelica mad’ was on everyone’s lips.

Dr. Bettina Baumgärtel, head of the Angelica Kauffman Research Project

Lot 68

Angelica Kauffman RA (Swiss, 1740-1807)

Portrait of Louise Henrietta Campbell (1772-1829), seated full-length, in a white dress holding a pencil and drawing oil on canvas

75.5 x 63cm

£50,000-70,000

Provenance: probably until 1948 Rockcliffe Hall, Darlington, collection of Lord Southampton (see Manners/Williamson);

Anon. sale, Sotheby’s, London 15 November 1989, lot 40;

Anon. sale, Sotheby’s, London, 1 January 1995, lot 22;

Anon. sale, Sotheby’s, London, 28 November 2002, lot 167.

Literature: Lady Victoria Manners and Dr G C Williamson, ‘Angelica Kauffman, R.A.’, 1824, p. 210.

Lady Louise Henrietta Campbell was married to James Scarlett (1769-1844). They were introduced through her brother, Peter Campbell, who studied with Scarlett at Trinity College, Cambridge. Scarlett was a fierce barrister, a leader of the Inner Temple and served as a Member of Parliament. In 1834, after time in office as Attorney General, he became Chief Baron of the Exchequer and was made a peer the following year; he was the first Baron Abinger.

The couple had five children and appear to have lived happily together. Scarlett’s memoir eulogised Lady Louise Henrietta, and an excerpt reads, ‘I lived with her in uninterrupted comfort and happiness from the time of our marriage to the month of March 1829 and have lived ever since to lament her loss’ (Scarlett, 1877).

While traditionally identified as a portrait of Louise Henrietta Campbell, Dr Bettina Baumgärtel notes that Campbell didn’t marry James Scarlett until 1792. The portrait type is typical of Kauffman‘s 1770s paintings executed in London. The prototype for the interior with a female seated figure enjoying a fine pastime, dressed in a white gown whose delicate fabric is embroidered with small fleur-de-lys of gold thread, is Kauffman’s ‘Morning Amusement’ in the Hermitage, Saint Petersburg, from the early 1770s. One would date the portrait accordingly, were it not for the sitter’s life dates. Since she was only born in 1772 and the portrait probably shows a woman of at least twenty, the portrait would have to have been painted in Italy in the early 1790s. Since this type of portrait only occurs in England and not in the artist’s late work, it is Baumgärtel’s opinion that the question of the sitter’s definite identification must remain open.

Our thanks to Dr. Bettina Baumgärtel, head of the Angelika Kauffman Research Project, for her help in the preparation of this catalogue entry.

Lot 69

Angelica Kauffman RA (Swiss, 1740-1807)

And Nathan said unto David, ‘Thou art Man’; The prophet Ahlijah foretells to the wife of King Jeroboam the death of her son Abijah a pair, both signed ‘Angelika Kauffman/Pinx’ l.l., bearing the artist’s original descriptive label verso, oil on canvas 42.5 x 47.5cm (2)

£80,000-100,000

Provenance: Commissioned by George Bowles of Wanstead, London, to Kauffman at this time in Rome, August 1791; Bequeathed to his sister Rebecca Rushout, later 1st Baroness Northwick; Rushout sale, Phillips & Neale, London, 9 December 1879, bought by Joseph Pyke; Joseph Pyke, Devonshire Place House, Marylebone Road;

Anon. sale, Sotheby’s, London, 9 July 1980, lot 84;

Anon. sale, Sotheby’s, London, 14 July 1999, lot 39.

Literature: Frances A Gerard, ‘Angelica Kauffman: A Biography’, London 1893, p.365, No. 2 (collection G Bowles); Lady Victoria Manners and G C Williamson, ‘Angelica Kauffman RA’, 1924, p.161; Bettina Baumgärtel, ‘Angelica Kauffman’, catalogue for the exhibition in Dusseldorf, 1998-1999, no.269.

Painted in Rome, these two works depict biblical scenes from the Old Testament relating to two kings of Israel. In the first work King Jeroboam’s wife is shown in distress after being told by the prophet Ahlijah of her son’s impending death. The second depicts the moment that the prophet Nathan points an accusing finger at King David, who was guilty of plotting the murder of his wife’s former husband, Uriah, so that he could marry her. Both scenes are enacted with high drama and demonstrate Kaufmann’s compositional prowess.

Initially these works were part of a set of four, which were commissioned in 1791 by one of Kauffman’s greatest patrons, George Bowles. Bowles owned as many as fifty works by Kauffman and supported her throughout her career.

Our thanks to Dr. Bettina Baumgärtel, head of the Angelika Kauffman Research Project, for her help in the preparation of this catalogue entry.

Lot 70

Studio of Angelica Kauffman RA (Swiss, 1740-1807) Vanity; Modesty; Memory; Meditation painted c.1789 oil on copper 19 x 15cm and similar, oval (4) £40,000-60,000

In London, Kauffman began to focus on developing a new subgenre of single-figure history or allegory in small-formats. The present subjects were executed for the printer Jane Matthew in London, c.1789, while Kauffman was in Rome, and from which stipple engravings were reproduced. It is likely that this lot was a subsequent version produced from Kauffman’s studio. Painted as two pairs, the single figures are symbols of abstract concepts and are characterised only by a few attributes: the virtue of ‘Modesty’ is the counterpart to the vice of ‘Vanity’; the muse of ‘Memory’ is counterpart to the muse of ‘Meditation’

Provenance: Bonham’s, London, 27 October 2004, lot 59.

Literature: Bettina Baumgärtel, exhibition catalogue ‘Anmut und Aufklärung, Eine Sammlung von Druckgraphik nach Werken von Angelika Kauffman’, Stendal, Winckelmann Museum, 4 September 2016-20 November 2016, p.58, cat. I.42 (stipple engraving).

Our thanks to Dr. Bettina Baumgärtel, head of the Angelika Kauffman Research Project, for her help in the preparation of this catalogue entry.

After Angelica Kauffman

Telemachus and Mentor on the Island of Calypso watercolour and crayon on paper

30 x 39cm

£4,000 - 6,000

Provenance: Edgar Horne.

After the original painting in the collection of Wien/Vaduz, Liechtensteinische Sammlungen.

Lot 71

Lot 72

English School, early 19th century

Classical figures oil on canvas in a painted circle 22.5cm diameter

£300 - 500

Lot 73

George Chinnery (1777-1852)

‘Confederacy’ - two figures, one seated in a chair inscribed with title, pen and brown ink 10 x 15.7cm

£200 - 300

Provenance: With Martyn Gregory, London.

Lot 74

Dutch School, late 18th century

A river landscape with figures fishing from boats; Figures in a farmyard a pair, watercolour 30 x 39cm (2)

£300 - 500

Lot 77

Thomas Rowlandson (1756-1827)

31

£1,500 - 2,000

Lot 75

Thomas Rowlandson (1756-1827)

‘Miss Potter’

inscribed with title l.l., pen and ink and watercolour

21.5 x 16.5cm

£600 - 800

Lot 76

Thomas Rowlandson (1756-1827)

‘Figure study’ pen and ink and watercolour

14.7 x 10cm

£300 - 500

Provenance: With the Folio Society, London; with Squire Gallery, London.

‘Elephant and Castle and Joanna Southcott Chapel’ signed ‘T. Rowlandson’ l.r., inscribed with title l.c., pen and ink and watercolour

x 43cm

Lot 78

After Thomas Gainsborough Cottage children oil on canvas

92 x 72cm

£400 - 600

Provenance: The Estate of Jasper Gibbons Grinling, late of The Old Vicarage, Helions Bumpstead, Essex.

Lot 79

Follower of Sir William Beechey

Portrait of a young lady, half-length seated, in a white dress in a landscape oil on canvas

77 x 64cm

£800 - 1,200

Lot 80

Follower of John Opie

Portrait of a young girl kneeling in prayer and holding a rosary oil on canvas

74.5 x 59cm

£500 - 800

Lot

81

Henry Howard RA (1769-1847)

Portrait of Mr Trimmer’s son, aged 4, full-length, in a white dress and red shoes, holding a kitten wrapped in a red cloth oil on canvas

112 x 81.5cm

£2,000 - 3,000

Lot 82

Attributed to Thomas Hickey (1741-1824)

Portrait of a young lady, Charlotte Robinson, aged 16 years, half-length seated, in a white dress with a blue sash inscribed with title and dated 1786 on label verso, oil on panel 26.5 x 19.5cm, oval

£600 - 800

Provenance: With Frost & Reed, London.

Lot 83

English School, 18th century

Portrait of William Abney, half-length, in a brown coat

inscribed ‘Wm, Abney Esq./in the 79th year/of his Age/Febr.1792’

u.r., oil on canvas

75.5 x 62cm

£400 - 600

Lot 84

English School, c.1800

Portrait of a young man, half-length seated, in a black coat with white waistcoat and stock

oil on canvas

72 x 59cm

£700 - 900

Lot 85

Attributed to William Wood (1768-1809)

Portrait of John Adamson Rich, bust-length, in a blue coat and white stock

inscribed ‘John Adamson Rich/1798/ painted by the…. in Lord Clive’s family in India (at Madras)

miniature on ivory, oval

7.6 x 6.1cm

£600 - 800

Lot 86

English School, 18th/19th century

‘Dr Henry Symonds of Hampstead’ further inscribed ‘Mr Shelley’s favourite head/the best…. taken of him’ verso, pencil, oval

12 x 9cm

£150 - 250

Exhibited: Victoria & Albert Museum, London 1914-1918.

Lot 87

After Richard Westall

Portrait of Lady Charlotte Harley wearing a blue dress and white shawl miniature on ivory

9.4 x 9.2cm

£200 - 300

Lord Byron dedicated ‘Childe Harold’ to Lady Charlotte and commissioned this portrait. The version offered here is presumably based on the original by Westall.

Lot 88

Circle of William Egley (1798-1870)

Portrait of a lady, bust-length, in a red coat and lace bonnet

miniature on ivory, oval 4.2 x 3.5cm, mounted with a pendant ring, gold surround £150 - 250

Lot 89

English School, early 19th century

Portrait of a lady, traditionally identified as Sarah (née Crundel), wife of John Brook, half-length, in a silver-grey dress and cap oil on canvas laid on board

64.5 x 50cm

£500 - 700

91 90

Lot 90

Continental School, 19th century Portrait of an officer, half-length, in dress uniform oil on canvas

26.5 x 22cm

£200 - 300

Lot 91

After Sir Thomas Lawrence

Portrait of Arthur Wellesley, 1st Duke of Wellington (1769-1852), half-length oil on canvas

76 x 64cm

£400 - 600

Lot 92

After Sir John Gilbert

The last moments of the Duke of Wellington oil on canvas

91.5 x 71cm

Lot 93

George Smith of Chichester (1714-1776)

An extensive river landscape in the Peak District oil on canvas

32 x 45.5cm

£500 - 800

Lot 94

Circle of John Berney Crome (1794-1842)

A figure on a woodland path oil on panel

31 x 41cm

£300 - 500

Provenance: Gooden & Fox, Pall Mall, London.

Lot 95

Thomas Churchyard (1798-1865)

Study of a garden oil on board

14.5 x 18cm

£400 - 600

Lot 96

James Arthur O’Connor (Irish, 1792-1841)

A figure on a path in a wooded landscape signed ‘J A O’Connor’ and dated ‘1825’ l.c., oil on canvas 45 x 60cm £3,000 - 5,000

Lot 99

William Pitt (fl.1853-1890)

‘An Old Mill near Tintern’

Signed, inscribed with title, and dated ‘W Pitt.1871’ verso, oil on board 26 x 33.5cm £300 - 500

Lot 97

Follower of George Smith of Chichester

A winter landscape with a figure driving cattle and sheep, cottages beyond oil on canvas

58 x 76cm £300 - 500

Lot 98

George William Mote (1832-1909)

An extensive landscape with figures on a path in the foreground, cottages beyond signed and dated ‘G.W. Mote 1879’ l.r., oil on canvas

61 x 92cm £300 - 500

Lot 100

English School, 19th century

A landscape with figures by a cottage oil on canvas

51 x 61cm £300 - 500

Lot 101

Edward Francis Wells (1876-1952)

A wooded landscape with a milkmaid and cattle by farm buildings oil on canvas

71 x 92cm £1,500 - 2,000

Lot 102

John Falconar Slater (1857-1937)

Ploughing the fields signed ‘J.F. Slater’ l.r., oil on canvas

50 x 75.5cm

£400 - 600

Lot 103

Robert Mann (fl.1869-1892)

‘Near Swallow Falls’; ‘The Llugwy, near Bettws-y-Coed’ two, both signed ‘R. MANN’ l.r., oil on canvas

30.8 x 45.8cm (2)

£400 - 600

Lot 104 Alfred Glendening Jnr (1861-1907)

‘A Norfolk Broad’, 1886 signed ‘AAG’ and dated ‘86’ l.r., oil on canvas 28 x 42cm £500 - 800

Lot 105

Attributed to Henry John Boddington (1811-1865) Cattle in a stream with cottages beyond oil on canvas

45.5 x 61cm £400 - 600

(1842-1896)

Lot 106

Attributed to Joseph Denovan Adam

Cattle in a highland landscape bears signature ‘Alfred de Breanski’ l.l., oil on canvas

x 73cm

- 800

Lot 107 William Langley (fl.1880-1920) Highland cattle beside a stream signed ‘W Langley’ l.l., oil on canvas

Alfred Morris (fl.1853-1873)

Sheep and a sheepdog in a moorland landscape signed and dated ‘A. Morris 1883’

l.l., oil on canvas

76 x 122cm

£600 - 800

Lot 108A

English School, 19th century

A prize cow in a landscape oil on canvas

51 x 63cm

£400 - 600

Lot 108

Lot 109

Wilhelm Carl Friedrich Trautschold (German, 1815-1877)

Portrait of a lady in profile, bust-length, in a gold gown with purple wrap signed and dated ‘Trautschold 1864’ u.l., oil on canvas

60 x 50cm

£1,000 - 1,500

Lot 110 English School, c.1800

Portrait of a gentleman, seated half-length, in a black coat and yellow waistcoat; Portrait of a lady, seated half-length, in a pink satin dress and patterned silk shawl a pair, oil on canvas

97 x 75.5cm (2)

£700 - 1,000

£2,000 - 3,000

Provenance: Anon. sale, Christie’s, South Kensington, 14 November 1997,

Lot 111

Thomas Phillips RA (1770-1845)

Portrait of Louisa Jane, half-length, in a black dress with white trim and lace wrap with a later label inscribed ‘Louisa Jane/1827/by/T Phillips/RA’ attached to the stretcher, oil on canvas

91 x 71cm

lot 43.

Lot 112

Marguerite-Zéolide Lecran (French, 1819-1897)

Portrait of a lady, bust-length, in a black dress with white lace collar signed and dated ‘Zeolinde Lecran’ u.l., oil on canvas, painted oval 73 x 59.5cm

£300 - 500

Lot 113

Follower of John Hoppner

Portrait of a gentleman, half-length, in a black coat, his hands resting on a stick oil on canvas

76 x 63cm

£400 - 600

Lot 114

Attributed to Thomas Phillips RA (1770-1845)

Portrait of George Legge, 3rd Earl of Dartmouth, Lord Chamberlain of the Household of George III, seated half-length, in a black coat and holding an agate snuff box oil on canvas

76 x 63cm, unframed

£700 - 1,000

A three-quarter-length portrait of the 3rd Earl, seated in an armchair beside a bust, after an original by Phillips, was engraved by Charles Heath in 1814. The artist records two paintings in his sitter book (nos. 288 and 411) for the years 1810 and 1815.

English

A

Provenance: The

Lot 115

Thomas Webster RA (1800-1886)

‘Guy Fawkes’ oil on board 19 x 24cm £250 - 350

Lot 116

School, c.1850

day at the fair oil on canvas

35.5 x 53cm, unframed £300 - 500

Estate of Jasper Gibbons Grinling, late of The Old Vicarage, Helions Bumpstead, Essex.

Lot 117

Edwin Thomas Roberts (1840-1917)

‘Smoke’ - figures seated beside a fireplace in a cottage interior signed ‘Edwin Roberts’ l.l., inscribed with title verso, oil on canvas 40.5 x 61cm £400 - 600

Lot 118

Continental School, 19th century

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

60 x 48cm

£300 - 500

Lot 119

English School, 19th century

Portrait of the Rev. Canon Abney, seated three-quarter-length, in a black coat and waistcoat oil on canvas

92.5 x 71cm, in a Florentine carved giltwood frame bearing a plaque with the sitter’s name

£400 - 600

Lot 120

English School, 19th century

Portrait of a gentleman, bust-length, in profile oil on panel

41 x 30.5cm

£300 - 500

Lot 121

Auguste Toulmouche (French, 1829-1890)

Portrait of a lady, standing full-length, in a white and silver embroidered silk dress indistinctly signed and dated ‘1889’ l.r., oil on canvas

70.5 x 46cm

£2,000 - 3,000

The coat of arms on the frame is believed to be that of the Beaufort Family.

Lot 122

Thomas William Hammond (1854-1935)

Cattle by castle ruins; Haystacks with pastures in the distance signed ‘TW Hammond’ l.l. and l.r. respectively, pastel

44 x 80cm and 44 x 79cm (2)

£300 - 500

Lot 123

Henry John Sylvester Stannard (1870-1951)

Children playing before a thatched cottage signed ‘Sylvester Stannard/RBA’ l.l., watercolour

29.5 x 40cm

£250 - 350

Lot 124

Henry John Sylvester Stannard (1870-1951)

‘Rustic Solitude’ signed ‘H Sylvester Stannard’ l.l., watercolour

27 x 37cm

£300 - 500

Lot 125

Samuel John ‘Lamorna’ Birch RA RWS (1869-1955)

A winding stream with overhanging trees signed ‘SJ Lamorna Birch’ l.l., watercolour with scratching out 25 x 36cm £600 - 800

Lot 126

Clive Madgwick (1934-2005)

‘Spring’ signed and dated ‘C Madgwick/1977’ l.l., oil on canvas 61 x 76cm £400 - 600

Lot 127

George William Mote (1832-1909)

Middle Hill under snow signed, inscribed and dated ‘Middle Hill G.W. Mote 1861’ l.r., oil on canvas

36 x 56cm

£400 - 600

Literature: Jeremy Maas, ‘Victorian Painters’, p.229.

Lot 128

Allan Stewart (1865-1951)

‘Barley Harvest’ oil on canvas

102.5 x 76.5cm

£300 - 500

Lot 129

Gaston Brun (French, 1873-1918)

Haymaking signed ‘Gaston Brun’ l.r., oil on panel

27 x 35cm

£300 - 500

Provenance: Anon. sale, Phillips, London, 18 April 1983, lot 87.

Lot 130

Antoine Chintreuil (French,1814-1873)

A path through a wooded landscape signed ‘Chintreuil’ l.r., oil on canvas 30 x 40.5cm

£500 - 800

Lot 131

Richard Jack (1866-1952)

‘Near Sunderland’ signed ‘R Jack’ and dated ‘1920’ l.l., inscribed with title verso, oil on board 26.3 x 35.4cm £300 - 500

Lot 133 Alexander Shevchuk (Ukrainian, b.1960) ‘Lilies’ Signed in Cyrillic l.l., further inscribed and dated 2009 verso, oil on canvas 51.5 x 75cm £400 - 600

Lot 132

‘Gerhard’ Altmann (Dutch, 1877-1940) Cattle grazing along a river bank signed ‘G. Altmann’ l.l., oil on canvas 63 x 97cm £250 - 350

Lot 134

William Watt Milne (1865-1949)

A landscape with a windmill signed ‘W Watt Milne’ l.r., oil on canvas

62.7 x 78.2cm

£800 - 1,200

Provenance: With the Rendezvous Gallery.

Lot 135

Karl Heffner (German, 1849-1925)

A Dutch coastal village with boats signed ‘K. Heffner’ l.l., oil on canvas

70 x 96cm

£600 - 800

N & CONTEMPORARY M O E D R A

T R

A preview of our 25 April Modern & Contemporary Art sale is now available on our website - spanning the 20th and 21st century, we have works ranging from William Russell Flint to Billy Childish. Head of department Amy Scanlon talks to us about her personal highlights from the forthcoming auction.

At the core of our sale is a selection of Modern British Art including paintings and prints by Alan Davie, John Tunnard, Barbara Hepworth, Keith Vaughan, John Bratby and Austin Osman Spare. We also have ten paintings by Ken Howard, demonstrating his best-loved images of models, Venice and Cornish beaches. Personal highlights include a collection of the work from the studio of Sir Lawrence Gowing as well as outstanding representation of the Great Bardfield artists.

For those that prefer works of art, our sculpture section also contains a diverse selection of styles, including Guy Taplin’s classic birds, an abstract Bryan Kneale maquette and Grayson Perry’s mystical ‘Alien Baby’.

▶ Grayson Perry produced a range of twelve 'Alien Babies' during the period he worked on the 'Rites of Passage' television series. In this show, he described witnessing the slow-motion modern miracle that sees the babies being nurtured into the world by the dedicated team of nurses who help them survive and thrive against all odds. He sees the nurses as the crew of a spaceship and the twinkling lights of the monitors reminiscent of the light-up controls of the flight deck of a spaceship. The works, each unique and executed in pottery with a metallic gilt glaze, were gifted by the artist to every member of the neonatal team at the Broomfield Hospital. This is the fourth ‘Alien Baby’ we have been privileged to offer for sale and Sworders will be donating profits to the neonatal unit.

◀ The highlight of our Modern British collection is ‘Bird Cage 1’ by Alan Davie. The young painter visited the Venice Biennale on a scholarship in 1949, and in viewing the travelling Peggy Guggenheim exhibition he was one of the first British artists of his generation to be exposed to Abstract Expressionism. In this work, we see this in the combination of the semi-surrealist approach and his technique of combining richly textured paint and rubbing back. Like Pollock, Davie would create his works by laying them on the floor. Although his brushwork in ‘Bird Cage 1’ is a little more controlled and the composition more representational than others, the scale and bold handling of the paint is reminiscent of the New York school.

▲ For many years Sworders have been championing the Great Bardfield artists’ community and this sale has one of our biggest selection of works. There are over forty lots by Edward Bawden, Eric Ravilious, John Aldridge, Richard Bawden and Bernard Cheese. Personal highlights include a beautiful oil of a garden in midsummer by John Aldridge and a wintry watercolour of the Essex village by Edward Bawden.

With drawings, watercolours, oils and prints and prices ranging from a few hundred to several thousands of pounds, this auction will be a must-see for Great Bardfield collectors.

◀ I am delighted to present a collection of the work from the studio of Sir Lawrence Gowing. It is always a pleasure to visit an artist’s studio; see where he lived and worked, speak to his family and get a sense of the man as well as the painter. Not just known for his artwork, Gowing was also one of the most prolific and influential British art historians and teachers of the twentieth century.

With eight lots in this sale and a further selection to be sold in our May Paint. Print. Sculpt. auction, we can see a cross section of his lifelong career as a painter of people and places. The bold colours and striking gaze of ‘Miss J of Horsforth’ appealed to me from first glance. Works on offer also include an early portrait of a woman, showing his links with the Euston Road group as well as a personal portrait of his friend and fellow artist Rodrigo Moynihan. Lots also include landscapes inspired by Cezanne and worked en plein air as well as an attractive view of the Capitol Hill, Washington.

The Estate of the late Sam and Althea Lloyd

Married for forty-five years, Sam and Althea Lloyd’s lives were filled with their shared passions and interests, including travel, art and music.

Althea grew up at Stobo Castle in Peeblesshire, Scotland, but spent much time in London as her father, Hylton Murray-Philipson, was MP for Twickenham. At the age of ten, Althea’s father died which meant Stobo Castle was sold and the family relocated to Blaston in Leicestershire, thus beginning her lifelong connection with the area.

Also dividing his childhood between London and Leicestershire, Sam came from a long line of sailors on his maternal side, reflected in many of the fine pictures in the couple’s collection. His career took him into science, where he ultimately worked at Euratom in the Netherlands, becoming a distinguished nuclear physicist and running an experimental nuclear reactor. After marrying Althea in 1977, the couple moved to Alkmaar to be closer to Sam’s workplace, returning to England after his partial retirement, where they divided their time between South Kilworth, Leicestershire, and Chelsea.

Althea had travelled a lot before this point, including driving to Siena in Italy in her treasured 1936 Bentley convertible painted in red, her favourite colour. Sam lovingly maintained the car and kept it in beautiful condition, so much so, it was often used for local weddings as well as visits to the family. Not averse to long road trips, Althea also drove a van of supplies to Austria in 1956 to help Hungarian refugees after the uprising then, emigrated to Australia for a short time before returning to London. It was during this period she acquired a six-month-old monkey who she looked after for many years. Allowed to roam their penthouse apartment overlooking the Chelsea Physic Garden and Chelsea Embankment, this exotic pet would not have been an unusual sight in ‘Swinging London’, and with permission, Althea would exercise her companion in Richmond Park.

Throughout their later years, the couple were active members of the Leicestershire community they called home; Althea was a volunteer at the local high-security prison and Sam became involved in the church parish. The couple’s extensive collection of furniture, furnishings, pictures and Asian art includes many items from both of their homes, and Sworders are honoured to disperse their treasured possessions in several upcoming sales. This sale presents the couple’s earlier paintings with a particular focus on marines. There will be additional lots offered for sale in Paint. Print. Sculpt. 26 May - 4 June.

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published

Lot 136

Carington Bowles (1724-1793), after John Cleveley Jnr

set of six views of His Majesty’s Dockyards, comprising: Chatham, Sheerness, Plymouth, Woolwich, Deptford and Portsmouth hand-coloured engravings,

1772 image 26.5 x 41.5cm, in verre églomisé frames (6) £1,200 - 1,800

Lot 137

Wigerus Vitringa (Dutch, 1657-1721)

Shipping in choppy seas oil on panel

34 x 44.5cm, in an 18th century carved giltwood frame

£1,500 - 2,500

Provenance: Admiral Sir Lionel Preston; Phillips of Hitchin; With Simon C Dickinson.

The painting is sold with an authentication as Wigerus Vitringa by Dr Gerlinde de Beer.

Lot 138

Francis Holman (fl.1767-1784)

The West Indiaman ‘Britannia’ in a storm oil on canvas

68.5 x 89.5cm

£2,000 - 3,000

Lot 139

Charles Martin Powell (1775-1824)

Fishing boats and other ships off the coast in choppy waters; Dutch fishing boats in calm waters a pair, the first indistinctly signed l.r., the second signed and dated ‘C M Powell, 1822’ l.l., oil on canvas 45.5 x 60cm (2)

£1,500 - 2,500

Lot 140

Thomas Buttersworth (1768-1842)

Dutch fishing vessels approaching a harbour oil on canvas

45 x 60.5cm

£800 - 1,200

Lot 141

Circle of Charles Martin Powell (1775-1824)

Frigates and Dutch fishing boats in a swell oil on board

28 x 37cm

£400 - 600

Lot 142

William Raymond Dommersen (Dutch, 1850-1927)

‘Zerckzee on Schelt, Holland’ signed ‘W. Dommersen’ l.r., also signed and inscribed verso, oil on canvas

31 x 41cm

£300 - 500

Lot 143

William Thornbery (fl.1858-1898)

French fishing vessels in a swell; French ships off the coast a pair, both signed ‘W. Thornbery’, l.l. and l.r. respectively, oil on board

15.5 x 20cm (2)

£300 - 500

William Thornley sometimes signed with the pseudonym William Thornbery.

144

Lot 144

William Thornbery (fl.1858-1898)

‘French Lugger off the Sussex coast’ signed ‘W THORNBERY’ l.r., inscribed, signed and dated ‘FRENCH LUGGER OFF THE SUSSEX COAST/W. ANSLOW. THORNBERY./1875’ verso, oil on canvas

25.5 x 40.5cm

£300 - 500

Lot 145

William Thornley (fl.1858-1898)

‘Thames shipping on the Medway’ oil on canvas

30 x 51cm

£500 - 700

Lot 146

William Thornley (fl.1858-1898)

Fishing boats making for port signed ‘W Thornley’ l.r., oil on canvas

20 x 40.5cm

£250 - 350

Lot 147

William Thornley (fl.1858-1898)

Bringing in the catch signed with a monogram l.l., oil on canvas

25.5 x 41cm

£300 - 500

Lot 148

William Daniel Penny (1834-1924)

The steamship ‘Iris’ at sea signed ‘W.D. Penny’ l.l., oil on canvas

53 x 86cm

£300 - 500

Provenance: With Colin Denny, London Ltd.

Lot 149

John Hall (c.1885)

The barque ‘Adventurer’ signed and dated ‘John Hall 85’ l.l., oil on canvas

48 x 69cm

£200 - 300

Provenance: With Colin Denny Ltd., London.

Lot 150

Alfred Jensen (Danish, 1859-1935)

The steamship ‘Warrington’ in choppy seas signed, inscribed and dated ‘A.J. Jansen/Antwerp 86’ l.r., oil canvas

33.5 x 42.5cm

£200 - 300

Lot 151

Henry Redmore (1820-1887)

Sailing boats making for harbour signed ‘H. Redmore’ l.l., also signed verso, oil on board

22.5 x 36cm

£400 - 600

Lot 152

English School, c.1867

A paddle steamer and fishing boats off the coast

Indistinctly signed and dated ‘1867’

l.l., oil on canvas

69.5 x 96cm

£200 - 300

Lot 153

R E Garrood (19th/20th century)

‘In Peril’

signed and dated ‘R.E. Garrood 81’ l.r., oil on board

26 x 51cm

£250 - 350

153

152

151

Lot 154

A Godchaux (19th/20th century)

Skaters on a frozen river by a windmill; Cottages and figures in a winter landscape a pair, signed ‘A Godchaux’ l.r. and l.c. respectively, oil on canvas

24 x 32.5cm (2)

£300 - 500

Lot 155

Wilfred Jenkins (1857-1936)

Scarborough by moonlight; Whitby Harbour; a pair, signed ‘Wilfred Jenkins’ l.l. and l.r. respectively, oil on board

23 x 33cm (2)

£800 - 1,200

Lot 156

Michael Matthews (b.1933)

Evening on the docks

signed ‘Michael Matthews’ l.r., oil on board

51 x 75.5cm

£200 - 300

Xavier

Flowers of all seasons

signed ‘Xv. Ryzer’ l.l., oil on board

51.5 x 41.5cm

£300 - 500

Lot 157

English School, 19th/20th century

The Tower of London from the Thames oil on canvas

45.5 x 61cm

£300 - 400

Lot 158

van Ryser (Dutch, 20th century)

Lot 159

William Collins RA (1788-1847)

Lot 160

Joseph Walter (1783-1856)

‘A Ship of the Line Passing the Eddystone Bound for Plymouth Sound’, signed and indistinctly dated ‘J Walter’ l.r., inscribed with title on a label verso, oil on canvas

76 x 63.5cm

£800 - 1,200

159

160

Lot 161

Carl Adelsköld (Swedish, 1830-1914)

Inspecting the catch signed and dated ‘W. Colllins 1834’ l.l., oil on panel 35 x 44cm £700 - 1,000 161

A coastal scene with fisherfolk on a jetty signed and dated ‘C Adelskold 1881’ l.l., oil on canvas 67 x 107cm £400 - 600

Lot 162

Attributed to Joseph Walter (1783-1856)

A West Indiaman heading out to sea, possibly near Avonmouth in the Bristol Channel oil on canvas

66 x 92cm

£1,800 - 2,000

Lot 163

Manner of Abraham Storck

A naval engagement oil on canvas

67 x 82cm £800 - 1,200 163

162

164

166 165

Lot 164

After Edwin Hayes

Fishing smacks in rough seas bears signature l.l., oil on board 30 x 62cm

£400 - 600

Lot 165

George Sheffield Jnr (1839-1892)

Fishing boats in rough seas signed and dated ‘G. Sheffield/1885’ l.l., charcoal

57 x 83cm

£300 - 500

Lot 166

Bernard Benedict Hemy (1845-1913)

Shipping off the coast, South Shields; The ferry, Jarrow the second signed ‘B Hemy’ l.l., oil on canvas

25.5 x 35.5cm (2)

£300 - 500

Lot 167

Alfred Herbert (1818-1861)

167

Bringing the battered ship in on a stormy day signed ‘A Herbert’ l.l., also signed and inscribed with a dedication by the artist verso, watercolour with scratching out 32 x 80.5cm, unframed

£250 - 350

Lot 168

Eugène Isabey (French, 1803-1886)

The rescue oil on canvas

67 x 89cm

£1,000 - 1,500

Lot 169

William Adolphus Knell (1805-1875)

An East Indiaman shortening sail in a storm oil on canvas

79 x 105cm

£1,000 - 1,500

169

168

Lot 170

Alfred Harvey Moore (1843-1905)

‘Queensborough, Winter’ signed and dated ‘A Harvey Moore/1895’

l.l., inscribed with title verso, oil on board

20.6 x 35.5cm

£300 - 500

Lot 171 George Stainton (fl.1860-1890)

‘On the Medway’ signed ‘G Stainton’ l.r., indistinctly inscribed and signed ‘On the Medway/G Stainton’ verso, oil on canvas

76 x 50.5cm

£400 - 600

Lot 172

English School, 19th century ‘Slater Rebow’, a clipper in the Bay of Naples, Vesuvius beyond inscribed with the ship’s name on a flag, further inscribed and dated ‘Naples.

1845.’ l.l., gouache

43 x 62.5cm

£400 - 600

Lot 173

Chinese School, 20th century ‘H.M.S. Carlisle, China Station’ inscribed as titled l.c., bodycolour on linen laid on board

37.5 x 53cm

£400 - 600

Provenance: Christie’s, South Kensington, ‘Maritime’ auction, 24 May 2001, lot 462.

HMS ‘Carlisle’ was ordered in 1917, but was not completed until after the Great War. Built by Fairfield at Govan, she was one of five ‘Capetown-Class’ light cruisers each measuring 451½ feet in length and able to reach 29 knots at maximum speed powered by two Brown Curtis SR geared turbines. Finished in November 1918, HMS ‘Carlisle’ briefly served in home waters before making her way to China in 1919 where she joined the 5th Light Cruiser Squadron. She remained here until a refit in 1928. In 1939, at the start of the Second World War, HMS ‘Carlisle’ was called out of reserve and remained in active service until 1943 when she sustained damage from Italian bombers. Having been declared a constructive loss, she went on to become a base ship at Alexandria until 1945 and was eventually scrapped in 1949.

Charles Edward Dixon (1872-1934)

The Pool of London signed ‘Charles Dixon’ l.l., oil on canvas

46 x 81.5cm

£1,500 - 2,500

F… Hohm (19th/20th century) A busy quayside; Loading the ships a pair, signed ‘F Hohm’ l.l. and l.r. respectively, oil on canvas

66.5 x 103cm (2)

£400 - 600

Lot 174

Lot 175

Lot 176

Alex de Andreis (Belgian, 1871-1939)

‘A votre santé’ signed ‘A De Andreis’ l.r., oil on canvas

65.5 x 54cm

£800 - 1,200

Lot 177

Henry John Yeend King (1855-1924)

At the sundial signed ‘YEEND KING’ l.l., oil on panel

42 x 31cm

£600 - 800

Provenance: Christie’s, London, 12 June 1992, lot 238.

Lot 178

Francis William Topham (1808-1877)

A Spanish girl holding water jugs signed and dated ‘FW Topham/1859’ l.l., watercolour 45 x 34.5cm

£300 - 500

179

181

Lot 179

Angelos Giallina (Greek, 1857-1939)

An Italian hill town signed ‘Giallina’ l.l., watercolour 29 x 57.5cm

£1,000 - 1,500

Lot 180

Charles Jones Way (1835-1919)

‘Ospedaletti’ signed and inscribed ‘CJ Way./OSPED LETTI.’ l.r., watercolour heightened with white 49 x 33cm, unframed £250 - 350

Lot 181

Francesco Coleman (Italian, 1851-1918)

The parting signed and inscribed ‘F Coleman/Roma’ l.r., watercolour 37 x 54cm

Lot 182

Giuseppe Maraschini (Italian, 1839-1903) ‘Beppino’; ‘Lisetta’; a pair, signed ‘GG. Maraschini’ and inscribed with titles verso, oil on board 18 x 15.5cm, in carved Florentine-style frames (2)

£600 - 800

Lot 183

Neapolitan School, 19th century Camaldoli, Bay of Naples inscribed ‘CAMALDOLI’ l.c., gouache 47.5 x 66.5cm £300 - 500

Lot 184

Italian School, 19th century Rome; Venice; a pair, pencil and watercolour 12.5 x 46.5cm (2) £500 - 700

Lot 186

Lot 185

Rafael Senet y Pérez (Spanish, 1856-1926)

A Venetian backwater signed ‘R Senet’ l.l., watercolour 48 x 30cm £500 - 700

Louis Haghe (1806-1895), after David Roberts RA (1796-1864) ‘The Great Temple of Abu Simble [sic], Nubia’ lithograph in colours, from ‘Egypt and Nubia’, published by F G Moon, London, 1849 image 32 x 48cm £250 - 350

Lot 187

After J M W Turner

‘East Cowes Castle’ inscribed with title verso, pastel 90 x 120cm

£500 - 700

After the oil painting in the Victoria & Albert Museum, London.

Lot 188

Nicholas Chevalier (Russian, 1828-1902)

The Blessing of the Neva, St Petersburg, attended by Tsar Alexander II signed ‘N Chevalier’ l.l., pen and ink, watercolour and bodycolour 35 x 55cm

£500 - 700

Provenance: Chas. W Parish, 1891, number 16.

Lot 189

H G Boyce (c.1844)

A set of eighteen topographical views of the Rhine, Ahr Valley, the Tyrol, Bavaria and Neckar, framed as three each inscribed verso, watercolour, heightened with white each 17 x 23.5cm (3)

£100 - 200

Lot 191

William Douglas Almond (1866-1916)

‘Across the Water’ signed and inscribed ‘W.D. ALMOND/ L.S. Across the Water’ l.l., also signed, inscribed and dated ‘Nov.18.1892’ verso, oil on panel

15.5 x 24.5cm

£600 - 800

Lot 190

Charles Ashmore (1851-1925)

By the hearth

signed ‘C. Ashmore’ l.r., oil on canvas

46 x 35.5cm

£250 - 350

Lot 192

Cecil Aldin RBA (1870-1935)

‘The Politicians’ signed ‘Cecil Aldin’ l.r., pen and ink and watercolour

26 x 23cm

£300 - 500

Lot 193

Walter Duncan (1848-1932)

‘The Youths of This City’

signed and dated ‘W. Duncan/ Aug 1875’ l.r., watercolour and bodycolour

34 x 80cm

£300 - 500

Lot 194

Walter Duncan (1848-1932)

‘Blindman’s Bluff’

signed and dated ‘W. Duncan/1874’ l.r., watercolour and bodycolour

34 x 80cm

£300 - 500

Lot 195

Anna J Cochrane (c.1834)

A view of Durham Cathedral from the Wear, workers building Prebends Bridge in the foreground

indistinctly signed and dated ‘Anna J. Cochrane/1834’ l.l., oil on canvas

51 x 76cm

£400 - 600

Lot 196

Richard Jack (1866-1952)

‘Fontainebleau’, 1891 signed ‘R Jack’ and dated ‘91’ l.r., inscribed ‘Fontainebleau’ verso, oil on board 26 x 36.8cm

£400 - 600

Lot 197

Henry Martin Pope (1843-1908)

‘Moel Ddu - The Black Mountain’ signed ‘M.H. Pope’ l.r., also signed and inscribed with title verso, oil on canvas

23 x 30cm

£200 - 300

Lot 198

Viktor Koshevoi (Ukrainian, 1924-2006)

‘Winter Skiing’ signed and dated ‘VSK/19. XI.85’ l.r., oil on board 49 x 45cm

£300 - 500

Lot 199

Louis Hoguet (German,1825-1900)

Figures on the shore; Up in the mountains; Windmill on a winter’s day; Farming the land; a set of four framed as one, oil on board 8 x 10cm, oval

£300 - 500

Lot 200

Gabriel Cornelis De Jongh (South African, 1913-2004)

A mountainous river landscape signed ‘Gabriel de Jongh’ l.r., oil on canvas

69 x 120cm

£500 - 800

Lot 201

Robert Chailloux (French, 1913-2006)

A cottage kitchen signed ‘Robert Chailloux’ l.r., oil on canvas

39 x 46.5cm

200

Lot 202

Arthur Bevan Collier (1832-1908)

A Swiss Alpine landscape, probably in the Jungfrau region, with figures before a hut signed and dated ‘1873’ l.r., oil on canvas

78 x 70cm

£400 - 600 202 201

£800 - 1,200

Lot 203

Jan Jacob Coenraad Spohler (Dutch, 1837-1922)

Winter - a Dutch town scene with figures on a frozen river; Summer - a Dutch river landscape with windmills a pair, signed ‘JJC Spohler’ l.r. and l.l. respectively, also signed ‘JJ Spohler’ verso, oil on canvas

29 x 45cm (2)

£3,000 - 5,000

Provenance: With Cooling Galleries, London.

Lot 204

Auguste Hagborg (Swedish, 1852-1921)

Oyster gatherers on the shore signed ‘HAGBORG.’ l.r., oil on canvas

46 x 55.5cm

£1,500 - 2,000

Lot 205

Eduard Charlemont (Austrian, 1848-1906)

Preparing vegetables at the kitchen window indistinctly signed l.r., also signed verso, oil on panel 45 x 33.5cm

£800 - 1,200

205

204

Lot 207

English School, 19th/20th century

Portrait

Lot 206

Edwin Long RA (1829-1891)

Study of a Nubian girl, head and shoulders signed ‘Edwin Long’ l.r., oil on canvas, unstretched 24 x 19.5cm £500 - 800

Provenance: Gifted by the artist to Lady Crawshaw. Maas (J) ‘Victorian Painters’, p.184.

of a rabbi, bust-length signed with monogram ‘WMC?’ u.l., oil on canvas 51 x 41cm £600 - 800

Lot 208

Charles Sillem Lidderdale RBA (1831-1895)

A young woman knitting signed with monogram l.r., oil on canvas 62 x 51cm £1,500 - 2,000

Lot 209

Sophie Anderson (1823-1903)

Picking grapes signed ‘S. Anderson’ l.r., oil on canvas 54 x 45cm £2,000 - 3,000

LOTS 210-270

PROPERTY OF A COLLECTOR

Property of a Collector

We are delighted to offer for sale lots 210-270, belonging to a private collector. Assembled over many years by a well-travelled private individual, it includes a variety of topographical works of places that were of interest to them – most notably of Israel and Palestine, but also of northern France and their home in London, together with some still lifes and figure studies, mainly in watercolour.

From the grand tour onwards, the watercolour, by dint of its portability, became the medium of choice for the topographical artist, serving as much as a record keeper as for its aesthetic purpose. Europeans were fascinated by the Orient; the colourful costumes, customs, and animals that populated the region, together with the impressive architecture and ancient monuments situated on hugely significant biblical sites. One of the pioneers of this orientalist movement in the 19th century was David Roberts RA (1796-1864) whose famous journey to Egypt and The Holy Land of 1838-9 inspired a generation of intrepid artists to venture east in his wake, in search of the exotic.

Roberts’ watercolour of ‘Jaffa’ (lot 231), probably painted on the spot, would have been a subject rarely, if ever, seen before by the British public. Highly regarded as one of the finest topographical artists of the 19th century, ‘Jaffa’ is one of the highlights of this collection. Hot on Roberts’ heels some ten years later was Edward Lear (1812-1888) (lot 230) who visited Egypt and the Holy Land in the late 1840s. The artist, illustrator and poet produced a huge number of dexterous on-the-spot sketches during his travels which took him as far as India. No doubt often the work of a few minutes’ work, they are skilful pen and ink studies, highlighted with economical touches of watercolour and white, with not a mark out of place or in need of correction, such was Lear’s talent.

Other highlights of the collection include an extensive view across the desert by Albert Goodwin (1845-1932), ‘The Cities of the Plain’, inscribed with words from Genesis ‘And Lot pitched his tent towards Sodom’ (lot 224), and ‘Return from the fields’, a beautifully observed watercolour of a peasant woman pushing her child through the fields in a wheelbarrow by the Dutch artist Jozef Israëls (1824-1911) (lot 213). In addition to these watercolours by well-known names, there are interesting additions by little-known names like Henry Boddington (1849-1925) and his sketches of figures in Jerusalem (lots 227 and 228), or the more modern works by Edmund Fürst (1874-1955), documenting Tel Aviv in the 1950s.

Lot 210

Jakob Steinhardt (German-Israeli,1887-1968)

Figures in a shtetl

signed with initials and dated ‘1921’ l.r., pencil and wash

13.7 x 9.5cm

£150 - 250

Lot 211

Jakob Steinhardt (German-Israeli, 1887-1968)

Two old Jews conversing signed and dated ‘Steinhardt/1920’ l.r., pencil

12 x 9cm

£150 - 250

Lot 212

Pierre-Édouard Frère (French,1819-1886)

‘The Frugal Meal’ signed and dated ‘Ed. Frere.72’ l.l., pencil and watercolour

36.5 x 28.5cm

£300 - 500

Provenance: With Thomas Agnew & Sons, London.

Lot 213

Jozef Israëls (Dutch,1824-1911)

Returning from the fields signed ‘Jozef Israels’ l.l., watercolour heightened with white 24.5 x 34.5cm

£2,000 - 3,000

Provenance: M. Knoedler & Co., New York; Francis Wilson sale, Parke-Bernet Galleries Inc., New York, 26 November 1943, lot 20; John Motley Moorehead, Rye, New York, Parke-Bernet Galleries Inc., New York, 1 May 1965, lot 144(?); M. Lowenstein; Anon sale, Sotheby Parke-Bernet, New York, 21 May 1987, lot 304.

French

Two,

9.5

£200 - 300

Figure

pencil and watercolour

14 x 14.7cm

£100 - 150

William

The old

watercolour and pencil

12.5 x 8.8cm

£100 - 150

Exhibited: Martyn Gregory, London, ‘William Evans of Bristol’, November 1987, catalogue 49, no.112.

Lot 214

Frederick Goodall RA (1822-1904)

peasants conversing

pen and ink and watercolour

x 12cm and 9.5 x 15cm (2)

Lot 215

Joseph Altmann (Austrian, 1785-1867)

studies

Lot 216

Evans of Bristol (1809-1858)

beggar

216 215

214

Lot 217

Mortimer Luddington Menpes (Australian-British,1855-1938)

‘Street Corner, Pont-Aven’ signed and dated ‘M.L. Menpes./1883’ l.l., with the artist’s original label verso, watercolour

9.7 x 12.8cm

£200 - 300

Provenance: Anonymous sale, Phillip’s Edinburgh, 22 March 1991.

Illustrated: The final version: Dorothy Menpes, ‘World’s Children’, illustrated by Mortimer Menpes.

Lot 218

George Bryant Campion (1796-1870)

‘Rolling a Snowball’ signed verso, watercolour

8.7 x 10.5cm

£150 - 250

Lot 219

Robert Hills OWS (1769-1844)

Studies of farm children pencil and watercolour

28.5 x 21.5cm

£200 - 300

Provenance: Mrs Lavinia Garle; with Thomas Agnew & Sons Ltd., London, by 1970, no.31943; anon. sale, Christie’s, 14 July 1970

Lot 220

Joshua Cristall POWS (1767-1847)

Children at Hurley, Berks signed and dated ‘J. Cristall 1816’ l.l. and inscribed ‘Hurley, Berks’ l.c., pencil and watercolour heightened with white

16.5 x 21cm

£150 - 250

Lot 221

John Dibblee Crace (1838-1919)

The Mosque El Aksa and the Mount of Olives, Jerusalem signed and dated ‘J. D. Crace 1880’ l.l., inscribed ‘Jerusalem, 1869, sketch JDC’ and dated ‘July 1880’

verso, watercolour

32 x 46.3cm

£300 - 500

Lot 222

John Fulleylove RI (1845-1908)

Cana of Galilee signed ‘Fulleylove’ l.r., pencil and watercolour

14 x 24cm

£200 - 300

Exhibited: The Fine Art Society, 1902, no.2.

Literature: John Kelman, ‘The Holy Land’, 1902, pl.2 (according to a label attached to the reverse).

Lot 223

English School, 19th century

‘The Mount of Olives’ inscribed with title l.r., pencil

18.3 x 22.5cm, unframed

£80 - 120

‘The Cities of the

signed and dated ‘Albert Goodwin.1899’ l.r., and inscribed ‘And Lot pitched his tent towards Sodom’ l.l., further inscribed on the artist’s label attached to the reverse, watercolour heightened with white 47.5 x 67cm

£2,000 - 3,000

Provenance: Anonymous sale; Christie’s, 10 May 1983.

Exhibited: Royal Watercolour Society, no.40 (according to the label, attached to the reverse).

Lot 224

Albert Goodwin RWS (1845-1932)

Plain’

Lot 225

Edmund Fürst (German-Israeli, 1874-1955)

‘On the River Yarkon, Tel Aviv, Israel’ signed in Hebrew and dated ‘52’ l.l., watercolour

32.5 x 23.5cm

£200 - 300

Lot 227

Henry Boddington (1849-1925)

‘Abraham Baran (70), Jerusalem. Jew at the wailing place’ dated ‘18.3.97’ l.l. and inscribed with title l.r., pencil and watercolour 29 x 22.5cm

£200 - 300

Provenance: With Martyn Gregory, London.

Lot 226

Edmund Fürst (German-Israeli, 1874-1955)

Safed, Israel signed ‘E. Fürst’ l.l., watercolour 35 x 24cm

£200 - 300

A label verso indicates that the work is inscribed on the original mount, and has been dated to the early 1950s by the artist’s daughter.

Lot 228

Henry Boddington (1849-1925)

‘Simon Mendelsohn, Jerusalem’ dated ‘16.3.97’ l.l., inscribed with title l.r., pencil and watercolour 29 x 22.5cm

£200 - 300

Provenance: With Martyn Gregory, London.

226 225

Lot 229

Henry Andrew Harper (1835-1900) Jerusalem signed with initials l.r., watercolour heightened with white 18.8 x 29.2cm £700 - 1,000

229

‘Hebron’, figures and camels, the city beyond, c.1858 signed ‘Edward Lear del.’ l.l., inscribed ‘Hebron’ l.r., pen and ink and watercolour heightened with white 15.4 x 23cm

£5,000 - 8,000

Provenance: With Leger Galleries, London, by December 1982. Edward Lear travelled extensively around Europe, the near east and as far as India. He visited Hebron in April 1858, passing through Bethlehem en route to Petra. In a letter sent to Lady Waldrave on 27 May 1958 from Damascus, Lear discusses various compositional ideas for executing a painting for her. He says of Hebron: “…. there is Hebron, which is very particularly a Hewbrew antiquity, & is besides sufficiently picturesque to form a good picture: though why Abraham choose to live there I cannot think: I found it abominably cold & wet, & besides, they threw stones at me whenever I drew, so that I wished the whole population in Abraham’s bosom or elsewhere 20 times a day.”

Lot 230

Edward Lear (1812-1888)

Lot 231

David Roberts RA RBA

Jaffa

(1796-1864)

signed and dated ‘David Roberts, 1839’ l.r., further inscribed ‘Jaffa, March 26th 1839’ c.l., pen and ink and watercolour heightened with white 24 x 34.5cm

£20,000-30,000

Provenance: With Walker Galleries Ltd, London, by 1933; with Leger Galleries, London, by December 1980.

Fig. 1 ‘Jaffa, Looking South’, lithograph by Louis Haghe after David Roberts, published in ‘The Holy Land, Volume II: The Jordan and Bethlehem’, by F G Moon.

David Roberts was one of the earliest artists to travel to the Holy Land without military aid or private patronage. Having already found acclaim for his pictures of Spain and the Iberian peninsula, he sailed to Alexandria in 1838 with a huge ambition to record the Holy Land in a detailed way that had never been attempted by a European artist. He travelled down through Egypt and across the desert to Petra, arriving in Jerusalem at Easter 1839. From here, he continued on to the Lebanon, sailing home from Beirut after some eleven months of travel. The journey was intrepid in the extreme and at times fraught with danger from attack by locals and Bedouin tribes. During his travels, he sketched ruins, towns, landscapes and people in three sketchbooks and over 272 watercolours. The wealth of material –many of which places were largely unknown to Europeans - became the basis for 247 lithographs executed by Louis Haghe and published in three volumes: ‘The Holy Land’, alongside accompanying text by the Rev. George Croly. The enterprise was hugely ambitious, but ultimately the gamble paid off and was a great success. The lithographs went on to become some of the most popular images of the Middle East created in the 19th century, cementing David Roberts’ fame and status as one of the foremost topographical artists of the Victorian age. Still, today, his works are much admired and collected.

The present lot depicts Jaffa, north-west of Jerusalem. An ancient port city of Judea, Jaffa had by this time been the site of many battles, from the Romans, to the Crusades, where its position as the nearest port to the holy city made it a critical target for western advancement into the orient and in its pursuit of dominance over the Ottoman Empire. Most recently Napoleon had laid siege to the city in 1799, before it returned a few years later back into Ottoman control. Not only is Jaffa where Noah is said to have built the Ark, but also where Andromeda was chained to the rocks and Perseus is said to have bathed the wounds received in his battle with the centaurs.

Roberts made several views of the city, two of which were converted into lithographs included in ‘The Holy Land’: ‘Jaffa Looking South’ and ‘Jaffa Looking North’. Our watercolour is taken from near the same viewpoint as ‘Jaffa Looking South’ (Fig. 1). In the lithograph, the foreground is crowded with figures, seated or standing in groups conversing. In our version, taken slightly to the left and a little closer to the city, these figures are replaced by a camel train heading away from Jaffa and towards the viewer, a pleasing compositional device that draws the eye from the fore to mid-ground, leading into the city beyond. The work combines Roberts’ masterful technique of depicting architectural detail, coupled with sweeping, less resolved areas of landscape that prevent it becoming too illustrative.

PROPERTY OF A COLLECTOR 210-270

Lot 232

Thomas Bush Hardy RBA (1842-1897)

A beach scene, probably Katwijk in Holland, with returning fishing boats signed and dated ‘T.B. Hardy. 1892’ l.l., pen and ink and watercolour

10.5 x 24cm

£150 - 250

Lot 233

William Callow RWS (1812-1908)

Boarding before the storm signed and dated ‘W Callow 1841’ l.c., pencil and watercolour

22.5 x 31.3cm

£200 - 300

Lot 234

Philip Wilson Steer OM (1860-1942) Greenhithe, Kent, 1932

watercolour

22.5 x 29.5cm

£250 - 350

Provenance: The Fine Art Society, London, June 1943.

Lot 235

John Terris (1865-1914)

A harbour in Fife, Scotland signed ‘John Terris RSW RI’ l.r., watercolour

38.5 x 54.8cm

£300 - 500

Lot 236

Circle of James Abbot McNeill Whistler

RBA (American, 1834-1903)

The Beach at Ocean Grove

inscribed in pencil ‘The Beech [sic] Ocean Grove’ l.r., watercolour heightened with white

27 x 38cm

£200 - 300

Lot 237

Mrs Robertson Blaine (c.1849)

‘The Lake of Tiberias’ signed with monogram, inscribed and dated ‘The Lake of Tiberias. 4th May 1849.’ l.l., watercolour

33.5 x 49.5cm

£300 - 500

A later label verso directs us to the Art Journal, 1859, page 84.

An oil painting by the artist, ‘A Halt of Travellers near Petra’ was purchased by Queen Victoria as part of the Royal Patriotic Fund in 1854. The fund was set up to benefit widows and orphans of soldiers who had perished in the Crimean War.

Lot 238

Robert Brandard (1805-1862)

‘Windmill Hill, Gravesend’ watercolour

10.7 x 16cm

£100 - 150

Lot 239

Richard Harry Carter (1839-1911)

Tintagel signed ‘R H Carter/1889’ l.c., watercolour heightened with white

38 x 69.5cm

£300 - 500

The location of this painting appears to be an imagined location combining elements of several places. The harbour is based on Trevaunance Cove, St Agnes, which was washed away in 1919. The gantry was usd for transporting supplies like coal and tin. The cliff arch is based on Perranporth and the skyline on Tintagel.

239 238

241

Lot 240

Hugh Boulton (20th century)

A landscape with a church pen and ink and wash heightened with white 24 x 17cm

£100 - 150

Provenance: The collection of the Boulton family, Great Tew Manor. According to a label attached to the reverse, Hugh Boulton was the grandson of Matthew Boulton.

Lot 241

Thomas R Colman Dibdin (1810-1893)

Women and ducks by thatched cottages signed ‘TC Dibdin/1859’ l.r., watercolour

49 x 33.5cm

£100 - 150

243 242

Lot 242

Neil Stuart Crichton (1854-1913)

Rouen; A Continental town a pair, signed ‘N.S. Crichton’ l.r., pen and ink and watercolour heightened with white 20.5 x 13.3cm and 22.5 x 12.5cm respectively (2)

£200 - 300

Lot 243

James Little (fl.1875-1910)

‘John Knox’s house, Edinburgh’ signed ‘J. Little’ l.r., pen and ink and

watercolour

26 x 18cm

£200 - 300

Calais, the lighthouse with church beyond inscribed and dated ‘Jan 1832’ on the old mount attached to the reverse, pencil and watercolour heightened with white 25.5 x 17.2cm

£2,000 - 3,000

Provenance: Christie’s(?), artist’s studio sale, Wednesday 17 May 1865, lot 681.

Lot 244

David Roberts RA RBA (1796-1864)

Lot 245

Arthur Edward Davies (1893-1989)

Norwich Cathedral signed ‘Arthur E Davis’ l.l., pen and ink and watercolour, signed and inscribed with title on a fragmentary label attached to the reverse 32 x 46.8cm £200 - 300

Lot 246

William Collingwood Smith RWS (1815-1887)

All Souls Church, Langham Place, Regent Street, London pen and ink and watercolour 27 x 21cm

£200 - 300

Lot 247

Frederick Sohns (fl.1880-1901)

Juniper Green, Scotland signed ‘F Sohns’ l.r., signed, inscribed and dated 1897 verso, watercolour 24 x 32cm £200 - 300

Lot 248

William Fraser Garden (1856-1921)

A fisherman on a riverbank signed and dated ‘W.F. Garden/94’ l.r., watercolour 19.5 x 27.5cm

£300 - 500

Lot 249

William Fraser Garden (1856-1921)

‘St Jame’s [sic] Church, Hemingford Grey, on the River Ouse’ signed and dated ‘W.F. Garden.01’ l.l., watercolour

19.5 x 28cm

£200 - 300

Lot 250

Norman Thomas Janes RWS RE RSMA (1892-1980)

London from Hampstead signed ‘Norman Janes’ l.r., watercolour 32.5 x 46.5cm

£400 - 600

Exhibited: Guildhall Art Gallery, London.

Lot 251

Anthony Thomas Devis (1729-1816)

London from Dulwich pen and ink and watercolour heightened with white 30 x 41.5cm £200 - 300

Literature: Stanley W Fisher, ‘English Watercolours’, pl.7, where the author dates the painting to c.1770.

Lot 252

Edward Duncan RWS (1803-1882)

Hampstead sunset signed and dated ‘E. Duncan/ 1842.’ l.r., watercolour heightened with white 18.5 x 49cm £300 - 500

It has been suggested that this is a view looking towards North End from the west.

251

250 249

Lot 253

William Henry Mathews (20th century)

A costume design for ‘Alice blue gown’, from ‘Irene’ signed ‘WILLIAM/HENRY/ MATHEWS’ l.r., and inscribed l.l., pencil, pen and ink and watercolour

37 x 25.5cm

£150 - 250

Lot 254

John Strickland Goodall RBA RI (1908-1996)

‘The Balloon Race’ signed ‘JS Goodall’ l.l., watercolour heightened with white 17.5 x 23.2cm £250 - 350

Exhibited: Royal Institute of Painters in Water Colours, London.

Lot 255 John Strickland Goodall RBA RI (1908-1996)

‘The Canary’ signed ‘John S. Goodall’ l.l., pen and ink and watercolour heightened with white 18 x 15cm £100 - 150

Lot 256 Dudley Hardy RI (1865-1922)

‘The Artist’s Studio’ signed and dated ‘Dudley Hardy.87’ l.l., pen and ink and watercolour heightened with white 13.2 x 9.4cm £150 - 250

254 253

Lot 257

Raphael Kirchner (Austrian, 1876-1917)

‘Les Bas Noirs’

signed ‘RAPHAEL/KIRCHNER’ l.r., pencil and bodycolour

47.5 x 35cm

£200 - 300

Lot 258

Richard Jack (1866-1952)

An elegant lady in a black hat signed and dated ‘R. JACK/05’ l.r., coloured chalks and wash

19 x 14cm

£100 - 150

Lot 259

Albert Ludovici Jnr (1852-1932)

An elegant lady in a winter landscape signed and dated ‘A. Ludovici Jun/1883.’ l.l., and inscribed ‘with best love/and compliments of the season/to Aunt Sarah’ l.r., pen and ink and watercolour

28 x 20.8cm

£150 - 250

259

258

257

Lot 260

Thomas Hennell RWS (1903-1945)

‘Hop Pickers, Cobham’ signed ‘T Hennell’ l.l., pen and ink and watercolour

22.5 x 45.5cm

£700 - 1,000

Provenance: Anon Sale, Sotheby’s, 28 September 1994, lot 92.

Exhibited: The Royal Watercolour Society, 1941; Museum and Art Gallery, Hastings, East Sussex, Library Gallery, Ramsgate, Kent, 8 September-14 October 1990.

Lot 261

Thomas Hennell RWS (1903-1945)

Haystack in Ridley, Kent signed ‘T Hennell’ l.l., pen and ink and watercolour

35 x 47cm

£600 - 800

Provenance: Elizabeth Hennell, the artist’s sister.

Lot 262

Paul Lucien Maze (French-British, 1887-1979)

The Paddock, Newmarket signed ‘Paul Maze’ l.l., pastel

36 x 53.5cm

£1,500 - 2,000

Lot 263

John Strevens (1902-1990)

Summer flowers signed ‘STREVENS’ l.r., oil on canvas

61 x 81cm

£300 - 500

Lot 264

Marion Broom RWS (1878-1962)

Chrysanthemums signed ‘MARION BROOM’ l.r., watercolour

76.5 x 55cm

£300 - 500

Lot 265

Elizabeth Campbell Fisher Clay (American, 1871-1959)

Flowers in a jug signed ‘E C Fisher Clay’ l.r., oil on canvas

48.5 x 40cm

£200 - 300

Lot 266

Margaret Fisher Prout (1875-1963)

Flowers in a china basket signed and dated ‘Fisher Prout/1951’ l.l., pencil, watercolour and bodycolour

41 x 47.5cm

£200 - 300

Exhibited: Royal Society of Painters in Watercolour.

264

263

Lot 267

Stanley Anderson

RA RE (1884-1966)

‘Morning on the Seine’ signed ‘STANLEY ANDERSON’

l.l., pencil and watercolour

26.5 x 36cm

£300 - 500

Stanley Anderson was a noted line engraver, known for highly detailed depictrions of traditional crafts. He was a teacher at Goldsmiths College, whose pupils included Graham Sutherland.

Lot 268

Stanley Anderson

RA RE (1884-1966)

Dieppe Harbour signed ‘STANLEY ANDERSON’

l.r., pencil and watercolour

24.5 x 36.5cm

£300 - 500

Lot 270

Thomas Cooper Gotch RBA RI (1854-1931) ‘The Piper’ signed with initials l.c., watercolour 17 x 12cm, within a faux marble resin frame £200 - 300

Lot 269 Clara Klinghoffer (1900-1970) Mother and child signed ‘C. KLINGHOFFER’ l.r., watercolour 35 x 25cm £400 - 600 269

VARIOUS PROPERTIES

Lot 271

William Holman Hunt OM (1827-1910)

‘The Abundance of Egypt, Afterglow in Egypt’ etching, published by The Etching Club, 1857 plate 15.5 x 11.5cm; together with ‘The Desolation: The Sphinx at Night’ etching, published by The Etching Club, 1857 plate 5 x 11.5cm (2) £200 - 300

Provenance: With J S Maas & Son Ltd., London.

Lot 272

Mildred Cash (early 20th century)

‘The Angel of his Presence’, a stained glass design signed ‘Mildred Cash’ l.r., pastel 143.5 x 54cm £400 - 600

Lot 273

Sir Edward Coley Burne-Jones ARA (1833-1898)

Illustration for ‘The Works of Geoffrey Chaucer’ woodcut, published 1896 image 12.3 x 16.6cm £300 - 500

Provenance: With J S Maas & Son, London.

51 x 61cm

£700 - 900

Provenance: Anon. sale, Sotheby’s, London, 19 May 1983, lot 92.

Exhibited: Royal Academy, 1883, no.12.

Lot 274

Walter Scott Boyd (1834-1901)

The Great Gallery, Aston Hall oil on canvas

Lot 275

Ernst Sigmund Witkamp (Dutch, 1854-1897)

A lady in a studio signed and dated ‘E Witkamp.’ u.l., oil on panel

39.5 x 23.5cm £800 - 1,200

Lot 276

Charles Edward Perugini (Italian-British, 1839-1918)

Portrait of a girl seated on a chair, bust-length in profile, in a blue dress and white blouse initialled ‘CP’ l.l., oil on canvas

43.5 x 33.5cm

£4,000 - 6,000

Provenance: with Frost & Reed, London.

Lot 277

John Brett ARA (1831-1902)

Loch Fyne signed and dated ‘John Brett/1897’ l.l., oil on canvas

38 x 76cm

£5,000 - 8,000

EUGÈNE BOUDIN

(French, 1824-1898)

Lot 278

Eugène Boudin (French, 1824-1898) ‘Le Havre, Le Bassin de la Barre’ signed and dated ‘E. Boudin 94’ l.r., oil on panel 38 x 46cm £70,000-100,000

Provenance: Hôtel Drouot, Paris, 27 December, 1901, lot 12 (sold for 240F); with Galerie Georges Petit, Paris; with Knoedler & Co., New York; with Duke Street Gallery; Madame Yassukovich Senlis.

Literature: Robert Schmit, ‘Eugène Boudin, 1824-1898’, Paris, 1973, vol. III, no.3278, p.256.

Hailed as one of the most influential painters of the 19th century, Boudin was one of the first artists to paint en plein air, and was a big influence on the Impressionist movement, in particular to Monet who remarked “If I have become a painter, it is entirely due to Eugène Boudin” (J. Selz, Eugène Boudin, New York, 1982, p. 43). Influenced by his friend Baudelaire, Boudin was inspired to paint modern life –be that the industry of local ports, or the elegant figures that flocked to Normandy, his home, and the fashionable beaches at Trouville. His ambition was to paint what was in front of him, not to create a majestic and grandly composted vision of a port, but the port as it was – bustling with ordinary life: boats, commerce.

The harbour of Le Havre was a subject he returned to time and time again, encouraging many other artists of the Impressionist movement including Gustave Courbet and Claude Monet to join him. A local boy, his father was a harbour pilot and as a young man Boudin worked on a steamboat that made the regular journey across the Seine estuary between the port of Le Harvre, and the picturesque old town of Honfleur. The present lot shows Boudin at the height of his powers in the early 1890s, depicting the ‘avant-port’, a landscape he knew intimately.

Boudin was described by Corot as “King of Skies”, famous for his depiction of clouds, light and weather. He remarked: “to steep oneself in the sky. To capture the tenderness of the clouds. To let the cloud masses float in the background, far off in the grey mist, and then make the blue blaze forth” (Ibid, p. 41). Here we have a low horizon with a huge expanse of sky above, contrasting with the industry of the port entrance. Using a somewhat restricted palette and his adroit, instinctive application of print he offers us a masterclass in the depiction of clouds. Elsewhere, we see his direct, crisp brushstrokes sketching the figures, buildings and boats that populate the busy port.

Lot 279

Edward Atkinson Hornel (1864-1933)

‘Girls Among the Blossom’ signed and dated ‘Ea. Hornel 1910’ l.r., oil on canvas 50.5 x 62cm

£5,000 - 7,000

Provenance: The collection of W Wright Allan Esq.; with Duncan Miller Fine Arts, London; Christie’s, South Kensington, 16 April 2008, lot 86.

Lot 280

William Bradley Lamond RBA (1857-1924)

A figure in a horse-drawn cart at dusk signed ‘W B Lamond’ l.l., oil on board

25.5 x 30.5cm

£300 - 500

Lot 281

Charles Walter Simpson (Canadian, 1878-1942)

Preparing to attack at dawn; After the battle two, both indistinctly signed ‘Charles W. Simpson’ l.l., oil on canvas 61 x 89cm and 63 x 91cm, unframed (2)

£1,000 - 2,000

Charles Walter Simpson was one of a group of artists contracted by Max Aitken, 1st Baron Beaverbrook, to document the first world war. The Canadian War Memorials Fund included Canadian and British artists, such as Sir Alfred Munnings (1878-1959), who travelled to the front and documented the day to day realities of war and celebrating the achievements of the Canadian troops.

Lot 282

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

A stream through a meadow, a clump of trees beyond signed ‘A J Munnings’ l.r., oil on canvas 35.5 x 46cm £10,000-15,000

Lot 283

Alexander Grinager (American, 1865-1949)

Portrait of Major Desmond Chapman-Huston of the Royal Wiltshire Yeomanry, half-length, in uniform signed ‘Alex Grinager’ l.l. and painted with a coat of arms to upper edge, oil on canvas

76 x 61cm

£250 - 350

Lot 284

Sir Arthur Stockdale Cope RA (1857-1940)

Portrait of William de Wiveleslie Abney (1843-1920), bust-length, in red military uniform signed and dated ‘A.S. Cope/1888’ u.l., oil on canvas

61.5 x 50.5cm

£250 - 350

Lot 285

Circle of Ralph Peacock (1846-1946)

Portrait of a boy, standing three-quarter-length, in white oil on canvas

92 x 58.5cm

£300 - 500

Lot 287

Edward George Handel Lucas (1861-1936)

A bird’s-nest and flowers on a mossy bank signed and dated ‘EGH Lucas/1879’ l.r., oil on board

16 x 20cm

£300 - 500

Lot 288

Grace H Hastie (1855-1930)

A vase of chrysanthemums; Poppies in a glass vase; two, each signed ‘Grace H. Hastie’ l.l. and dated ‘1896’ and ‘1897’ respectively, watercolour and bodycolour

35.5 x 25cm and 35.5 x 23cm (2)

£300 - 500

271-313 VARIOUS PROPERTIES

Lot 286

Jean Grimal (French, 1942-1998)

A basket of oranges and grapes with a pottery tankard signed ‘J. GRIMAL’ l.r., oil on canvas

38 x 46cm

£300 - 500

288

287

286

VARIOUS PROPERTIES 271-313

Lot 290

Sergei Shapovalov (Ukrainian, b.1943)

‘Still Life with Hollyhocks’

signed with initials and dated ‘89’ l.r., oil on canvas

105 x 95.5cm

£500 - 700

Lot 289

Anatoliy Shapovalov (Ukrainian, b.1948)

Sunflowers signed in Cyrillic l.l., oil on canvas

85 x 100cm

£600 - 800

Lot 291

English School, 19th/20th century Roses, poppies, sweet william, passion flowers and morning glory on a stone window ledge, a landscape beyond indistinctly signed l.r., oil on canvas

76.5 x 64cm

£300 - 500

291 290

289

Lot 292

Louise Woordecker (19th century)

Fruit in a wicker basket and goldfinches on a marble table signed and dated ‘Louise Woordecker. 52’ l.r., oil on panel 47 x 56cm

£500 - 800

Adrian Hoffman (20th century)

Summer flowers in a vase oil on board

98 x 75.5cm

£400 - 600

Lot 293

293

292

VARIOUS PROPERTIES 271-313

Lot 294

Henry Leonidas Rolfe (1824-1881)

72 x 60cm £800 - 1,200

Lot 295

William Edwin Pimm (1864-1952)

A sea bass, catfish and lobsters oil on canvas

The fisherman’s cat signed ‘William E. Pimm.’ l.l., oil on canvas 47 x 61cm £400 - 600

296

Lot 296

Henry Leonidas Rolfe (1824-1881)

An otter with a large salmon in a highland river landscape signed ‘H.L Rolfe’ and dated 1867 l.r., oil on canvas

42 x 72cm

£800 - 1,200

Lot 297

Attributed to John Russell (fl.1869-1918)

The day’s catch oil on canvas

63 x 76cm, in a carved giltwood frame

£600 - 800

298

Lot 298

James Hardy Jnr (1832-1889)

Lot 299

Henry Stacy Marks RA (1829-1898)

‘The Outcast’ signed with initials l.r., watercolour and bodycolour

24.5 x 18.5cm

£200 - 300

Exhibited: J S Maas & Co. Ltd., ‘Victorian Exhibition’, 1968, no.79.

Lot 300

William Henry Hunt OWS (1790-1864)

‘A Study of Fungi’ pencil and watercolour

30.5 x 25cm

£200 - 300

Exhibited: J S Maas & Co. Ltd., London, Spring Exhibition, 1968, no.72.

Lot 301

English School, 19th century A cockerel and two hens signed with initials and inscribed ‘J.C. jun/Wakd’, oil on canvas

51 x 61.5cm

£300 - 500

Provenance: The Estate of Jasper Gibbons Grinling, late of The Old Vicarage, Helions Bumpstead, Essex.

Lot 302

Boris Sporykhin (1928-2020)

Composition with two models signed in Cyrillic and dated ‘50’ l.l., pencil

67 x 44.5cm

£400 - 600

Lot 303

Boris Sporykhin (1928-2020)

Reclining male nude signed in Cyrillic l.l., pencil

39.5 x 52.5cm

£400 - 600

Lot

Boris Sporykhin (1928-2020)

Seated nude signed in Cyrillic and dated ‘51’ l.r., pencil

48.5 x 67.5cm

£400 - 600

305 304

Lot 305

Boris Sporykhin (1928-2020)

Standing male nude signed in Cyrillic l.r., pencil

65.5 x 45cm

£400 - 600

304

303 302

Nicholas Edward Gabé (French, 1814-1865)

Nymphs in a wooded landscape indistinctly signed l.r., oil on panel

19.5 x 28.5cm

£600 - 800

M… Clements (19th/20th century)

‘Dreamland’;

‘The Coming of the Day’ two, both signed l.r., watercolour 24.5cm diameter (2)

£200 - 300

Adolf Frey-Moock (Swiss,1881-1954)

Pan signed ‘A. FREY/MOOCK’ l.l., oil on canvas 61 x 46cm £400 - 600

Lot 308

Lot 306

Lot 307

Lot 309

Abel Pann (Latvian-Israeli, 1883-1963)

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

28 x 40cm

£3,000 - 5,000

Lot 310

Charles Altamont Doyle (1832-1893)

Full moon signed ‘C A Doyle’ l.r., watercolour

16.8 x 23.3cm

£300 - 500

Exhibited: J S Maas & Co. Ltd., ‘Pre-Raphaelites and Contemporaries’, November 1962, no.34.

Lot 311

Sergei Menyayev (b.1957) A model by the window signed and inscribed with title in Cyrillic verso, oil on canvas 59 x 79cm £400 - 600

Lot 312

Anatoliy Demenko (Ukrainian, b.1979) On the beach signed ‘Demenko’ l.l., further signed, inscribed with title and dated ‘2022’ in Cyrillic verso, oil on canvas 55 x 70cm £500 - 700

Lot 313

Serge Marshennikov (b.1971)

A reclining nude

signed ‘S. Marshennikov’ l.r., inscribed and dated 2015 verso, oil on canvas 50 x 86cm

£7,000 - 9,000

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 Euros 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%.

Hammer Price Royalty

From 0 to €50,000 4%

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 0.25%

What is the qualifying threshold?

An artwork must sell for more than €1,000 to qualify for a royalty. The law defines the price threshold in Euros and, because the exchange rate between the two currencies changes daily, the equivalent in Pounds Sterling must be worked out according to the exchange rate on the date the artwork was sold.

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?

The Artist’s Resale Right applies to the sale of artworks in the European Economic Area (EEA). The following countries are in the EEA:

Austria, Belgium, Bulgaria, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Malta, Netherlands, Norway, Poland, Portugal, Romania, Slovak Republic, Slovenia, Spain, Sweden, United Kingdom.

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 €1000;

• 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 or another country in the European Economic Area (EEA).

This royalty, where applicable, will be charged to the purchaser. It is exempt of VAT.

INDEX OF ARTISTS

E Eastern European School, 18th century 16

Egley, Circle of William 88 English School 30, 32, 51, 53, 54, 84, 110, 116, 152 English School, 18th century 55, 83 English School, late 18th century

English School, 18th/19th

Italian School, 19th century 184

J Jack, Richard 131, 196, 258

Janes, Norman Thomas 250 Jenkins, Wilfred 155

Jensen, Alfred 150 Jones Way, Charles 180

K

Kauffman, After Angelica 71

Kauffman, Angelica 68, 69

Kauffman, Studio of Angelica 70

Kirchner, Raphael 257

Klinghoffer, Clara 269

Knapton, Attributed to George 46

Knell, William Adolphus 169

Kneller, Circle of Sir Godfrey 42

Kneller, Follower of Sir Godfrey 39

Koshevoi, Viktor 198

L Lamond, William Bradley 280

Langley, William 107

Lawrence, After Sir Thomas 91

Lear, Edward 230

Lecran, Marguerite-Zéolide 112

Lely, Circle of Sir Peter 43

Lely, Follower of Sir Peter 44

Lidderdale, Charles Sillem 208

Little, James 243

Lombard School, early 16th century 11

Long, Edwin 206

Lucas, Edward George Handel 287

Ludovici Jnr, Albert 259

M

Madgwick, Clive 126

Mann, Robert 103

Maraschini , Giuseppe 182

Marks, Henry Stacy 299

Marshennikov, Serge 313

Mathews, William Henry 253

Matthews, Michael 156

Maze, Paul Lucien 262

Menpes, Mortimer Luddington 217

Menyayev , Sergei 311

Mercier, Circle of Philippe 47

Mexican School, 19th century 2

Miel, Follower of Jan 8

Milne, William Watt 134

Molenaer, Circle of Klaes 28A

Moroni, Circle of Giovanni Battista 3

Morris, Alfred 108

Mote, George William 98, 127

Munnings, Sir Alfred James 282

Murray, Attributed to Thomas 49 N

Neapolitan School, 19th century 183

Netscher, Follower of Caspar 36

North Italian School, 17th century 4

O'Connor, James Arthur 96

Opie, Follower of John 80

Pann, Abel 309

Peacock, Circle of Ralph 285

Peat, Thomas 66

Penny, Circle of Edward 59

Penny, William Daniel 148

Perugini, Charles Edward 276

Phillips, Thomas 111

Phillips, Attributed to Thomas 114

Pickering, Attributed to Henry 56

Pimm, William Edwin 295

Pitt, William 99

Pond, Circle of Arthur 57

Pope, Henry Martin 197

Powell, Charles Martin 139

Powell, Circle of Charles Martin 141

R Raphael, After 12, 26

Redmore, Henry 151

Rembrandt, After 20

Richardson, Circle of Jonathan 48

Roberts, David 231, 244

Roberts, Edwin Thomas 117

Robertson Blaine, Mrs 237

Rolfe, Henry Leonidas 294, 296

Rottenhammer, Manner of Hans 19

Rowlandson,

Lots marked with a ‘’ may attract the Artist’s Resale royalty charge at the rate of 4% of the hammer price. This royalty, where applicable, will be charged to the purchaser.

TERMS AND CONDITIONS

These conditions of business consist of:

1. Information for Buyers;

2. Terms of Consignment (for Sellers);

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 15%. 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 safe 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 have Article 10 certificates.

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 Health and Veterinary Laboratories Agency (‘AHVLA’) 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.

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.

‘Auctioneer’

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).

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 15% 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 CORPORATE SOCIAL RESPONSIBILITY

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

Kent

kent@sworder.co.uk | 01732 757675

@sworderspaintings

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