Catalogue PDF - Dominic Winter Auctioneers

Transcription

Project2_Layout 1 18/03/2016 16:11 Page 1
Prints | Asian Art | Photography
7 APRIL 2016
Dominic Winter
SPECIALIST AUCTIONEERS & VALUERS
DW101-149 Listing Pt 1.qxp_Layout 1 18/03/2016 15:57 Page 1
19th & 20th CENTURY PRINTS
ISLAMIC, INDIAN & ORIENTAL ART
PHOTOGRAPHY 1850-2000
Thursday 7 April 2016
Dominic Winter
SPECIALIST AUCTIONEERS AND VALUERS
Mallard House, Broadway Lane,
South Cerney, Gloucestershire GL7 5UQ
Tel: 01285 860006
www.dominicwinter.co.uk
Fax: 01285 862461
[email protected]
AUCTION DETAILS
DAY OF SALE: Thursday 7 April
ON VIEW:
11.00 am
Tuesday 5 April
9.00am-7.00pm
Wednesday 6 April
9.00am-7.00pm
SPECIALISTS IN CHARGE:
Prints: Nathan Winter
Asian Art: Matthew Farren
Photography: Chris Albury
Tel: 01285 860006
[email protected]
All lots are offered subject to the Conditions of Sales and Business exhibited in the saleroom and printed at the
back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office.
A buyer’s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those
lots not marked with an asterisk, in which case the buyer’s premium is 19.5%.
Artist's Resale Right Law ("Droit de Suite")
Lots marked with AR next to the lot number may be subject to Droit de Suite.
Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within
70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to
the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where
the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot.
The amount is calculated as follows:
Royalty For the Portion of the Hammer Price (in Euros)
4.00% up to 50,000
3.00% between 50,000.01 and 200,000
1.00% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale
royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference
rate on the day of the sale.
Please refer to the DACS website www.dacs.org.uk for further details.
For payment arrangements please refer to information for buyers at rear of this catalogue.
We would kindly request that commission bids are submitted by 10.30am on the morning of sale.
For directions on how to find us, please refer to map at rear of this catalogue.
2
CONTENTS
Commencing at 11am
19th & 20th CENTURY PRINTS
19th Century Prints
20th Century Etchings & Lithographs
20th Century Woodcuts & Wood Engravings
Fleece Press Publications & Other Reference
1-20
21-129
130-157
158-171
Approximately 1pm or thereafter
ISLAMIC, INDIAN & ORIENTAL ART
Traditional & Modern Japanese Prints
Oriental Paintings
Oriental Antiques
Islamic & Indian Paintings
175-198
199-213
214-216
217-238
Approximately 2pm or thereafter
PHOTOGRAPHY 1850-2000
Photography
Marcus and Gilbert Adams Photography Archive Part II
240-351
352-370
Index of Artists
Cover Illustrations:
Front cover; lot 135. Inside front cover; lot 228. Rear cover; lot 249.
Queen Victoria & Prince Albert. A rare set of 80 of the Queen’s and Prince’s etchings, 1840-44, bound in a full morocco folio album,
and presented by Queen Victoria to her lifelong friend and royal biographer Sir Theodore Martin in 1869
£30,000-50,000 : 11 May 2016
FORTHCOMING SALES
Wednesday 11 May
Printed Books, Maps & Prints
Autographs, Manuscripts & Royal Memorabilia
British Topography, Archaeology & County Histories
Sports Books including Wisden’s Cricketers’ Almanacks
Thursday 12 May
Motoring, Cycling, Maritime & Railway History
Motoring Collectables & Literature, Bicycles & Models
Friday 13 May
Military History including Battle of the Somme
Aviation & Naval History, Books, Medals, Arms & Armour
Stamps, Coins, Banknotes & Trade Tokens
Wednesday 15 June
Printed Books, Maps & Documents
Science, Medicine & Cookery
Thursday 16 June
The Bookbinding Studio of Philip Smith
Fine & Decorative Bindings
Bookbinding Equipment and Tools
Wednesday 29 June
Fine Art & Antiques
Wednesday 20 July
Printed Books, Maps & Documents
Antiquarian & Early Printed Books
Thursday 21 July
Children’s & Illustrated Books, Original Illustrations
Modern Literature & First Editions
Classical Music including the Ridgewell Collection of Classical Records
Film Posters, Rock & Pop Memorabilia
Further entries are invited for all the above sales:
please contact the relevant specialist for further advice.
Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ
Tel: 01285 860006 Fax: 01285 862461
www.dominicwinter.co.uk [email protected]
19TH CENTURY PRINTS
To commence at 11am
1* Bewick (Thomas, 1753-1828). The Chillingham Bull, 1789, wood engraving on vellum, proof on thin vellum with decorative border, the
rare first state taken before the split to the woodblock, some light browning and spotting to outer margins, image size 183 x 242mm (7.2 x
9.5ins), sheet size 299 x 385mm (11.75 x 14.2ins)
(1)
£1500-2000
5
2* Bewick (Thomas, 1753-1828). Four printer’s specimen sheet
wood engravings of animals, story illustrations, etc., published by
W. Davison, Bondgate Street, Alnwick, circa 1820s/30s, consisting
of 4 large sheets, each containing 8 groups of multiple wood
engraved illustrations with a decorative border (including one
duplicate), rubbed and some fraying and soiling to margins, sheet
size 450 x 565mm (17.7 x 22.2ins), together with 4 copies of a similar
specimen sheet of 6 large wood engravings of a bear, tiger,
porcupine, elephant, zebra and dromedary, each with decorative
woodcut border, sheet size 580 x 450mm (22.8 x 17.7ins), plus 3
other related prints (a late issue of Bewick’s Chillingham Bull (with
vertical hairline crack visible in the plate), an engraved portrait of
Thomas Bewick by Frederick Bacon after James Ramsay, published
by R. Turner, Newcastle/Colnaghi London, circa 1850, and one other
specimen sheet of wood engraved decorative letters, the latter 2
prints with large marginal stains
(11)
Lot 3
£150-200
3* Martin (John). Satan viewing the ascent into Heaven, [1825],
uncoloured mezzotint from the series for the Paradise Lost of
Milton, a fully lettered proof impression, printed by Chatfield & Co.,
and published by Septimus Prowett, 1825, plate size 255 x 350 mm
(10 x 13.75 ins), sheet size 320 x 425 mm (12.5 x 16.75 ins)
4* Martin (John, 1789-1854). Satan contemplating Adam and Eve
in Paradise, 1825, mezzotint with etching on thick laid paper, a fully
lettered proof, published by Septimus Prowett, 1825, for Milton’s
Paradise Lost, Book IV, 502, a good, strongly contrasted impression,
plate size 257 x 356 ( xins), together with The Angels Guarding
Paradise by Night, 1826, mezzotint with etching, on thick laid paper,
a fully lettered proof, published by Septimus Prowett, 1825 for
Milton’s Milton’s Paradise Lost, Book IV, 866, a good, dark
impression, some light spotting, plate size 257 x 367mm (10.1 x 14
5ins), sheet size 380 x 560mm ( 15 x 22ins)
Reference: Campbell Wees 33. Provenance: From a private collection, Somerset.
(1)
£200-300
Campbell Wees 35 & 37.
(2)
6
£200-300
5*
Martin (John, 1789-1854). Psalm
CXXXVII, 1835, mezzotint, a lettered proof,
laid down on card, some overall spotting and
surface marks, trimmed within plate mark,
sheet size 240 x 325 mm (9.4 x 12.7 ins),
together with Lewis (Frederick C., 17791856), Sunset at sea after a storm (after
Francis Danby), 1826, mezzotint on thick
wove paper, a proof impression before
letters, some light soiling to margins, a good
strong impression, plate size 173 x 283 mm
(6.8 x 11.1 ins), sheet size 256 x 357 mm (10
x 14 ins), mounted
Campbell Wees 108.
(2)
£150-200
Lot 5
6* Millet (Jean-Francois, 1814-1875). Le
Départ pour le Travail, 1863, etching in bistre
on laid paper, watermarked KFR, circa 1865,
a richly inked impression, probably the fifth or
sixth state of seven, plate size 382 x 309mm
(15 x 12.2ins), sheet size 505 x 416mm (19.8
x 16.4ins), together with another larger
version of the same etching, on laid paper,
watermarked Michallet, with wide margins,
some soiling and overall spotting, creases to
margins, plate size 470 x 380mm (18.5 x
15ins), sheet size 625 x 475mm (24.6 x
18.7ins), plus La Precaution Maternelle, 1862
[but later], reproduction on thin wove paper,
sheet size 300 x 240mm (11.75 x 9.5ins)
Delteil 19. Based on the painting of the same title
of 1851.
£1000-1500
(3)
Lot 6
7
9* Palmer (Samuel, 1805-1888). Five etched illustrations to Virgil’s
Eclogues, [1883], together 5 etchings illustrating Eclogue I, II, IV, VII
and X (O fortunate old man!, But see, the weary-pacing oxen, Thy
very cradle quickens, the pastured bull to stall, & Pan came, Arcadian
tetrarch ever good, as published in An English Version of the
Eclogues of Virgil, 1883), plate size 140 x 190mm (5.5 x 7.5ins) and
similar, sheet size 208 x 312mm (8.2 x 12.25ins)
See Lister (1988) B9.
(5)
10* Edwards (Edwin, 1823-79). By the Tow-path, opposite ThamesBank House, Sunbury, 1862, etching on japan paper, unsigned, left
blank margin torn and detached, and upper right blank corner torn
with a little loss, plate size 100 x 215mm (3.9 x 8.4ins), sheet size
170 x 280mm (6.69 x 11.02ins), laid down on card with printed title
label to lower left corner, together with Walton-on-Thames, 1862,
etching on japan paper, unsigned, plate size 100 x 215mm (3.9 x
8.4ins), sheet size 160 x 273mm (6.2 x 10.7ins), laid down on card,
with printed title label to lower left corner, plus one other unsigned
etching, possibly also by Edwin Edwards, showing a view of a
Parisian boulevard with rooftops seen through a balcony railing, some
marks and short marginal tears and light creases, plate size 236 x
355mm (9.2 x 13.9ins), sheet size 297 x 410mm (11.6 x 16.1ins)
7* Millet (Jean-Francois, 1814-1875). Homme appuyé sur sa
beche (Man leaning on a spade), 1848, etching on cream laid paper,
with bunch of grapes watermark and indistinct paper manufacturer’s
name, plate size 85 x 68 mm (3.4 x 2.75ins), sheet size 143 x
125mm (5.6 x 4.9 ins), mounted on old card
Melot 3. Delteil 3. Good impression of this rare early print.
(1)
£400-600
(3)
8* Francisco José de Goya y Lucientes (1746-1828). Desgracias
acaecidas en el tendido de la Plaza de Madrid, y muerte del Alcalde de
Torrejon (plate 21 from the Tauromaquia), 1815-16 [1876], etching with
aquatint, lavis and engraving on Arches laid paper, numbered 21 upper
right, from the third edition published by E. Loizelet, Paris in 1876, a
very good impression, some very light surface soiling, light crease to
upper left corner of the sheet, plate size 246 x 354mm (9.75 x 13.9ins),
sheet size 315 x 474mm (12.4 x 18.7ins), tab-mounted on old card
Delteil 244. Harris 224.
(1)
£100-150
£100-150
11* Haden (Sir Francis Seymour, 1818-1910). The Moat House,
Sonning, 1866, etching and drypoint on Van Gelder laid paper, as
issued in About Etching, published by the Fine Art Society, 1879,
plate size 137 x 212mm (5.4 x 8.3ins), sheet size 245 x 320mm (9.6
x 12.6ins), with text and fifteen other various reproductions of
etchings, bound in contemporary quarter morocco, top edge gilt,
rubbed and scuffed to spine, bookplate of James William Ellsworth
to front pastedown, 4to
£300-500
(1)
8
£100-150
12* Doré (Gustave, 1832-1883 & Bourne, Herbert, 1815-1885).
The Triumph of Christianity, 1880, steel engraving on india paper
laid down, published by Fairless & Beeforth, Doré Gallery, August
2nd 1880, a rich strong impression, signed in pencil by both artist
and engraver, some light marginal spotting, plate size 945 x 640mm
(37.25 x 25.25ins)
(1)
£100-150
13* Legros (Alphonse, 1837-1911). Sir Charles Holroyd, etching on
antique laid paper watermarked with letters M C either side of a
shield with lion rampant (probably Dutch early 19th century), one of
only six proofs of the second state, a fine impression printed with
plate tone, signed in pencil, plate size 310 x 211mm (12.25 x 8.3ins),
sheet size 405 x 260mm (16 x 10.25ins), tab-mounted
Legros catalogue 511, ii.
(1)
£70-100
Lot 12
14* Tissot (James Jacques Joseph, 1836-1902). Apparition
Mediunimique, 1885, mezzotint on heavy wove paper, the second
state, with lettering, and stamped monogram lower right, lower
edge of plate mark neatly restrengthened with archival tissue to
verso, plate size 490 x 340mm (19.29 x 13.38ins), sheet size 690 x
525mm (27.16 x 20.66ins)
Wentworth 76 ii/ii. The published state of Tissot’s remarkable mezzotint
depicting the spectral appearance of his deceased muse and mistress Mrs.
Newton (described by the artist’s French friends as ‘la ravissante irlandaise’)
at a spiritualist séance, arranged for him by the practitioner William Eglington.
The accompanying male figure, named Ernest, is a benign spiritual guide.
£500-800
(1)
Lot 13
9
16* Pennell, Joseph (1857-1926) and others. The Artworker’s
Guild, May 5th, 1893. Barnard’s Inn Hall. 6 Lithographs drawn by
J. Pennell, F. Short, W.R. Lethaby, H. Paget, A. Mackworth,
G. McCulloch, Imp T. Way, [1893], 6 transfer lithographs on laid paper,
sheet size 230 x 320mm (9 x 12.5ins), loosely contained in original
printed grey-brown wrappers, one or two minor marks, and a small
portion of lower outer corner to upper wrapper missing
Scarce. A portfolio of 6 transfer lithographs printed by Thomas Robert Way
(1862-1913), following a demonstration of the method by him at a meeting
of the Artworker’s Guild, at which members of the audience were invited to
exercise their skills on stone and transfer paper. The revival of interest in
lithography in England was largely due to Whistler, who brought back from
Paris the latest technique of artistic lithography.
(1)
£200-300
15* Herkomer (Sir Hubert von, 1849-1914). Ten etchings for An
Idyl, A Pictorial-Music-Play, 1891, a collection of 10 etchings (from
the set of 16) printed on vellum, artist’s proofs, each signed in pencil,
each mounted on card, plate size 236 x 157mm (9.25 x 6.25ins) and
smaller, sheet size 315 x 235mm (12.4 x 9.25ins), plus two signed
lithographs by the same artist
(12)
£100-150
17* Pennell (Joseph, 1857-1926). Iffley Mill, circa 1891, pen and
black ink on india paper, signed in pencil, and numbered 13 lower
right, very light scattered spotting (generally in good condition),
sheet size 238 x 185mm (9.4 x 7.25ins), laid down on thick wove
paper bound in as the frontispiece to ‘The Stream of Pleasure. A
Narrative of a Journey on the Thames from Oxford to London’ by
Joseph and Elizabeth Robins Pennell, 1891, containing numerous
monochrome plates and illustrations, bound in original printed
boards, rubbed and some light overall browning, small 4to
Limited edition of 65 copies printed on Japan paper, signed by the author and
artist, this being number 13 of the first 25 copies containing an original
drawing by Joseph Pennell.
(1)
£200-300
Lot 16
10
Lot 19
18* Beardsley (Aubrey, 1872-1898). D’Albert (A Vignette), circa
1898, photogravure printed on chine collé (plate II from Six Drawings
illustrating Théophile Gautier’s Romance Mademoiselle de Maupin,
Leonard Smithers, 1898), initialled AB in the plate lower right, one
of 13 proofs on chine collé, some light marks to the surface of the
paper, inscribed in a contemporary hand in purple ink to lower
margin verso ‘No 13 of 13 Copies’, plate size 115 x 90mm (4.5 x
3.5ins), sheet size 333 x 278mm (13.1 x 11ins)
Lasner, Beardsley Checklist 121A (copies on plain paper, vellum, Japanese
vellum, and white satin, but not chine collé).
(1)
£300-500
19 Rothenstein (Will). English Portraits. A Series of Lithographed
Drawings by Will Rothenstein, parts III, IV, VII, VIII, IX and XII (from
the set of 12), Grant Richards, [1898], 6 original parts, containing
twelve lithograph portraits only (from the full set of 24), containing
Reverend Creighton, Marchioness of Granby, W.E.H. Leckey, John
Singer Sargent, Alphonse Legros, Robert Bridges, Charles Villiers
Stanford, George Bernard Shaw, Mrs Meynell, Ricketts & Shannon,
R.B. Cunningham Grahame and Henry James, original printed
wrappers to each issue, a little rubbed and some fraying and
occasional minor loss to spines, slim folio (380 x 255mm, 15 x 10ins)
Each part printed in a limited edition of 500 copies.
(6)
20* Dicksee (Herbert, 1862-1942). Peace, 1906, etching on vellum,
an artist’s proof, published by Frost & Reed (the only state, after
which the plate was destroyed), signed in pencil, plate size 350 x
560mm (13.75 x 22ins), with margins, contemporary black and gilt
frame, glazed, with original printed label to verso, and additional
framer’s label of Edward L. Airey, Blackburn to verso
£100-150
(1)
11
£200-400
20TH CENTURY ETCHINGS & LITHOGRAPHS
22* Liebermann (Max, 1847-1935). Badende Knaben, 1904,
etching on thick wove paper, plate size 180 x 240mm (7 x 9.5ins),
sheet size 318 x 450mm (12.5 x 17.75ins), together with six other
etchings and lithographs by various artists: Walter Leistikow
(Markische Landschaft), Max Klinger (Weiblicher Akt), Leopold von
Kalckreuth (Rubenarbeiterinnen), Arthur Kampf (Taubenliebhaber),
Hans Herrmann (Dordrecht) & Ludwig von Hofmann (Springende
Madchen), all published by the Deutscher Kunstverein zu Berlin,
1904-1905, all unsigned, with printed name and title, and initials DRV
to lower margin of each print, occasional minor marginal spotting
and one or two light marginal creases, similar sizes, loosely
contained in original publisher’s cloth portfolio
(7)
£300-500
21* Belleroche (Albert de, 1864-1944). Dolores, 1907, lithograph
on wove paper, printed in black, some light soiling and minor
marginal fraying, image size 630 x 480mm (24.75 x 18.9ins), sheet
size 755 x 545mm (29.75 x 21.5ins)
AB 234.
(1)
£300-500
23* Zorn (Anders, 1860-1920). Bust, 1916, etching with drypoint
on pale cream laid paper, the first state of three, a strong dark
impression, signed in pencil, plate size 247 x 178mm (9.75 x 7ins),
with margins, framed and glazed (unexamined out of frame)
Asplund 272, iii/iii.
(1)
Lot 22
12
£500-800
26* Helleu (Paul Cesar, 1859-1927). Portait de femme en profil,
etching with drypoint on laid paper, a very good impression, signed
in pencil, and marked ‘1 ere Epreuve’, plate size 318 x 212mm (12.5
x 8.3ins), with margins, framed and glazed (unexamined out of frame)
(1)
£300-500
24* Verpilleux (Emile Antoine, 1888-1964). Moonlight, 1914,
colour etching and aquatint on thick wove paper, signed and dated
in pencil lower right, plate size 264 x 176mm (10.4 x 6.9ins), sheet
size 564 x 387mm (22,2 x 15.25ins)
(1)
£100-150
25* Henschl (Hugo, 1879-1929). Moonlit landscape with stag by a
lake, etching on thick laid paper, signed in pencil, some light spotting
and waterstain to left margin, plate size 370 x 470mm (14.5 x
(1)
27* Helleu (Paul Cesar, 1859-1927). Jeune fille cousant (Madame
Helleu), 1892, drypoint etching on heavy laid paper, signed in pencil
lower left, some paper discolouration to verso only, plate size 198 x
155mm (7.8 x 6.1ins), sheet size 250 x 179mm (9.8 x 7ins), tab-mounted
£100-150
(1)
13
£200-300
30* De Jong (Martinus Johannes, 1885-1942). Neethlings Hof,
Stellenbosch, Cape, etching on wove paper, signed and titled in
pencil, plate size 199 x 257mm (7.85 x 10.1ins), period frame, glazed,
with printed label of Burlington Art Galleries, Durban, South Africa,
to verso
28*
Eggeler (Stefan, 1894-1969). Die Drei Freier, Sechs
Radierungen von Stefan Eggeler, Vienna, Frisch & Co. Verlag, 1921,
6 etchings on wove paper, signed in pencil (except the first plate
which is unsigned), plate size 105 x 140mm (4.2 x 5.5ins), sheet size
249 x 227mm (9.8 x 8.9ins), some scattered spotting to plates,
loosely contained in original publisher’s cloth-backed portfolio
boards, with original paper label to upper cover, very slightly rubbed
and some minor marks, 4to
(1)
(1)
£100-150
£200-300
29* Corinth (Lovis, 1858-1925). Bei den Corinthern. Radierungen,
Leipzig, E.A. Seeman, 1920, etched self-portrait, signed in pencil by
the artist, 2 colour plates and 4 colour initials, monochrome
reproductions, top edge gilt, original vellum-backed boards, spine
lightly discoloured, small 4to (266 x 215mm, 10.5 x 8.5ins)
31* Dufy (Raoul, 1877-1953). Deux femmes nues et cheval sur la
plage, circa 1925, etching on chine volant paper, from the edition of
125, signed and numbered 14/125 in pencil, plate size 171 x 111mm
(6.75 x 4.3ins), sheet size 226 x 130mm (8.9 x 5.15ins),
contemporary gilded metal frame, glazed
(1)
(1)
£200-300
14
£150-200
32* Kasimir (Luigi, 1881-1962). Hamburg, Binnenalster, colour
etching, signed in pencil lower right, plate size 405 x 595mm (16 x
23.5ins), with margins, framed and glazed with original printed label
of Kommetersche Kunsthandlung, Hamburg to verso
(1)
£150-200
34* Chahine (Edgar, 1874-1947). La femme aux coussins, drypoint
etching printed in green on laid paper, signed in pencil lower left,
some light soiling, mainly to margins, plate size 299 x 365mm (11.75
x 14.3ins), sheet size 365 x 522mm (14.3 x 20.5ins)
(1)
£200-300
35* Dauchez (Andre, 1870-1948). Les Gerbes, etching on thick
wove paper, signed in pencil and numbered 12/30, some light
scattered spotting, plate size 167 x 241mm (6.5 x 9.5ins), sheet size
223 x 320mm (8.8 x 12.6ins), tab-mounted
(1)
33* Chahine (Edgar, 1874-1947). La Basilique de San Marco,
Venise, 1923, drypoint etching, an artist’s proof on pale green laid
paper, signed and titled in pencil, a few minor marks, plate size 320
x 217mm (12.6 x 8.5ins), sheet size 370 x 237mm (14.6 x 9.3ins),
mounted on old card
Tabanelli 378.
(1)
£200-300
15
£50-80
Lot 38
36* Rouault (Georges, 1871-1958). Nude Woman & Man with
Moustache and Spectacles (from Reincarnations du Pere Ubu),
1955, together with two uncoloured aquatints, each initialled and
dated 1929 in the plate, plate size 10 x 7.5cm (4 x 3ins), sheet size
25.5 x 18cm (10 x 7ins), plus Derain (Andre, 1880-1954), Man
holding a large bell (from Pantagruel), 1946, colour woodcut, printed
in an edition of 275, sheet size 10 x 10cm (4 x 4ins), and Vlaminck
(Maurice de, 1876-1958), Usines, lithograph on japan paper, image
size 10 x 16cm (4 x 6.25ins), sheet size 23 x 23.5cm (9 x 9.25ins)
(4)
Lot 39
£100-150
37* Dielman (Ernest Benham, 1893-1972). Figure composition, softground etching, signed in pencil lower right, some light soiling, plate
size 60 x 88mm (2.3 x 3.5ins), sheet size 105 x 140mm (4.1 x 5.5ins)
Ernest Benham Dielman was an American artist and sculptor who lived in
New York in the 1930s. Little is known about his life or career.
(1)
£70-100
38* Bone (Sir David Muirhead, 1876-1953). Autumn Evening,
Lowestoft, 1934, drypoint etching on wove paper, from the sole
edition of 98 signed proofs, a strong rich impression, signed in pencil
lower right, plate size 202 x 327mm (8 x 12.9ins), with margins,
framed and glazed
Campbell Dodgson 453 xiii/xiii.
(1)
£200-300
40* Blampied (Edmund, 1886-1966). The Farmer Dentist, 1925,
etching with drypoint on pale cream wove paper, from the edition
of 100 impressions, a very good clean impression, signed in pencil,
plate size 178 x 216mm (7 x 10.25ins), with margins, framed and
glazed (unexamined out of frame)
39* Blampied (Edmund, 1886-1966). Fording the Stream, 1914,
etching with drypoint on simili-japan laid paper, printed in an edition
of 57 impressions, signed in pencil, a strong impression, light plate
tone, pale mount stain, small sellotape stain to extreme lower blank
margin, and to extreme top margin verso, plate size 125 x 202mm
(5 x 8ins), sheet size 215 x 266mm (8.5 x 10.5ins)
Appleby 36.
(1)
Appleby 106.
(1)
£150-200
16
£300-400
41* Bone (Sir David Muirhead, 1876-1953). War Drawings. From the Collection
presented to the British Museum by His Majesty’s Government. Signed Proofs,
published by authority of the War Office by Country Life Limited, 1917-18, the
complete set of 60 lithographs, each signed in pencil, with small circular blindstamp
to lower margin, a few minor marks or light marginal creases (generally in excellent
condition), as issued in 6 printed card fascicules each containing a loose contents
leaf and 10 prints, sheet size 395 x 520mm (15.5 x 20.5ins), contained in two clothbacked portfolios with ties (partly broken), each with printed title to upper cover,
and additional cloth-backed portfolio boards with ties, similarly titled with printed
label inside ‘War Drawings, Edition de Luxe. This is one of 50 sets signed by the
artist’, with artist’s signature below in ink, some soiling and fraying with a little wear
to edges, large folio (560 x 445mm, 22 x 17.5ins)
The rare complete set of the Edition de Luxe, limited to 50 sets with each of the 60 lithographic
proofs signed by Muirhead Bone in pencil, and with his embossed monogram. Britain’s first
official War Artist was not appointed by the War Propaganda Bureau until May 1916, after William
Rothenstein, a friend of Bone and a fellow member of the Society of Twelve, proposed that an
artist should be sent to the front to record the War. He arrived in August, 1916 at the height of
the Somme Offensive (July-November) and toured the battle-fields working rapidly in various
media - pencil, pen, charcoal and chalk - producing 150 highly finished drawings of the war in
six weeks. In 1917 he returned to France again, concentrating on towns and villages ruined in
bombing raids.
£700-1000
(1)
17
Lot 44
42* Pryse (Gerald Spencer, 1882-1956). Belgian cavalry assessing
their field position, circa 1915, lithograph on wove paper, printed in
rust red, signed in pencil lower right, some minor marks to margins,
image size 525 x 750mm (20.75 x 29.5ins), sheet size 560 x 780mm
(22 x 30.75ins)
(1)
£300-500
46* Wyllie (William Lionel, 1851-1931). Cobles at Newbiggin,
Northumberland, etching, signed in pencil lower left, plate size 215
x 493mm (8.5 x 19.4ins), framed and glazed
(1)
£200-300
43* Pryse (Gerald Spencer, 1882-1956). A Dressing Station, 1914,
lithograph on wove paper, partly printed in colour, signed in pencil
lower right, some marks to margins, image size 455 x 635mm (18 x
25ins), sheet size 572 x 765mm (22 x 30.75ins)
(1)
£300-500
44* Pryse (Gerald Spencer, 1882-1956). British Transports and
Artillery at Le Mans, Place de la Cathedrale, 1914, lithograph on
wove paper, signed in pencil lower right, 450 x 650mm (17.75 x
25.6ins), sheet size 510 x 710mm (20 x 28ins)
(1)
£200-300
45* Wyllie (William Lionel, 1851-1931 ). Naval convoy heading
out, etching on cream laid paper, signed in pencil lower left, a few
small worm holes (including two to the image), plate size 205 x
350mm (8 x 13.75ins), sheet size 285 x 455mm (11.2 x 17.5ins),
framed and glazed
(1)
47* Wyllie (William Lionel, 1851-1931). Boulogne Fishing
Luggers, 1921, etching, signed in pencil lower left, plate size 194 x
279mm (7.6 x 10.9ins), framed and glazed etching, signed in pencil
lower left, plate size 194 x 279mm (7.6 x 10.9ins), framed and glazed
(1)
£100-150
18
£150-200
48*AR Nevinson (Christopher Richard Wynne, 1889-1946). Assembling Parts, 1917, lithograph on wove paper, one of
100 unsigned impressions, plate 38 from the Building aircraft set of six lithographs by Nevinson, for the series The Great
War: Britain’s Efforts and Ideals, commissioned by the British Department of Information and published by the Fine Art
Society, London, in 1918, unsigned, image size 402 x 303cm (15.8 x 12ins), sheet size 510 x 379cm
Black 17. Published in an edition of 200 signed and 100 unsigned impressions.
(1)
19
£7000-9000
49*AR Nevinson (Christopher Richard Wynne, 1889-1946). Banking at 4000 feet, 1917, lithograph on wove paper, one of 100
unsigned impressions from the Building aircraft set of six lithographs by Nevinson, for the series The Great War: Britain’s Efforts
and Ideals, commissioned by the British Department of Information and published by the Fine Art Society, London in 1918,
image size 402 x 315cm (15.8 x 12.2ins), sheet size 510 x 379cm
Black 20. Published in an edition of 200 signed and 100 unsigned impressions.
(1)
20
£7000-9000
Lot 50
50*AR Nevinson (Christopher Richard Wynne, 1889-1946).
Column on the March, 1917, offset colour lithograph on thin wove,
signed in pencil, as issued in the book ‘Modern War: Paintings by
C.R.W. Nevinson’, with an introductory essay by P.G. Konody,
published by Grant Richards Ltd., London, 1917, one or two very
light marginal creases, and three very short closed tears to margin
at upper right, sheet size 286 x 221mm (11.25 x 8.7ins), with three
other loose monochrome reproductions from the same publication
The lower right extreme margins bears the initials only of the artist’s
signature repeated twice, once in pencil and secondly in blue ink (the
latter missing the W). With these sheets is a contemporary brown
envelope covered with various manuscript annotations in pencil and ink,
including ‘Nevinson Pictures PH’.
(1)
£300-500
51 Nevinson (Christopher Richard Wynne, 1889-1946). The
Great War, Fourth Year. With an essay by J.E. Crawford Flitch, R.F.A.,
Grant Richards, 1918, 24 monochrome plates, front endpaper (with
etched bookplate AK with design of two stylised butterflies, signed
K.C. to lower right corner), and later bookplate of Charles Berman
M.D. to front pastedown, front endpaper and half-title detached,
original cloth-backed pale brown boards with paper label to upper
cover, and remains of paper label to spine, a little rubbed, 4to
Limited deluxe edition of 100 copies, this copy numbered 5 and signed
by the publisher. Lacking the colour frontispiece and the etching Nerves
of an Army to pocket at rear.
(1)
£100-150
21
Lot 51
52*AR Nevinson (Christopher Richard Wynne, 1889-1946). Summer, 1924-27, etching and drypoint on laid paper (watermarked F.J. Head),
signed in pencil, a good, rich impression, plate size 251 x 354mm (9.9 x 13.85ins), sheet size 307 x 408mm (12.1 x 16ins)
Black 111.
(1)
£4000-6000
22
54* Baird (Johnstone, late 19th/early 20th century). Destroyers
heading out, 1916, colour etching on cream wove paper, published
by Dowdeswell & Dowdeswell’s, February 1st, 1916, signed in
pencil, and additionally inscribed lower left To Vice-Admiral Sir David
Beatty from Johnstone Baird, June 1916, plate size 260 x 378mm
(10.25 x 14.9ins), with margins, contemporary black and gilt frame,
glazed
(1)
£100-150
Lot 53
55*AR Briscoe (Arthur John Trevor, R.E., 1873-1943). Brixham, 1936,
etching on laid paper, printed with plate tone, an artist’s proof, signed
in ink and marked A.B. 1 lower left, aside from the edition of 50 signed
in pencil, a very good impression, in excellent condition, plate size 189
x 253mm (7.4 x 9.9ins), with margins (unexamined out of frame)
Hurst 310.
(1)
£150-200
56*AR Cameron (David Young, 1865-1945). Provanhall, 1893,
etching on laid paper, as published in the Regality Club, Third Series
[Glasgow, 1894-99], margins heavily browned and with light glue
traces, plate size 158 x 102mm (6.25 x 4.25ins), sheet size 276 x
187mm (10.8 x 7.35ins), together with a reproduction of Cameron’s
Newgate (from the London set, 1899), plate size 149 x 119mm (5.9
x 6 3/16 x 4 7/8 (sheet 7 9/16 x 5 7/8)
Lot 54
53* West (Joseph Walter, 1860-1933). ‘Salvage’, 1915, lithograph
printed in dark brown-black on thin laid paper, signed and titled in
pencil, very light old mount stain, image size 177 x 255mm (7 x
10ins), sheet size 235 x 344mm (9.25 x 13.6ins), tipped-on to
backing card
Rinder 189.
(2)
This print was reproduced in ‘The Year 1915 Illustrated: A Record of Notable
Achievements and Events’, published by Headley Brothers in late 1915, and
titled ‘Rescuing Women and Children from a Cellar at Ypres’.
(1)
£150-200
23
£150-200
59*AR Cameron (David Young, 1865-1945). Arran, etching with
drypoint on thick wove paper, some very light spotting to blank
margins, plate size 123 x 250mm (4.8 x 9.8ins), sheet size 280 x
380mm (11 x 15ins)
(1)
£100-150
57*AR Cameron (David Young, 1865-1945). The Lion and the
Unicorn, 1912, etching with drypoint on japon appliqué, printed in
an edition of 200, signed in pencil, plate size 153 x 109mm (6 x
Rinder 427.
(1)
£100-150
60*AR Cameron (David Young, 1865-1945). The Turkish Fort, 1909,
etching with drypoint on pale cream japan tissue, signed in pencil,
light mount stain, plate size 138 x 262mm (5.4 x 10.3ins), sheet size
200 x 330mm (7.9 x 13ins)
Rinder 409.
(1)
58*AR Cameron (David Young, 1865-1945). Harfleur, 1903, etching
and drypoint on laid paper, a strong dark impression with plate tone,
signed in pencil, plate size 310 x 197mm (12.25 x 7.75ins), sheet size
341 x 223 (13.4 x 8.75ins)
Rinder 356.
(1)
£150-200
61* Griggs (Frederick Landseer, 1876-1938). St. Stephens, circa
1925, pencil on laid paper, with additional vignette repeat of the
image to right margin, marked ‘St Stephens’ in pencil to left margin,
image size 180 - 270mm (7 x 10.5ins), sheet size 295 x 440mm (11.8
x 17.3ins), together with The Roman Wall at Jewry, Leicester, 1923,
soft-ground etching on laid paper by Emery Walker after F.L. Griggs,
plate size 157 x 194mm, sheet size 255 x 315mm
£150-200
(2)
24
£200-300
62* Griggs (Frederick Landseer, 1876-1938). The Cresset, 1915,
etching on laid paper, the second and final state, printed in an edition
of 38, signed and dated lower right, a good impression with wide
margins, plate size 172 x 250cm (6.75 x 9.8ins), sheet size 228 x
325mm (9 x 12.75ins)
Comstock 12, ii/ii.
(1)
64* Griggs (Frederick Landseer, 1876-1938). Cockayne, 1936,
etching on laid paper, one of only 3 impressions of the fourth state,
signed in pencil, a strong, rich impression, some pale scattered
foxing, plate size 205 x 275mm (8 x 10.8ins), sheet size 265 x
378mm (10.5 x 14.9ins)
(1)
£400-600
£500-700
65* Griggs (Frederick Landseer, 1876-1938). The Quay, 1916,
etching on laid paper, the third and final state, printed in an edition
of 40, a good, clear impression with full margins, signed lower right,
additionally titled by the artist lower left and inscribed ‘To Via May
1919’, plate size 170 x 205mm (6.7 x 8ins), sheet size 230 x 267mm
(9 x 10.5ins)
Comstock 15, iii/iii.
(1)
63* Griggs (Frederick Landseer, 1876-1938). Netherton Chapel,
1935, etching on laid paper, printed with tone, the third state (of 5),
one of only three proof impressions of this state (according to
Comstock), signed in pencil, and additionally inscribed by the artist
lower left ‘To John’, some light scattered spotting, mainly to margins,
plate size 181 x 155mm (7.2 x 6.1ins), sheet size 220 x 170mm (8.7
x 6.7ins)
Comstock 53, iii/v.
(1)
£400-600
25
£400-600
Lot 66
Lot 68
66*AR Drury (Paul, 1903-1987). After Work, 1926, etching on laid
paper, from the edition of 75 published by the XXI Gallery, a very
good impression, signed and dated lower right, plate size 102 x
142mm (4 x 5.5ins) with margins, framed and glazed (unexamined
out of frame)
Garton 20, viii/viii. One of Drury’s finest etchings, created while the artist was
working alongside his close friend Graham Sutherland at Hayling Island,
where they stayed with Drury’s grandmother.
(1)
£400-600
67 Tanner (Robin, 1904-1988). Illustration for Gray’s Elegy, etching
on wove paper, signed with initials in pencil and dated 1981, plate
size 136 x 142mm (5.4 x 5.6ins), as issued in Thomas Gray, Elegy
written in a Country Churchyard, illustrated by Robin Tanner,
published by Robin Garton, 1981, printed at The Old Stile Press, with
monochrome illustrations to text, printed in an edition of 100 copies,
this being number 76, additionally signed in ink by the artist, all edges
gilt, original quarter brown morocco gilt, with dust wrapper,
bookplate of Bryan Hall to front pastedown, small 4to (265 x 185mm)
Garton 41, ii/ii.
(1)
£200-300
68*AR Tanner (Robin, 1904-1988). Kenneth M. Guichard, British
Etchers 1850-1940, 1st edition, Robin Garton, 1977, three etchings
by Robin Tanner (Wren and Primroses, Full Moon, & The Old Road),
each signed in pencil, numerous monochrome illustrations, original
quarter blue morocco gilt, large 4to (340 x 265mm)
Lot 67
(1)
26
£200-300
71*AR Austin (Robert Sargent, 1895-1973). The Stonebreaker,
1925, etching, Dodgson 57.iii, 105 x 134mm (4.1 x 5.3ins), sheet size
134 x 270mm (5.25 x 8.2ins), laid paper, signed and dated, 1926,
69*AR Austin (Robert Sargent, 1895-1973). Highbridge, 1927,
copper engraving, signed and dated 1928, plate size 111 x 133mm
(4.4 x 5.25ins), framed and glazed
Campbell Dodgson 77.
(1)
Campbell Dodgson 57, iii. Illustrated in Print Collector’s Quarterly 16 (1929):
336.
£150-200
(1)
£150-200
72*AR Badmin (Stanley Roy, 1906-1989). Fallen Mill Sails, 1931,
etching on wove paper, from the edition of 35, published by the XXI
Gallery, signed, titled and numbered 6/35 in pencil, additionally
inscribed in pencil to lower margin by the artist ‘published by the 21
Gallery Mill St. W.1 (demolished in war) ed. 35’, plate size 106 x
70*AR Austin (Robert Sargent, 1895-1973). Woman Praying, 1928,
copper engraving, signed and dated in pencil, and numbered 25
from the published edition of 75, as issued by the XXI Gallery, some
light paper toning and pale spotting, plate size 202 x 156mm, framed
and glazed
Dodgson 76. Ashmolean Museum, Robert Austin (1980) 22.
(1)
Beetles 23.
(1)
£150-200
27
£300-500
73*AR Drury (Paul, 1903-1987). Head of a Young Woman, 1930,
etching and engraving on wove paper, published in an edition of 100
impressions by the Print Collector’s Club, 1930, signed in pencil,
plate size 145 x 120mm (5.7 x 4.7ins), with margins
Garton 26, viii/viii.
(1)
£200-300
76*AR Webb (Joseph, 1908-1962). The Great Bridge, 1929, etching
on wove paper, signed, dated, and inscribed in pencil ‘The Great
Bridge, 1st state as published. To my dear friend F. De Courcy Grylls.
‘The Murmuring Stream’,’ plate size 240 x 353mm (9.5 x 14ins),
sheet size 320 x 445mm (12.6 x 17.5ins), together with The Glory
Hole, Lincoln, 1933, etching on wove paper, signed and dated in
pencil, additionally inscribed to lower margin ‘The Glory Hole,
Lincoln’ 1st state, plate size 200 x 250mm (7.9 x 9.9ins), sheet size
272 x 330mm (10.7 x 13ins)
74*AR Webb (Joseph, 1908-1962). Dream Barn, 1929, etching on
thick laid paper, signed and titled Dream Barn 1st State in pencil, a
rich, dark impression, plate size 180 x 300mm (7.1 x 11.8ins), sheet
size 266 x 405mm (10.5 x 16ins)
Guichard 21. Meyrick (2007), illustration 12.
(1)
£400-600
Guichard 20 & 38. Meyrick (2007), illustration 14 & 21.
(2)
£300-500
75*AR Webb (Joseph, 1908-1962). Prison, 1930, etching on laid
paper, signed, and titled Prison IInd State in pencil, plate size 178 x
303 mm (7 x 12 ins), sheet size 245 x 405 mm (9.7 x 16 ins)
(1)
£400-600
77*AR Webb (Joseph, 1908-1962). Black Rabbit Chalk Pit, Arundel,
1928, etching on laid paper, a progress proof (final state), one of 4
proofs only (plate destroyed), before the removal of trees to the
upper right corner, signed in pencil, plate size 223 x 302mm (8.8 x
11.8ins), framed and glazed
(1)
28
£300-400
80* Anderson (Stanley, 1884-1966). The Goose Fair, Albi, 1927,
drypoint etching on ivory wove paper, from the published edition of
75 proofs, signed in pencil, additionally inscribed to lower blank
margin with title and edition, a very good impression, plate size 233
x 340mm (9.15 x 13.4ins)
78* Walcot (William, 1874-1943). Horseguards, 1923, etching with
drypoint on cream wove paper, printed in brown-black with light
plate tone, signed in pencil, some light discolouration, plate size 102
x 145mm (4 x 5.75ins), framed and glazed, together with Interior of
St. Peter’s, Rome, 1919, etching with drypoint on cream wove paper,
printed with plate tone, light mount stain, signed in pencil, plate size
155 x 178mm (6.1 x 7ins), with margins, framed and glazed, plus
The Baptistry, Florence, 1920, etching with drypoint on cream wove
paper, signed in pencil, some overall toning, plate size 132 x 119mm
(5.25 x 4.7ins), framed and glazed
(3)
(1)
£150-200
£200-300
81* Short (Sir Frank, 1857-1945). Moonlight on The Medway at
Chatham, 1920, mezzotint on wove paper, after J.M.W. Turner,
signed in pencil, a rich clean impression, plate size 206 x 270mm
(8.1 x 10.6ins), sheet size XX x 434mm (XX x 17ins), mounted,
together with Sion House, Isleworth, circa 1937, mezzotint on late
18th or early 19th century thick wove paper, after J.M.W. Turner, a
very good impression, with some very pale spotting, signed in
pencil, plate size 220 x 275mm (8.6 x 10.8ins), sheet size 325 x
390mm (12.7 x 15.3ins), mounted, plus Watermill, 1885, mezzotint
proof on chine appliqué, on thick wove paper, after J.M.W. Turner,
published by Robert Dunthorne, 1st October 1885, signed in pencil,
a strong dark impression, plate size 202 x 280mm (7.9 x 11ins), sheet
size 310 x 442mm (12.2 x 17.4ins), mounted
79* Walcot (William, 1874-1943). The Thames from Waterloo
Bridge, 1913, etching on cream wove paper, printed with plate tone,
from the edition of 100, signed in pencil, plate size 95 x 180mm
(3.75 x 7ins)
First exhibited at the Fine Art Society, Etchings by William Walcot, 1914.
(1)
£100-150
Hardie, The Liber Studiorum Mezzontints of Sir Frank Short after J.M.W.
Turner, 31, 40 & 3.
(3)
£200-300
29
82* Schwabe (Randolph, 1885-1948). Greenwich, 1938, colour
lithograph printed on wove paper, published by Contemporary
Lithographs Ltd., London, 1938, signed in pencil lower right, sheet
size 508 x 660mm (20 x 26ins)
(1)
£150-200
84* Le Bas (Rachel Anne, 1923-). The OId Tobacco & Snuff Shop,
Haymarket, etching with aquatint, signed, titled and numbered 35/75
in pencil to lower margin, 30.5 x 22cm (12 x 8.75ins), framed and glazed
(1)
£100-150
83*AR Power (Cyril Edward, 1872-1951). The Gate of Honour,
Caius College, Cambridge, etching with drypoint, from the published
edition 166, signed, titled, and numbered 22/166 in pencil, plate size
229 x 152mm (9 x 6ins), sheet size 327 x 211mm (12.8 x 8.3ins),
framed and glazed
85* Hallward (Patience Mary, 1800-1900). Englesham, 1922,
lithograph on wove paper, signed, dated, and numbered 1/25 in
pencil, image size 195 x 285mm (7.6 x 11.2ins), sheet size 287 x
375mm (11.2 x 14.7ins), together with a collection of 15 other
lithographs by the same artist, circa 1920-35, many signed
(1)
(15)
£250-300
30
£200-300
86* Farrell (Frederick Arthur, 1882-1935). Lords and Commons,
etching on wove paper, showing the River Thames at Westminster
Bridge with the Houses of Parliament and Big Ben, signed in pencil,
Fine Art Trade Guild blindstamp lower left, some light spotting, plate
size 225 x 360mm (8.9 x 14.15ins), framed and glazed, with old
ownership inscription in pencil to verso J. Browne Sept 1926, together
with The Glory of Westminster, etching with drypoint on wove paper,
showing the front of Westminster Cathedral, from the edition of 150
impressions (plate destroyed), signed in pencil, with Fine Art Trade
Guild blindstamp lower left, plate size 304 x 250mm (11.9 x 9.9ins),
framed and glazed, with original printed title label to verso
(2)
£100-150
87* Dawson (Nelson Ethelred, 1859-1941). A collection of 42
various etchings and aquatints, including Scarborough in Twilight,
Basilica di San Marco, Venice, In a Gondola, & Crossing the Bar,
Bideford, and others, including some duplicates and many trial or
rejected proofs, many signed, various sizes
(40)
Lot 88
£300-500
88* Brightwell (Leonard Robert, 1889-1983). The Bath Club,
etching on wove paper, signed and titled in pencil, plate size 212cm
x 378mm (8.3 x 14.9ins), sheet size 288 x 458mm (11.3 x 18ins),
together with The Family Tree, etching on wove paper, signed and
titled in pencil, plate size 257 x 252mm (10.1 x 10ins), sheet size
430 x 318mm (17 x 12.5ins), both mounted
(2)
£150-200
89*AR Brockhurst (Gerald Leslie, 1890-1978). James McBey,
1931, etching on cream wove paper, from the edition of 111 proofs,
published April 1931, signed in pencil, a fine impression, plate size
267 x 190mm (10.5 x 7.5ins), sheet size 378 x 280mm (14.9 x 11ins)
Wright 69 ix/ix. Fletcher 69.
(1)
£500-800
Lot 89
31
Lot 91
Lot 90
90*AR Brockhurst (Gerald Leslie, 1890-1978). Viva (Mrs. Bobby
Hazleton Ross), 1929, etching on wove paper, from the edition of
111 proofs, published March 1929, signed in pencil, plate size 214 x
Wright 63, viii/viii. Fletcher 63.
(1)
£400-600
91*AR Brockhurst (Gerald Leslie, 1890-1978). Study for a
decoration, 1923, etching on cream laid paper, from the edition of
76 proofs published 1924, signed in pencil, plate size 157 x 121mm
(6.2 x 4.75ins), sheet size 288 x 210mm (11.3 x 8.25ins)
Wright 46 iii/iii. Fletcher 46 iii/iii.
(1)
£250-300
92*AR Brockhurst (Gerald Leslie, 1890-1978). Noemi, 1926,
etching on Whatman wove paper, one of 111 proofs published in
October 1926, signed in pencil, plate size 183 x 108mm (7.25 x
Wright 57 vi/vi.
(1)
£250-300
Lot 92
32
93*AR Cameron (David Young, 1865-1945). Tantallon Castle, 1932,
etching with drypoint on laid paper, with unicorn watermark, a
strong, dark impression, signed in pencil, plate size 202 x 405mm
(8 x 16ins), sheet size 302 x 438mm (12 x 17.25ins)
Rinder 499.
(1)
£200-300
Lot 95
94*AR Cameron (David Young, 1865-1945). The Baths of Caracalla,
1923, etching and drypoint on thin laid paper, signed in pencil, a
strong, dark impression, one or two very light creases towards outer
corners, plate size 276 x 428mm (10.9 x 16.8ins), sheet size 327 x
465mm (12.9 x 18.3ins), mounted
Rinder 470.
(1)
£150-200
95*AR Cameron (David Young, 1865-1945). Belfry of Bruges, 1907,
etching with drypoint on laid paper, a strong dark impression, signed
in pencil, plate size 381 x 135mm (15 x 5.3ins), sheet size 450 x
160mm (17.7 x 6.3ins)
Rinder 392.
(1)
£150-200
96*AR Cameron (David Young, 1865-1945). The Little Devil of
Florence, 1907, etching with drypoint on thin laid paper, signed in
pencil, some light toning to outer margins, plate size 377 x 221mm
Rinder 401.
(1)
£150-200
Lot 96
33
97*AR Cameron (David Young, 1865-1945). The Broken Crucifix,
1932, etching with drypoint on laid paper, with unicorn watermark,
a rich, dark impression, signed in pencil, plate size 305 x 201mm (12
x 7.9ins), sheet size 320 x 220mm (12.6 x 8.7ins)
Rinder 500. The last print made by the artist.
(1)
£80-120
98*AR Brockhurst (Gerald Leslie, 1890-1978). Ranunculus, 1921,
etching on cream wove paper, from the edition of 76 proofs,
published September 1921, signed in pencil, plate size 201 x 152mm
(7.9 x 6ins), sheet size 318 x 250mm (12.5 x 9.8ins)
Wright 25, iv/iv.
(1)
£500-700
99*AR Brockhurst (Gerald Leslie, 1890-1978). Young womanhood,
1931, etching on wove paper, from the edition of 111 proofs,
published July 1931, signed in pencil, a fine, rich impression, plate
size 231 x 175mm (9.1 x 6.9ins), sheet size 400 x 267mm (15.75 x
10.5ins)
Wright 70, vii/vii. Fletcher 70.
(1)
£500-700
Lot 97
Lot 98
Lot 99
34
Lot 100
Lot 101
100*AR Brockhurst (Gerald Leslie, 1890-1978). La Tresse, 1926,
etching on wove paper, from the edition of 111 proofs, published
October 1926, signed in pencil, a very good impression, remains of
three gummed labels to top edge of the sheet, plate size 212 x
176mm (8.3 x 7ins), sheet size 327 x 256mm (12.9 x 9.9ins)
Wright 56, vii/vii. Fletcher 56.
(1)
£400-600
101*AR Brockhurst (Gerald Leslie, 1890-1978). Melisande, 1920,
etching on cream laid paper, from the edition of 55 proofs published
July 1920, signed in pencil, plate size 139 x 113mm (5.5 x 4.5ins),
Wright 7 ii/ii. Fletcher 7.
(1)
£200-300
Lot 102
102* Detmold (Edward Julius, 1883-1957). Deer and Fawn, 1925,
etching on japan paper, signed in pencil lower right, with full
margins, plate size 205 x 340mm (8.1 x 13.3ins), sheet size 325 x
492mm (12.75 x 19.4ins), framed and glazed
(1)
£200-300
35
Lot 103
Lot 104
103* Strang (William, 1859-1921). Sir Arthur William Steuart
Cochrane, Rouge Croix Pursuivant of Arms in Ordinary, 1908,
drypoint etching on pale cream wove paper, the second state,
printed in an edition of 4 proofs only, signed and marked 2nd state
4 proofs in pencil, plate size 354 x 177mm (13.8 x 6.8ins), period
frame, glazed, with original Medici Society label to verso
(unexamined out of frame)
David Strang (1962) 598.
(1)
£100-150
104* Sullivan (Edmund J., 1869-1933). John Galsworthy O.M.,
1930, etching on cream laid paper, signed, dated and numbered
37/60 in pencil, a rich, dark impression, plate size 263 x 200mm (10.4
x 7.8ins), with margins, framed and glazed (unexamined out of
frame), together with Sauter (Rudolph Helmet, 1895-1977), John
Galsworthy, OM, 1930, etching on laid paper, marked in pencil lower
right 4th Trial, plate size 212 x 149mm (8.4 x 5.9ins), sheet size 286
x 228mm (11.25 x 9ins), framed and glazed
(2)
£100-150
105* Lord (Elyse Ashe, 1900-1971). 5 Dinars!, colour etching on
wove paper, signed and titled in pencil, plate size 215 x 195mm (8.4
x 7.6ins), framed and glazed (unexamined out of frame)
(1)
£100-150
Lot 105
36
106* Lord (Elyse Ashe, 1900-1971). Chinese, drypoint etching
printed in colours, signed, titled and numbered 63/75, plate size 349
x 214mm (13.75 x 8.5ins), with margins, framed and glazed
(1)
£100-150
107* [Laura Knight, 1877-1970]. Printed presentation certificate
awarded to Laura Knight at the Amsterdam Olympic Games, 1928,
lithographic poster printed in black and gold, on heavy wove paper,
designed by Christian van der Hoef, printed by Senefelder,
Amsterdam, awarded to Laura Knight in the Fine Art competition,
in which she received the silver medal, signed by the president of
the Netherlands Olympic Committee and the president of the
International Olympic Committee, some light toning and minor
marks to margins, with a few light creases, sheet size 745 x 545mm
(29.3 x 21.5ins)
(1)
£150-200
Lot 106
108* Anderson (Anne, 1874-1930). The Thatched Cottage, etching
on thick wove paper, signed and titled in pencil, plate size 108 x
152mm (4.25 x 6ins), sheet size 160 x 235mm (6.25 x 9.25ins),
together with another colour etching of a landscape with farmstead
by the same artist, plate size 152 x 178mm (6 x 7ins), sheet size 210
x 262mm (8.25 x 10.3ins), plus Wright (Alan), The Eternal Salad,
etching on thick wove paper, signed and titled in pencil, plate size
139 x 163mm (5.4 x 6.4ins), sheet size 201 x 256mm (7.9 x 10.07ins),
and other trial etchings by Anne Anderson and Alan Wright, including
7 various watercolours by the same artists
(27)
Lot 107
37
£100-200
109* Thorne (Diana, 1895-1963 ). Skiing, 1938, etching with
drypoint on wove paper, from the edition of 250, published by
Kennedy & Company, New York in 1938, signed in pencil, platemark
to upper margin with some archival restoration, plate size 255 x
355mm (10 x 14ins), sheet size 279 x 375mm (11 x 14.75 ins
(1)
£200-300
111*AR Brockhurst (Gerald Leslie, 1890-1978). Anais I, 1920,
etching on laid paper, from the edition of 55 proofs published in July
1920, signed in pencil, plate size 138 x 111mm (4.4 x 5.4ins), sheet
size 235 x 188mm (9.25 x 7.4ins), together with Phémie, 1923,
etching on laid paper, one of 76 proofs published in 1924, signed in
pencil, plate size 100 x 74mm (3.9 x 2.9ins), sheet size 270 x 200mm
(10.6 x 7.8ins), plus Aglaia, 1926, one of 111 proofs published April
1926, signed in pencil, and additionally signed by the artist in ink to
lower left, plate size 137 x 105mm (5.4 x 4.1ins), sheet size 290 x
215mm (11.4 x 8.5ins), each in card passepartout (with Craddock &
Barnard pencil annotations)
Wright 6, ii/ii, 42 ii/ii & 54 ix/ix.
(3)
110*AR Brockhurst (Gerald Leslie, 1890-1978). Fabian, 1921,
etching on cream laid paper, from the edition of 76 proofs published
February 1921, signed in pencil, plate size 175 x 125mm (6.9 x
Wright 23, iii/iii. Fletcher 23, iii/iii.
(1)
£200-250
38
£500-800
112*AR Brockhurst (Gerald Leslie, 1890-1978). In The Wood, 1920,
etching on cream laid paper, one of 106 proofs of the fifth state
published December 1925, signed in pencil, plate size 139 x 102mm
(5.5 x 4ins), sheet size 286 x 211mm (11.25 x 8.3ins)
Wright 14 & 50, v/v. Fletcher 14 & 50.
(1)
£300-500
113*AR Brockhurst (Gerald Leslie, 1890-1978). The Black Silk
Dress, 1927, etching on wove paper, one of 111 proofs published
August 1927, signed in pencil, a fine, rich impression, remains of
mount hinges to head and foot of extreme left blank margin, plate
size 223 x 159mm (8.75 x 6.25ins), sheet size 375 x 270mm (14.75
x 10.6ins)
Wright 58, ix/ix. Fletcher 58.
(1)
£400-600
Lot 112
114* Gill (Eric, 1882-1940). Resurrection, 1934, wood engraving on
wove paper, from the edition of 20 published proofs, signed and
numbered 10/20 in pencil, light spotting to top margins of sheet,
image size 105 x 53mm (4.1 x 2.1ins), sheet size 229 x 164mm (9 x
6.5ins), tab mounted on to card mount, framed and glazed
Physick 866.
(1)
Lot 113
39
£200-300
115*AR Copley (John, 1875-1950). Lacrosse Players, etching on
laid paper, the fourth state, signed in pencil, some minor marks to
margins, and light toning, plate size 348 x 252mm (13.7 x 9.9ins),
sheet size 445 x 320mm (17.5 x 12.5ins), framed and glazed
Cooke 68.
(1)
117*AR Copley (John, 1875-1950). Lacrosse Players, etching on
laid paper, a very good dark impression, signed in pencil, plate size
347 x 252mm (13.4 x 9.9ins), with margins, framed and glazed
Cooke 68.
(1)
£100-150
£200-300
116*AR Copley (John, 1875-1950). Carmencita, 1936, etching on
laid paper, third state, signed and marked ‘3rd st’ in pencil, plate size
251 x 176mm (9.85 x 6.9ins), sheet size 390 x 291mm (15.3 x 11.5ins)
118*AR Copley (John, 1875-1950). Landscape with summer rain,
watercolour and pencil on paper, heightened with white bodycolour,
350 x 250mm (13.75 x 9.75 ins, framed and glazed
Cooke 69.
(1)
(1)
£200-300
40
£200-300
119* Drummond (Malcolm, 1880-1945). Courtroom scene, 1920,
etching on wove paper laid down on card, unsigned, plate size 147
x 96mm (5.8 x 3.75ins), sheet size 185 x 153mm (7.25 x 6ins),
framed and glazed
121* Banting (John, 1902-1972). The Spirit of Appeasement, 1942,
etching on cream wove paper, published in the portfolio Salvo for
Russia, edited by Nancy Cunard and John Banting, with margins,
signed, dated, and numbered 70/100, in very good condition
(unexamined out of frame), plate size 100 x 75mm (4 x 3ins)
Drummond painted another courtroom scene in 1920 now in the University
of Hull Art Collection.
(1)
£100-150
(1)
122* Feibusch (Hans, 1898-1998). Mandrill and Mangabuis, 1947,
colour lithograph on wove paper, printed at The Baynard Press for
School Prints Ltd., London, sheet size 492 x 750mm (19.3 x 29.5ins),
together with Lamb (Lynton, 1907-1977), The Country House,
1951, colour lithograph on wove paper, published by School Prints
Ltd., and Artists’ International Association (for the Festival of Britain),
120* Nash (Paul, 1889-1946). The Raider on the Moors, 1940,
colour lithograph on wove paper, published by the National Gallery
for the Ministry of Information, London, some light scattered
spotting, image size 385 x 565mm (15.1 x 22.25ins), with margins,
framed and glazed
Postan L21.
(1)
£300-400
£300-500
Numbers 16 and 34 from the first School Prints series.
(2)
41
£150-200
Lot 123
123* Flint (William Russell, 1880-1969). Manolita, 1954, drypoint
etching on laid paper, from the edition of 135 published by P. & D.
Colnaghi for the catalogue raisonné by Harold J. L. Wright, Etchings
and Dry Points by Sir William Russell Flint, published in 1957, signed
in ink, plate size 190 x 113mm (7.5 x 4.5ins), sheet size 280 x 190mm
(11 x 7.5ins), bound as frontispiece to the published book
(1)
Lot 124
£150-200
124* Freedman (Barnett, 1901-1958). Six signed proof lithograph
illustrations for Lavengro by George Borrow, 1936, a group of 6
colour lithographs from the illustrated edition of Lavengro by George
Borrow, published by the Limited Editions Club, New York, 1936, all
proofs before publication, signed in pencil to lower margin, and
marked 1st Proof/R, each laid down to backing card painted in
mauve, and with a pale wash added by hand to the outer border of
the sheet (probably by the artist himself), image size 165 x 93mm
(6.5 x 3.7ins), sheet size 190 x 117mm (7.5 x 4.6ins), matching
painted green wood frames, glazed
(6)
£500-700
125* Hankey (William Lee, 1869-1952). Breton Field Workers,
etching with drypoint, signed and with blindstamp lower left, top
margin trimmed to platemark, plate size 450 x 555mm (17.7 x
One of Lee-Hankey’s unusually large scale etchings.
(1)
£150-200
Lot 125
42
127* Lloyd (Reginald J., 1926-). Teach Me to Heare Mermaides
Singing, 1996, etching, signed, dated and marked Proof in pencil,
together with five other similar etchings by the same artist, each
signed and dated 1996, and marked proof, plate size 97 x 118mm
(6)
£150-200
126* Hankey (William Lee, 1869-1952). Mother and Child seated
by a tree, etching on laid paper, signed in pencil, plate size 205 x
168mm (8 x 6.6ins), with margins, framed and glazed (unexamined
out of frame)
(1)
£150-200
128* Roberts (John Vivian, 1923-2003). Seated Tumbler, 1956,
etching on wove paper, signed, titled and dated 1956 in pencil, with
margins, plate size 218 x 130mm (8.6 x 5.2ins), unexamined out of
frame
(1)
£100-150
129* Coker (Peter Godfrey, 1926-2004). East Anglian Shoreline,
etching and aquatint, a printer’s proof, signed in pencil, and marked
P/P, plate size 398 x 505mm (15.7 x 19.8ins), with margins, framed
and glazed (unexamined out of frame)
(1)
Lot 127
43
£80-120
20TH CENTURY WOODCUTS & WOOD ENGRAVINGS AND RELATED DRAWINGS
130*AR Craig (Edward Gordon, 1872-1966). A Mask,
1910, woodcut on wove paper, signed with initials and
dated 1924 in ink, image size 89 x 74mm (3.5 x 2.9ins)
with margins, framed and glazed, with Leicester Galleries
label to verso, and additional label for the exhibiton of
works by Gordon Craig at the Leicester Galleries, JulyAugust 1964, where it was numbered 28, and noted it
was sold to B.J. Davenport
Reproduced as figure 51 in Woodcuts and Some Words by
Edward Gordon Craig, 1924.
(1)
£100-150
131* Frank (Hans, 1884-1948). Seagulls, 1923, colour
woodcut on japan, signed and dated in pencil lower right,
image size 250 x 340mm (9.8 x 13.4ins), sheet size 320
x 430mm (12.5 x 17ins), framed and glazed
(1)
Lot 130
Lot 131
44
£100-150
Lot 133
Lot 132
132* Fraser (Claud Lovat, 1890-1921). ‘How strange it seems - &
You ?’, 1922, coloured chalks on paper, laid down on a larger sheet
of paper, and signed, dated and titled below in ink, sheet size 181 x
(1)
£200-300
133* Gill (Eric, 1882-1940). Woman climbing floriated phallus (from
Chaucer’s Canterbury Tales), wood engraving on pale cream japan
paper, signed in pencil, and numbered 9/10, 206 x 114mm (8.1 x
4.5ins) mount aperture, framed and glazed (unexamined out of frame)
Physick 510.
(1)
£200-300
134* Gill (Eric, 1882-1940). Jesus and the Doctors (from The
English Bible - Selections), 1938, wood engraving on cream wove
paper, signed in pencil and numbered 13/15, image size 93 x 90mm
(3.7 x 3.5ins), with margins, framed and glazed
Physick 984.
(1)
£300-500
Lot 134
45
46
135*AR Raverat (Gwen, 1885-1957). An album of 340 artist’s proofs of woodcuts and wood engravings by Gwen Raverat, circa 1928-1939,
compiled by the artist as a record of her output, with handwritten index in ink at the front of the volume, various woodcuts, mostly unsigned,
but including 10 signed and one initialled, ranging from illustrations for Daphnis & Chloe to engravings for Sterne’s Sentimental Journey
(published by Penguin in 1938), various sizes, all contained in original folio album bound in plain grey cloth, rebacked with original spine laid
down, large 4to (335 x 265mm, 13.25 x 10.5ins)
A highly important album of examples of Gwen Raverat’s output as a wood engraver between the years 1928 and 1939, compiled by the artist herself, which
includes the illustrations for Daphnis & Chloe (Ashendene Press, 1934), the series of 6 prints of rivers commissioned by the General Omnibus Company in
1929, illustrations for Farmers Glory, published by Faber & Faber in 1934, Mountains and Molehills by Frances Cornford, published by the Cambridge University
Press in 1934, Four Tales from Andersen, published by Cambridge University Press in 1935, The Runaway, by Elizabeth Anna Hart, published by Macmillan in
1936, various views of Cambridge, and the remarkable pastoral colour woodcut entitled The Golden Age (1937). With a typewritten letter to Gwen Raverat from
Margaret Pilkington, Secretary of the Society of Wood Engravers, dated November 13th 1934, giving details of the agreed terms for the commission of prints
and commission on orders, as well as a similar proposed price list (dated 1949), a typescript note regarding the production of stage designs for the ballet
of Blake’s Book of Job, with music by Vaughan Williams, signed in ink by the artist, and a typewritten note to Gwen Raverat from Robert Gibbings, dated
12 December 1949, giving his opinion as to the price of her woodblock prints.
£10000-15000
(1)
47
136*AR
Raverat (Gwen, 1885-1957). Swans, 1948, wood
engraving printed in colours on thin wove paper, from the edition of
26 impressions, signed, titled and numbered 1 in pencil, image size
235 x 184mm (9.25 x 7.25ins) with margins, framed and glazed
(unexamined out of frame), with printed certificate of authentication
to verso
Selborne & Newman (1996) 554. Rare.
(1)
£500-700
137*AR Raverat (Gwen, 1885-1957). The Bird in the Tree, 1940,
wood engraving printed in colours on wove paper, an artist’s proof,
image size 101 x 114mm (4 x 4.5ins), with margins, framed and
glazed (unexamined out of frame), with printed certificate of
authentication to verso
Selborne & Newman (1996), 547.
(1)
£150-200
Lot 136
138* Ginner (Charles Isaac, 1878-1952). A Cornish Cottage, 1919,
woodcut with hand-colouring by the artist on laid paper, signed
below the image in black ink, image size 191 x 139mm (7.5 x 5.5ins),
with margins, framed and glazed (unexamined out of frame)
Carey & Griffiths, Avant-Garde British Printmaking (1990), 47.
(1)
Lot 137
48
£400-600
Lot 139
139* Hawkins (Harold Frederick Weaver, Australian, 1893-1977).
“Maltese Market”, and “Maltese Cart”, two colour linocuts on japan
tissue, each signed Raokin and titled in pencil, image size 14cm by
17.5cm (5.5 x 7ins), sheet size 230 x 307mm (9 x 12ins)
Hawkins studied at Camberwell School of Art, but his studies were
interrupted by the First World War, when he enlisted and was seriously
wounded during the Battle of the Somme. Between 1927 and 1930 he lived
in Malta. He emigrated to Australia in 1935, and settled in Sydney, where he
lived for the rest of his life. The Malta National Museum of Fine Arts holds a
collection of his works and his linocuts have been exhibited in the National
Gallery of Australia. A retrospective of his work was held in 1976 at the Art
Gallery of New South Wales.
£400-600
(2)
140* Howey (Robert Leslie, 1900-1981). Carlton in Cleveland & A
Country Lane, two colour woodcuts, each signed titled and
numbered in pencil 2/100 and 46/100 respectively, image size 204
245 mm (8 x 9.7 ins) and 206 x 234 mm (8.1 x 9.2 ins) respectively,
matching period black wood frames, glazed
(2)
£150-200
Lot 140
49
141* Jones (David, 1895-1974). Shepherds, 1925, [1995],
engraving on wove paper, printed with plate tone, numbered in
pencil 79/100, plate size 76 x 76mm (3 x 3ins), sheet size 353 x
252mm (13.9 x 9.9ins), tab-mounted, together with Nativity with
shepherds, 1921, [but later], woodcut on pale cream japan paper,
image size 75 x 96mm (3 x 3.75ins), sheet size 300 x 235mm (11.75
x 9.25ins), tab-mounted, plus six other woodcuts and wood
engravings by David Jones, all posthumous printings by Wolseley
Fine Arts, circa 1995, mounted
The other subjects including Family Before Crucifix & Man in Pub, 1922,
Pegasus, 1924, The Bride, 1930, Abraham Lincoln, 1924, etc.
£150-200
(8)
142* Kauffer (Edward McKnight, 1890/91-1954). Black Mother
and Infant, 1926, watercolour with pen & black ink on pale cream
wove paper, laid down on card, signed and dated lower right, mount
stain, 290 x 200mm (11.5 x 7.9ins) mount aperture, sheet size 342 x
(1)
£200-300
144* Leighton (Clare Veronica Hope, 1898-1989). Woodcuts,
Examples of the Work of Clare Leighton, With an Introduction by
Hilaire Belloc, 1st edition, 1930, 41 woodcuts, printed on india-proof
paper, some light spotting to preliminary leaves, original brown cloth
gilt, with mounted woodcut illustration to upper cover, a few marks,
4to (320 x 255mm, 12.5 x 10ins)
Limited signed edition 309/450.
(1)
145* Leighton (Clare, 1898-1989). ‘Cutting, Canadian Lumber
Camp’, 1931, wood engraving on off-white Japan paper, signed,
titled and numbered 16/30 (English Edition) to lower margin, image
size 288 x 212mm (11.5 x 8.25ins), framed and glazed (58.5 x 43cm
(23 x 17ins)
143* Leighton (Clare Veronica Hope, 1898-1989). The Farmer’s
Year, A Calendar of English Husbandry, 3rd impression, Collins,
February 1934, 12 full-page wood engravings, 7 wood engravings to
text, wood engraved initials, patterned endpapers, original green
cloth gilt, with slight discolouration to lower edge of upper cover, in
frayed and slightly chipped dust jacket, oblong folio
(1)
£300-500
This engraving is from the smaller English edition of 30. The American edition
was 100 impressions.
(1)
£1000-1500
£200-300
50
Lot 145
51
Lot 147
Lot 146
146* Lloyd (Reginald J., 1926-). Earth Dances, 1994, a set of 6
linocuts on laid paper, artist’s proofs, aside from the edition
published by the Old Stile Press in 1995, each signed, dated and
marked Proof in pencil, image size 210 x 150mm (8.25 x 6 ins or
similar), sheet size 316 x 215mm (12.5 x 8.5ins), loosely contained
in a folded bifolium containing the printed contents from the
published book to one side, signed by the artist at foot, and with a
further linocut to the reverse, signed, dated and marked Proof
(1)
£100-150
147* Maillol (Aristide, 1861-1944). Goat under an olive tree, 193443, woodcut printed in black, on heavy wove handmade paper, from
the edition of 20 proofs published by Philippe Gonin, Paris, for Les
Georgiques, by Virgil, with stamped monogram, and numbered
11/xx in pencil, image size 148 x 126mm (5.8 x 4.9ins), sheet size
315 x 243mm (12.5 x 9.5ins), tab mounted to backing board (with
Folio Fine Art label to verso), framed and glazed
(1)
£70-100
148* Nash (John, 1893-1977). Winter, woodcut on wove paper,
signed in pencil, pale mount stain, laid down, image size 165 x
130mm (6.5 x 5ins), sheet size 267 x 210mm (10.5 x 8.25ins)
(1)
£100-150
Lot 148
52
Lot 150
Lot 149
149* Pellew (Claughton, 1890-1966). ‘The Return’, 1927, wood
engraving on wove paper, the full sheet, not signed, but titled and
dated 1925, a later issue, aside from the published edition of 25,
image size 267 x 255mm (10.5 x 10ins), with margins, framed and
glazed, with Michael Parkin Gallery label to verso
(1)
£200-300
150* Piper (John, 1903-1992). Interior of Coventry Cathedral,
November 1940, [1987], woven silk picture by J. & J. Cash Ltd.,
Coventry, after the painting by John Piper, produced in a limited
edition of 500 copies, signed in pencil by the artist, and numbered
100/500 to mount, in mint condition, image size 112 x 142mm (4.4
x 5.6ins), framed and glazed, with original printed brochure, and
contained in the original manufacturer’s card box, together with two
other woven silk pictures by J. & J. Cash Ltd. (Daffern & Co.
Chartered Accountants, 100 Years of Service, 1896-1996 & 2 Bank
of England notes, each signed by L. McGibbon and 2 others in blue
ball-point pen, mounted together), both framed and glazed in
manufacturer’s boxes
(3)
£400-600
151*AR Raverat (Gwen, 1885-1957). The Magic Ring, 1939, colourprinted wood engraving on wove paper, signed, titled, and
numbered 2 in pencil, image size 190 x 110mm (7.5 x 4.3ins), sheet
size 243 x 145mm (9.5 x 5.7ins)
One of the illustrations to The Bird Talisman: An Eastern Tale, by Henry Allen
Wedgwood, published by Faber and Faber in 1939.
£300-400
(1)
Lot 151
53
Lot 152
Lot 154
Lot 153
54
152*AR Raverat (Gwen, 1885-1957). The Princess stolen by the
gypsies, 1939, colour-printed wood engraving on wove paper,
signed, titled The Gipsies, and numbered 2 in pencil, image size 178
x 112mm (7 x 4.4ins), sheet size 243 x 145mm (9.5 x 5.7ins)
One of the illustrations to The Bird Talisman: An Eastern Tale, by Henry Allen
Wedgwood, published by Faber and Faber in 1939.
£300-400
(1)
153*AR Raverat (Gwen, 1885-1957). Boat Race, Cambridge, 1949,
wood engraving printed in colours on thin wove paper, the rare first
state (before the reduction in size of this image), aside from the edition
of 21 impressions, signed, titled and numbered 3 in pencil (with the
title crossed out), image size 183 x 236mm (7.25 x 9.25ins), some light
creases, mainly to margins, framed and glazed (unexamined out of
frame), with printed certificate of authentication to verso
Selborne & Newman (1996) 558. The rare first state of this late colour wood
engraving, with the heads and shoulders of spectators along the whole width
of the lower margin, which was removed in the second published state of
21 impressions.
£500-700
(1)
156* Webb (Clifford Cyril, 1895-1972). Ocelot, woodcut on wove
paper, signed, titled and numbered 1/50, image size 103 x 138mm
154*AR Raverat (Gwen, 1885-1957). Clare Bridge, Cambridge,
1935, wood engraving on thin wove paper, an artist’s proof, a rich
dark impression, image size 260 x 149mm (10.25 x 5.9ins), with
margins, framed and glazed (unexamined out of frame), with printed
certificate of authentication to verso
Selborne & Newman (1996), 395.
(1)
(1)
£500-700
157* White (Ethelbert, 1891-1972 ). Mediterranean Coastal Town,
pencil and black chalk on japan paper, unsigned, 170 x 220mm (6.7
x 8.7ins) mount aperture, framed and glazed, with framer’s label of
Laurence Oxley, Alresford to verso, (unexamined out of frame)
155* Tout (Ann, 20th/21st century). The Wenceslas Carol, wood
engraving on wove paper, printed by The Letter Press, Cirencester,
image size 75 x 100mm (3 x 4ins), with margins, framed and glazed
(1)
£100-150
(1)
£50-80
55
£200-300
FLEECE PRESS PUBLICATIONS & OTHER REFERENCE
159 Fleece Press. The Great Storm of October 1987 and its
Aftermath, The Society of Wood Engravers, Fleece Press, 1989, five
window-mounted wood-engravings by Claire Dalby, Monica Poole,
Peter Reddick, Peter Smith and George Tute, each titled, numbered
and signed in pencil by the artist, introductory text sheet, all loosely
contained in original dropover box, paper label to upper cover, 4to
158 Chapman (Hilary). The Wood-Engravings of Ethelbert White,
with an Introduction by Peyton Skipwith, Fleece Press, 1992, two
mounted wood-engravings ‘A Corner of the Forest’ and ‘Forest Pool’,
text in original printed wrappers, all loosely contained in original
dropover box, paper label to upper cover, 4to
Limited edition, one of 200 copies.
(1)
£100-150
Limited edition, 194/250.
(1)
£100-150
160 Flight (Claude, 1881-1955). Lino-Cuts, A hand-book of linoleum
cut colour printing, revised edition, 1948, colour and monochrome
illustrations, including an original colour lino-cut by Claude Flight,
Crossing the Road, printed from the author’s original baska type
blocks in red, cobalt blue and black, in excellent fresh condition, light
spotting to endpapers and half-title, original light grey cloth, with
design in red to upper cover, with matching dust jacket, a little frayed
and rubbed to edges, large 8vo, together with The Art and Craft of
Lino Cutting and Printing, 1st edition, Batsford, 1934, colour and
monochrome plates and illustrations, original cloth-backed pictorial
boards, very slightly rubbed, 8vo
(2)
£150-200
Lot 159
161 Freedman (Barnett). Tone, Texture, Light and Shade. A Barnett
Freedman Picture Album, Introduced by Ian Rogerson, Fleece Press,
2011, numerous colour illustrations, including an original lithographed
illustration and an original lithographed Christmas card contained in
rear pocket, original cloth-backed patterned boards, slipcase, folio,
limited edition, one of 90 special copies of a total edition of 340,
together with Barnett Freedman. The Graphic Art, by Ian Rogerson,
Fleece Press, 2006, numerous illustrations, DVD contained in rear
pocket, loose lithographic greetings card designed by Freedman for
Jack Beddington and loose prospectus for the book (one of 99
copies), original red cloth, 4to, limited edition, one of 500 copies
Lot 160
(2)
56
£150-200
164 Pellew (Claughton, 1890-1966). Claughton Pellew. Five Wood
Engravings printed from the original blocks with a biographical note
by Anne Stevens, Fleece Press, Wakefield, 1987, five wood-engraved
plates, each contained in printed wrappers, text in separate wrapper,
all loosely contained in original cloth dropover box, paper label to
upper cover, folio
162 Helleu (Paul Cesar, 1859-1927). A Gallery of Portraits, Edward
Arnold, 1907, twenty-four colour plates, each with captioned tissue
guard, gutta-percha perished, original publisher’s cloth-backed boards,
gilt lettered title to upper board, a little rubbed at extremities, folio
(1)
(1)
£150-200
165 Rogerson (Ian). Agnes Miller Parker, Wood-Engraver and Book
Illustrator, 1895-1980, Fleece Press, Wakefield, 1990, numerous
illustrations, original cloth-backed patterned boards, slipcase,
oblong 4to
£70-100
(1)
£100-150
166 Salaman (Malcolm C., editor). Fine Prints of the Year, an
Annual Review of Contemporary Etching and Engraving, 14
volumes, a run (1923-1936), volume 1-14, 1924-36, numerous
monochrome plates and illustrations, bookplate of Newport
Reference Library (discarded) to front pastedown of each volume,
all original cloth, some minor marks and a few volumes very slightly
frayed to extreme head of spine, most with library classification
number to foot of spine, several volumes somewhat faded to
spines, 4to, together with three other related volumes (Whitman
and Salaman, Print Collector’s Handbook, 1918, Slater, Engravings
and Their Value, 4th edition in 12 & Courtney Lewis, The Picture
Printer Price List, 1924)
(17)
167 Selborne (Joanna & Newman, Lindsay). Gwen Raverat wood
engraver, Denby Dale, The Fleece Press, 1996, tipped-in plates,
monochrome illustrations, original quarter cloth with marbled
boards, paper label to spine, with matching slipcase, folio, limited
edition of 300 copies, this being one of 260 copies bound in quarter
cloth, together with Stone (Reynolds), The Wood Engravings of
Gwen Raverat, 1st edition, Faber & Faber, 1959, numerous
monochrome illustrations, some spotting to endpapers, original
cloth in rubbed and frayed dust jacket, with several marginal tears,
4to, with a folded poster for the Gwen Raverat exhibition at the
Manor Gallery, Royston, 1987, and a proof on tissue paper of the
wood engraving by Gwen Raverat entitled Street by Moonlight,
Vence (small version), loosely inserted
163 Nash (John). Twenty-One Wood Engravings, Introduced by Allen
Freer, Fleece Press, 1993, wood-engraved illustrations, original vellumbacked boards designed by Jane Mansfield, original dropover box, 4to
(1)
£100-150
£200-300
(2)
57
£150-200
169
Wright (John Buckland). Baigneuses, Introduced by
Christopher Buckland Wright, Fleece Press, Denby Dale, 1995,
colour and black and white illustrations, original vellum-backed
boards, original dropover box, folio
(1)
£150-200
168 Ullmann (Anne, ed.). Ravilious at War. The Complete Work of
Eric Ravilious, September 1939-September 1942, Fleece Press,
Upper Denby, 2002, numerous colour and black and white
illustrations, original cloth, paper label to upper cover, oblong folio
(1)
£300-400
170 Wright (Christopher Buckland). Endeavours & Experiments.
John Buckland Wright’s essays in woodcut and colour engraving,
together with other blocks remaining in his studio, Fleece Press,
Upper Denby, 2004, colour and black and white illustrations, a few
tipped-in, original vellum-backed patterned boards, together with a
wood-engraving, ‘Cafe Dansant No 2’, titled and dated in pencil,
loose in original wrapper, all contained in original dropover box, 4to
Limited edition, 60/90, numbered and signed in pencil by Christopher
Buckland Wright.
£150-200
(1)
171 Yorke (Malcolm). The Inward Laugh. Edward Bawden and his
Circle, Fleece Press, Upper Denby, 2005, numerous colour
illustrations, original cloth-backed decorative boards, together with
an additional suite of four copper-engravings on two sheets, printed
by Tony Dyson at the Black Star Press, in original wrappers, all
contained in original dropover box, 4to
Limited edition, one of 100 special copies.
(1)
Lot 169
58
£150-200
ISLAMIC, INDIAN
& ORIENTAL ART
TRADITIONAL AND MODERN JAPANESE PRINTS
For Japanese Printed Books, see April 6 sale Printed Books, Maps & Documents
177* Gekko (Ogata, 1859-1920). Quails Amongst the Grasses,
uchiwa nishiki-e, colour woodblock print, printed signature and seal,
sheet size 24 x 25cm (9.5 x 10ins), together with two other nature
prints by Gekko, plus six colour woodblock prints by various artists,
all of natural history subjects, all uchiwa
(9)
£150-200
178 No lot
175* Bijin-ga. Twelve portraits of bijin or beautiful women, various
artists, early 20th century, chuban tate-e nishiki-e, colour woodblock
print, each with printed artist’s signature and seal, contained within
original printed wrapper (slightly worn at extremities), sheet size 27
x 20cm (10.5 x 8ins)
(1)
179* Hamanishi (Katsunori, 1949-). Stage Contest, 2004, colour
mezzotint heightened in gold leaf, numbered 2/70, signed, dated
and titled in pencil to lower margin, plate size 29.5 x 18cm (11.75 x
7ins), sheet size 42.5 x 29.5cm (16.75 x 11.75ins)
Born in Hokkaido, Katsunori Hamanishi studied painting and graduated from
Tokai University with a degree in Art in 1973 and went on to study at the
University of Pennsylvania. His work has won him many accolades and is
held in the permanent collections of some of the world’s leading museums.
(1)
£70-100
£150-200
176* Calendars. Scenes of Japanese life, circa 1900, twelve colour
woodblocks on crepe paper, each with monthly calendar, 19 x 28cm
(7.5 x 11ins), together with two similar defective Japanese
woodblock printed calendars
(3)
£100-150
60
180* Hiroshige (Ando, 1797-1858). Ryogoko no yoizuki [Twilight
Moon at Ryogoku Bridge] from the series Toto meisho "Famous
Views of the Eastern Capital", published by Kawaguchiya Shozo,
oban yoko-e nishiki-e, colour woodblock print, printed signature and
title, publisher's mark and censor's seal to right margin, slightly
toned overall, 25 x 37cm (10 x 14.5ins), framed and glazed, together
with four other Japanese woodblock prints, including a diptych
depicting a harbour by Hiroshige, all framed and glazed
182* Kasamatsu (Shiro, 1898-1991). Hongo akamon no yuki [Red
Gate at Hongo in Snow], published by Watanabe, 2nd edition, oban
yoko-e nishiki-e, colour woodblock print on thick Japanese paper,
printed signature, artist’s seal, publisher's mark, plate mark 24 x
36cm (9.5 x 14ins), sheet size 26 x 38cm (10 x 15ins), tipped onto
card mount
(5)
183* Kawarazaki (Shodo, 1889-1973). Oriental Lily, 1954, oban
tate-e nishiki-e, colour woodblock print, artist's seal to lower left,
printed title and date to margin, edges partly untrimmed, sheet size
40 x 28cm (17.75 x 11ins)
(1)
£200-300
(1)
£50-80
184* Manner of Kobayashi Kiyochika (1847-1915). RussoJapanese War, triptych, colour woodblock print on three sheets,
indistinct printed signature, overall size 38 x 72cm (15 x 28.5ins)
181* Hokusai (Katsushika, 1760-1849). Kanagawa-oki nami ura [In
the well of the Great Wave off Kanagawa], oban yoke-e nishiki-e,
colour woodblock print on laid paper, 20th century impression from
recut blocks, signed “Hokusai aratame Iitsu hitsu” in the blocks,
blue outline, paper slightly toned, plate size 247 x 361mm (9.75 x
14.25ins), sheet size 261 x 386mm (10.25 x 15.25ins), together with
Shumboku (Ooka, 1680-1763), Sun over crashing waves, book
illustration on two sheets, obon, outline printed in black ink, handcoloured, overall size 223 x 306mm (8.75 x 24ins), tipped onto
recent mount
(2)
£100-150
(1)
£80-120
61
£200-300
Lot 185
Lot 187
Lot 186
185* Kunisada (Utagawa, known as Toyokuni III, 1786-1865).
Hikawa Shrine at Akasaka, from the series Edo meisho hyakunin
bijo [Famous Places of Edo compared with 100 Wonderful
Women], published by Hikobei, 1857, oban tate-e nishiki-e, colour
woodblock print, inset landscape signed Kunihisa, sheet size 362
x 254mm (14.25 x 10ins), tipped onto later paper, together with
seven other colour woodblock prints
(8)
£150-200
Ichikawa Hakuen at the Suzaki Benzaiten, from the series Senja
Mode [1000 Shrines Visited], published by Takenouchi Magohachi,
circa 1832, oban tate-e nishiki-e, colour woodblock print, depicting
a half-length portrait of the Kabuki actor Ichikawa Hakuen out of role,
signed Kochoro Kunisada-ga, kiwame seal and publisher's mark, 37.5
x 25.5cm (14.75 x 10ins)
(1)
£80-120
Kabuki actor, circa 1850, oban tate-e nishiki-e, colour woodblock
print on paper, depicting a full length portrait of a kabuki actor,
printed signature, overall a little rubbed and creased at extremities,
38 x 26cm (15 x 10ins), together with five similar Japanese
woodblock prints by various artists
(6)
£150-200
Kabuki actress in dragonfly kimono, circa 1863, oban tate-e nishikie, colour woodblock print depicting a kabuki actress reading, printed
signature "oju ki-o Toyokuni ga", background design of breaking
waves in another hand with separate printed signature, a little
spotting upper left, 38 x 25.5cm (15 x 10ins), together with another
colour woodblock print by Kunisda of a kabuki portrait in a fan
design, plus fourteen other Japanese woodblock prints (including
some duplicates)
(16)
£200-300
Lot 188
62
191* Kuniyoshi (Utagawa, 1797-1861). Sashû Tsukahara setchû
[Monk Nichiren in the Snow at Tsukahara], from the series Kôsô
goichidai ryakuzu [Sketches of the Life of the Great Priest], later
edition published by Watanabe, oban yoko-e nishiki-e, colour
woodblock print on thick Japanese paper, printed signature "Ichiyûsai
Kuniyoshi hitsu" and seal, publisher's mark, sheet size 25 x 37cm
(10 x 14.5ins), tipped onto later card mount
189* Kunisada II (Utagawa, later called Toyokuni IV, 1823-1880).
Three bijin portraits from the series Imayo sanjuno so [The Modern
Thirty-two Types], published by Fujiokaya Keijiro, 1859, together
three prints, oban tate-e nishiki-e, colour woodblock prints, each
with insets designed by Gengyo, each signed 'Toyokuni-ga', date
seals and publisher's marks, some overall toning, 36 x 25.5cm (14
x 10ins), together with Utamaro School, a group of 8 shunga prints,
early 19th century, oban yoko-e nishiki-e, colour woodblock prints,
slightly creased to edges, 25 x 34cm (10 x 13.5ins)
(11)
(1)
£100-150
£100-150
192* Omocha-e. Lantern Shop, mid 19th century, omocha-e nishikie, colour woodblock toy-print, depicting a lantern vendor in his stall,
mounted onto card, 9 x 14.5cm (3.5 x 5.75ins)
(1)
£70-100
190* Kuniyoshi (Utagawa, 1797-1861). Osome hisamatsu from
the series Tosei gonin musume [Five Modern Women], published by
Echizen-ya Heisaburo, circa 1836, oban tate-e nishiki-e, colour
woodblock print on laid paper, signed Ichiyusai Kuniyoshi-ga,
censor’s kiwame seal, publsiher’s mark, a little worn to extreme
edges, sheet size 377 x 264mm (14.5 x 10.5ins), tipped onto later
paper, together with Sawarabi [Early Ferns] from Genji kumo ukiyoe
awase [Ukiyo-e Comparisons of the Cloudy Chapters of Genji],
published by Ichibei, 1845/6, oban tate-e nishiki-e, colour woodblock
print, slight wear, two small holes to lower left, sheet size 363 x
251mm (14.25 x 10.75ins), tipped onto later paper
(2)
£100-150
193* Sadahide (Utagawa, 1807-1873). Life in America from
Meriken Shinshi [News from America], 1855, book illustration on two
sheets, obon sumizuri-e, tipped onto later mount, size overall 21 x
26cm (8.25 x 10ins), together with Minwa (Gosentei, active circa
1810-1825), Soukeu gives a horse to Shokaatsukin who must write
his name on the horses face because his own face is as long as that
of the horse, 1819, book illustration on two sheets, obon sumizuri-e,
tipped onto later mount, a little rubbed, size overall 22.5 x 32.5cm (9
x 12.5ins), plus Attributed to Okumura Masanobu (1686-1764),
Three men with pickaxes, from Shinsen o Uchiwa 'Old and New
Ghost Stories', circa 1705, book illustration on two sheets, obon
sumizuri-e, tipped onto later mount, some dust-soiling, overall size 21
x 28cm (8.25 x 11ins), plus 11 other colour book illustrations by various
artists including Yanagawa Shizenobu, Yashima Gakutei and Hokusai
Lot 191
(14)
63
£200-300
Lot 194
64
194* Saito (Kiyoshi, 1907-1997). Nude (G), 1966, woodcut in
colours, signed in white to print, titled, dated and numbered 17/50
in pencil to lower margin, paper slightly toned, 62.5 x 44cm (24.5 x
17.25ins) mount aperture, framed and glazed
Born in Fukushima province, Saito issued his first print series in 1938 “Winter
in Aizu”. His later works reflect the time he spent in Paris and merge Japanese
tradition with European modernity.
See Harada, Minoru. The Life and Works of Kiyoshi Saito. Tokyo: Abe
Shuppan, 1990.
£700-1000
(1)
195* Settei (Tsukioka, 1710-1771). Watanabe no suna and a
daemon, from Ehon yumo sanryushu no mahi, book illustration on
two sheets, obon sumizuri-e, tipped onto later mount, size overall,
22 x 28.5cm (9 x 11ins), together with Yoshitsune at sword practice,
from Yehon musha tazuna [The Brides of Young Warriors], Osaka,
1759, book illustration on two sheets, sumizuri-e, tipped onto later
mount, size overall 25 x 31.5cm (10 x 12.5ins), plus Itcho
(Hanabusa, 1652-1724), The quick wittedness of Shiba Onko
breaking a jar of water to release a drowning companion, from Yehon
zu heu [Picture Book of Studies], 1751, book illustration on two
sheets, obon sumizuri-e, tipped onto later mount, size overall, 22.5
x 32cm (9 x 13ins), and Minko (Tachibana), Suzuri-hori [Ink-slab
Maker], from Toda saigwa shokunin Burin [Polychrome Pictures of
Craftsmen], 1st edition, 1770, book illustration on two sheets, oobon kappazuri-e, woodblock printed and stencil coloured, tipped
onto later mount, overall size 23 x 33 cm (9.5 x 13 ins), plus other
Japanese black and white book illustrations by various artists
including Iskikawa Toyonobu, Utagawa Toyohiro and others
(45)
Lot 195
£150-200
196* Manner of Takahashi Shotei (1871-1945). Woman arriving
at snowy village, early 20th century, o-hosoban o-hosoban tate-e
nishiki-e, colour woodblock pillar print, printed signature and seal to
centre left, sheet size 38 x 17cm (15 x 6.75ins), tipped onto
contemporary card mount, together with two similar early 20th
century pillar prints in the manner of Shotei
(3)
£150-200
197* Toyokuni (Utagawa, 1769-1825). Teahouse, ttriptych, oban
tate-e nishiki-e, colour woodblock print, three sheets joined together,
some dust-soiling and marginal tears, overall size 32 x 70cm (12.5 x
27.5ins) together with Kuniyoshi ((Utagawa, 1797-1861), Memorial
Portrait of Actor Ichikawa Danjûrô VIII, published by Ebiya Rinnosuke,
circa 1854, oban tate-e nishiki-e, colour woodblock print, signed
“Ichiyûsai Kuniyoshi ga”, some creashing and a little creasing, 36 x
24cm (14 x 9.5ins)
(2)
£100-150
198* Japanese Prints. A collection of approximately twenty
Japanese colour woodblock prints, various dates, including crepepaper prints, prints on silk, diptychs and others, some worn or
incomplete, various artists, 32 x 20cm (12.5 x 8ins) and similar
(20)
£100-150
Lot 196
65
ORIENTAL PAINTINGS
Chinese Paintings & Himalayan Art
Contemporary
&
including Classical
202* Anglo-Chinese School. Children’s Pastimes, 19th century,
gouache on pith-paper, one or two small creases, each lightly tipped
onto card mount, 75 x 52mm (3 x 2ins) and similar
(5)
£50-80
199* Anglo-Chinese School. A pair of studies of fish, 19th century,
a pair of gouaches on pith paper, one heightened with silver, 16.5 x
23cm (6.5 x 9ins) and slightly smaller, both framed and glazed
(2)
£300-400
200* Anglo-Chinese School. Flower studies, 19th century,
together four gouaches on pith paper, each depicting still lifes of
flowers, plants and grasses, some splits and occasional professional
restoration, 16 x 22cm (6.25 x 8.75ins) mount aperture, uniformly
framed and glazed
(4)
203* Chinese Export. Punishments of criminals, late 19th century,
eleven watercolours on pith paper, few closed tears, small holes or
minor loss (rarely affecting image), 13 x 16cm (5 x 6.25ins), all
mounted, plus three similar watercolours on pith paper depicting
butterflies and birds
£300-500
(14)
£200-300
204* Chinese Export. Studies of flowers, butterflies and insects,
19th century, together three gouaches on pith paper, one slightly
creased, 16 x 25cm (6.25 x 10ins) and similar, each framed and
glazed
(3)
£200-300
201* Anglo-Chinese School. Mandarin official and his wife, late
Qing dynasty, 19th century, a pair of gouaches on paper, showing a
Mandarin official of the first order in blue robes of court and his wife
in matching robes, 27 x 18cm (10.5 x 7ins), framed and glazed
(2)
Lot 205
£200-300
66
207* Japanese School. Junks at Sunset, 20th century, watercolour
on paper, signed Koho lower left, 24 x 61cm (9.5 x 24ins), framed
and glazed
205* Chinese Export. Chinese Noble and his wife, circa 1830’s,
reverse painting on glass depicting a Chinese noble seated in a
garden with his wife seated next him reading, 40 x 35cm (15.75 x
13.75ins), contemporary gilt-painted ebonised frame
(1)
(1)
£100-150
£400-600
206* Chinese School. Three ladies under a blossom tree, late 19th
century, gouache on board, mounted as a rank-badge or Mandarin
square, 47 x 47cm (18.5 x 18.5ins), framed and glazed
(1)
£150-200
208* Kato (Eiso, 1906-1972). Riverside town in the rain,
watercolour on paper, showing a busy riverside town during the
evening rain, signed lower right, 41 x 31.5cm (16 x 12.5ins) mount
aperture, framed and glazed
A leading figure in the nihonga style, Eizo Kato’s father was a lacquerware
merchant. He studied at Tokyo Fine Arts School where he began entering
competitions and winning awards. Though many of his works were lost
during air raids on Gifu, a museum has opened in his home town dedicated
to his work and that of his brother, Toichi Kato.
£300-500
(1)
Lot 207
209* Kato (Eiso, 1906-1972). Hong Kong Harbour by Night, watercolour on paper, heightened with gouache, signed lower right, 23 x 65cm
(9 x 25.5ins) mount aperture, framed and glazed
(1)
£2000-3000
67
Lot 212
210* Sunqua (active 1830-1870). Flowers and butterflies, ten
gouaches on pith-paper, one or two worn to edges with occasional
marginal loss, bound in contemporary album, printed Sunqua label
to front pastedown, original brocade silk-covered boards, original
ties, worn and rubbed, oblong folio, 22 x 32cm (8.75 x 12.5ins)
Little biographical detail is available for Sunqua, despite him being one of the
best known Chinese artists of the 19th century. He established studios in
Canton and Macao, producing pictures and drawings for the export market.
He is perhaps best known for large scale works in oil depicting shipping and
trade in the great ports of China.
£700-1000
(1)
211* Sunqua (active 1830-1870). Still lifes of flowers, twelve
gouaches on pith-paper, one or two worn at edges with loss, one
damaged with substantial loss, mounted into original album, Sunqua
printed label to front pastedown, original brocade silk-covered
boards, rubbed and worn, oblong folio, 25 x 36cm (10 x 14ins)
(1)
213* Tibetan School. Scenes from the Life of Buddha, late 19th
or early 20th century, thangka, colour pigment on cotton, depicting
Sakyamuni Buddha on a lotus throne with scenes from his life below
and a number of teachers and other deities surrounding, 77 x 56cm
(30 x 22ins), framed and glazed, together with another similar
mandala thangka showing scenes from the lift of Buddha
£1000-1500
212* Thai School. Bangkok, 1964, oil on canvas, signed “Dang”
lower right, 60 x 45cm (23.5 x 17.75ins), framed
(1)
(2)
£200-300
68
£200-300
ORIENTAL ANTIQUES
Lot 214
214* Divination Bowl. Islamic brass divination bowl, probably Iran,
18th century or slightly earlier, copper alloy, engraved with repousse
centre, maker's mark engraved to base, original brass tags, 13cm
(5ins) diameter, plus a similar, slightly later Islamic brass bowl
Provenance: from a private collection, London
(2)
£300-500
216* Turkish Embroidery. An embroidered caligraphic silk panel,
19th century, purple and pale blue silk with silver and silver gilt
embroidered wire and fringe, central red silk medalion embroidered
with the tugra, 46 x 45cm (18 x 17.5ins), framed and glazed
(1)
215 Architectural Plaque. Enrique Linares, Grenada, painted and
gilt plaster, captioned to lower edge "No.11, Enrique Linares,
Grenada", 33 x 22cm (13 x 8.75ins), framed and glazed
(1)
£200-300
69
£500-800
ISLAMIC & INDIAN PAINTINGS INCLUDING MINIATURES
Lot 217
Lot 218
Lot 219
217* Anglo-Indian School. Portraits of Professions, 19th century,
ten gouaches on mica, all slightly darkened to edges, few with slight
flaking to paint surface, one or two with a little edge wear to mica,
loosely interleaved in later paper sketchbook, 14 x 10cm (5.5 x 4ins)
and similar
222* Anglo-Indian School. River boats, mid 19th century, a pair
of fine gouaches on mica, depicting boats on the river, 12 x 15.5cm
(4.75 x 6ins) and similar
(10)
223* Anglo-Indian School. Modes of Transport, mid 19th century,
eight fine gouaches on mica, depicting various modes of transport,
including camel, oxcart, pony and trap, and others, 11 x 15cm (4.5 x
6ins) and similar
(2)
£150-200
218* Anglo-Indian School. Portraits of Professions, mid 19th
century, ten gouaches on mica, depicting court figures including
hookah burdar, chuprassic, waiter, chobdar, performer, gardener,
Rajah and others similar, most captioned in English, occasional slight
flaking to paint surface, one damaged with loss, 14.5 x 10.5cm (5.75
x 4ins) and similar
(10)
£100-150
Provenance: collected by Alexander Duncan (1780-1859); thence by family
descent.
An exceptional set of Indian mica paintings, unusual both in regards to their
quality and subject matter.
£300-500
(8)
£150-200
219* Anglo-Indian School. Trades and Professions, 19th century,
seven gouaches on mica, depicting tradesmen including an artificial
flower maker, turner, painter, pawn seller, lohar or smith, cotton
carder and others, each captioned in English in a contemporary
hand, occasional slight flaking to paint surface, one or two slightly
worn at edges with loss, 16 x 12.5cm (6.25 x 5ins) and similar
(7)
£70-100
220* Anglo-Indian School. Trades and Professions, mid 19th
century, fifteen fine gouaches on mica, depicting tradesmen and
women, one or two with very slight wear to edges, 13 x 10cm (5 x
4ins) and similar
descent.
(15)
£200-300
221* Anglo-Indian School. Court scenes, mid 19th century, a pair
of fine gouaches on mica, depicting a courtly procession and an
interior scene with a prince and officials watching dancers under a
canopy, slight wear to edges with minor loss to paint surface, 15 x
20cm (6 x 8ins) and similar
224* Anglo-Indian School. Trades and Professions, late 19th
century, together nine gouaches on mica, depicting various
tradespeople at work including the camel driver, two women
grinding wheat, musicians and dancers, various sizes 14 x 10cm (5.5
x 4ins) and similar, three individually framed, the remainder framed
together in two matching frames
descent.
£100-150
(2)
(9)
70
£100-150
Lot 220
Lot 222
Lot 223
225* Basu Roy Chowudhury (S., 20th century). Indian bird, 1961,
watercolour on paper depicting a green bird seated on a branch,
signed and dated lower right, 25 x 35cm (9.75 x 13.75ins) mount
aperture, framed and glazed
(1)
£70-100
226* Chandra (Avinash, 1931-1991). Joy, 1969, monochrome
printed note card, signed, dated and limited 16/300 in pencil,
additionally signed and dated inside in red ink, 10.5 x 13cm (4 x
4.75ins), together with an exhibition poster for the Lo Giudice
Gallery, Chicago, 1969, and an exhibition guide for the October
Gallery Chandra exhibition, 1981, together with eight linocut prints
by various Indian artists
(11)
227* Company School. Indian Birds, circa 1822, together three
watercolours on Whatman watermarked paper, depicting studies of
Indian birds, each captioned in ink to lower edge, Abbott & Holder
label to the verso of each, 23 x 17cm (9 x 6.75ins) mount aperture,
matching framed and glazed
(3)
£80-120
71
£300-500
Lot 228
Lot 229
Lot 230
72
Lot 231
228* Company School. A collection of
twenty studies of architectural subjects,
mid 19th century, blindstamp, one torn
with loss,12 x 14cm (4.75 x 6ins) and
similar together with two Anglo-Chinese
watercolours on card, and three
sketches of European costumes
Provenance: collected by Alexander Duncan
(1780-1859); thence by family descent.
(25)
£500-800
229* Deccan School. Muslim Saint,
19th century, gouache on paper, multipleruled border in four colours, a little
surface damage and small hole to lower
right corner, 20 x 12cm (8 x 4.75ins)
mount aperture, framed and glazed
(1)
£200-300
230* Deccan School. Royal Progress,
possibly
Jaipur,
19th
century,
watercolour and gouache on silk,
heightened with gilt, showing a prince
returning to his palace, floral border, 88
x 56cm (34.5 x 22ins), framed and glazed
(1)
£200-300
231* Hutchinson (A. C.). An album of
watercolour sketches including vignettes
of India, Mysore, 1837, approximately
thirty leaves, numerous vignettes and
sketches to both sides, including
approximately thirty-eight vignettes of
Indian subjects, some captioned in
English, Arabic or Urdu, ownership
inscription and armorial bearing to first
leaf, some insect damage, contents
loose, some short closed tears, original
paper-covered boards, heavily rubbed
and fraying, 30 x 22cm (12 x 8.75ins),
contained within modern archive box
Subjects include a cobra, a teathered
elephant, goats, cows, women collecting
water, street vendors, boats, a sedan, an
English man with his attendant smoking a
pipe (possibly a self-portrait?), and others
similar. The front endpaper has an inscription
in Hutchinson's hand "Steal not this book for
fear of shame, For in't you'll find the owner's
name, And when you die the Lord will say,
Where is that book you stole away?". The few
mentions of Hutchinson in the Asiatic Journal
and Monthly Register tell us he arrived in India
as a cadet with the Bengal Artillery in 1830,
rising through the ranks, being promoted to
Major in 1856.
£200-400
(1)
232* Indian School. Maharaja (of Jodphur?), possibly Hanwant Singh, early 20th century, oil on
canvas, depicting a full length portrait of an Indian prince in a courtyard, holding a tulwar, with a
fountain beyond, inscribed lower right, 122 x 76cm (48 x 30ins), framed
(1)
£500-800
73
Lot 233
Lot 234
Lot 237
233* Indian School. Court scene after Moghul School, late 19th or
early 20th century, gouache on paper, heightened with gilt, wide
decorative border, 34 x 25cm (13.5 x 10ins), framed and glazed
236* Mughal School. Princess reclining on a divan, Delhi, circa
1815, watercolour and gouache on brown paper, heightened with
gilt, sheet size 24 x 18cm (9.5 x 7ins)
(1)
(1)
£150-200
234* Jaipur School. Rama, Lakshmana and Hanuman riding on
Airavata, 19th century, gouache on paper, heightened with gilt,
doubled ruled border in yellow and grey, 24 x 17cm (9.5 x 6.75ins),
framed and glazed
(1)
237* Mughal School. Young prince with his princess, early 19th
century, gouache and opaque watercolour on paper, extensive gilt
highlighting, ruled border, some surface wear with a little loss, image
size 12 x 7.5cm (4.75 x 3ins), sheet size 23 x 15cm (9 x 6ins),
together with a pair of similar miniature paintings on reused
manuscript leaves
£200-300
235* Mughal School. Manuchehr slaying Salm, 20th century,
gouache on re-used 19th century manuscript leaf, image size 11.5 x
16cm (4.5 x 6ins), sheet size 31 x 17cm (12 x 6.5ins), framed and
glazed
(1)
£150-200
(3)
£80-120
£50-80
238* Rajasthan School. Prince playing chess, 19th century, oval
gouache on green goatskin, depicting a prince seated on a carpet
playing chess with female attendants, indistinctly captioned
beneath, 24 x 34.5cm (9.5 x 13.5ins), together with three similar
oval panels (one worn with slight loss), plus four similar panels on
circular panels of black goatskin
(8)
Lot 236
74
£200-300
PHOTOGRAPHY
PHOTOGRAPHY
240 Algeria. An album containing 96 window-mounted platinum
prints, 1910, scenes and views in and around Bou Saada, all photos
8 x 10cm, contemporary cloth, a little rubbed, small folio
(1)
£200-300
241 Algeria. An album containing approximately 80 photographs,
circa 1890s, including 16 mounted albumen prints of Algeria
including street scenes, local types and views, each approximately
21 x 27cm, mounted back to back on stiff card leaves, the remainder
albumen prints, gelatin silver prints and some collotypes, mostly
British and European views, various sizes, mounted singly and as
multiples, a total of 36 leaves, contemporary half morocco gilt,
rubbed, 4to
(1)
£80-120
Lot 240
242* Anderson (James, 1813-1877). A group of 6 mounted
albumen prints, circa 1870, all architectural views in Rome, 2 titled
in the lower margin, 'Fontana dei quattro fumi' and 'Arco di Tito', all
38 x 27cm
(6)
Lot 241
76
£800-1200
243* Australia & New Zealand. A group of 32 mostly large-format
albumen prints, circa 1880, many by George Valentine, all topographical
views in Australia and New Zealand, 18 x 29cm and similar sizes,
mostly on old album mounts including some back to back
(32)
£150-200
246* Beato (Felice, c. 1825-c. 1907). Two studio portraits of a
young Burmese lady, circa 1890, albumen silver prints, full length,
one holding a fan and one holding a long cheroot, numbered in white
203 and 207 to lower margins, both 26 x 18.5cm, modern window
mats
(2)
£200-300
244* Autochromes. A group of 48 autochromes, 1920s, mostly
topographical and architectural views in Britain, Europe and one or
two in the Middle East, a few studies of wild flowers, etc., 35 3.25
x 4.25 ins and 13 4 x 5 ins, varied condition, some seals broken,
contained in 16 original card boxes with Lumiere printed paper
labels to upper covers, plus 5 similar format black and white glass
plate negatives
(53)
£300-500
245* Autochromes, A group of seven autochromes by A. Lumiere
& ses fils, Lyons, early 20th c., one of a country house (St Sulpice
le Verdon), one of a small rural cottage (sl. damaged), the others of
flowers and wooded landscapes, each 9 x 12cm (3.5 x 4.75ins),
contained in two worn original printed card boxes, together with a
group of twenty larger French glass plate negatives, mostly subjects
not from life, some damage
(27)
247* Bisson Freres. Two mammoth plate albumen prints of
Bourges and Chartres Cathedrals, 1860s, Bisson Freres stamps to
lower right corners, contemporary mounts, 44.5 x 37cm and slightly
smaller, together with a mammoth plate albumen print of Niagara
Falls, circa 1875, probably by George Barker, contemporary mount,
mat chipped with loss
£70-100
(3)
77
£100-150
248* Cabinet Cards. A group of approximately 200 assorted
cabinet cards, late 19th and early 20th century, mostly studio
portraits but including groups and topographical views, mostly with
photographer’s credits to mounts
(approx. 200)
£100-150
250* Canada. A group of 5 vintage gelatin silver prints by S.N.
Parsons, St. John’s, Newfoundland, circa 1926, all relating to the
construction of the dock, each 16 x 21cm, contemporary card
mounts with adhesion residue to mount margins, pencil credits to
versos acknowledging the engineer A.D. Swan, together with 4
others similar, 2 in window mounts and captioned ‘New Dock
Works, Esquimalt, B.C., first section of Cofferdam’, and ‘Burntisland
Harbour. Cofferdam for New Dock Works 1899’, various sizes but all
large format, plus a related Canadian Society of Civil Engineers
certificate for Andrew Don Swan and 4 small-format photographs
(15)
£100-150
249* Cameron (Julia Margaret, 1815-1879). Queen Esther
fainting before King Ahasuerus. See apocryphal Bible, [copyright 11
November 1865], albumen print, minor surface scratches and marks,
‘From Life Julia Margaret Cameron’ inscribed in ink in a usual
unidentified hand on original mount beneath image, titled by
Cameron in ink in her own larger hand beneath and within gilt rule
border, mount soiled and partly damp-stained with evidence of
biopredation, image: 331 x 280mm (13 x 11ins), mount: 472 x
399mm (18.5 x 15.75ins)
‘In late 1865, Julia Margaret Cameron began using a larger camera which
held a 15 x 12 inch glass negative, rather than the 12 x 10 inch negative of
her first camera... This is one of Cameron’s more theatrical depictions of a
biblical subject. It shows the moment when Queen Esther faints after
begging King Ahasuerus to spare the Jews he has sentenced to death. The
makeshift costumes, backdrop and props - including the fireplace poker that
serves as a sceptre - evoke the amateur theatricals and tableaux vivants that
were popular in Victorian Britain’ (V&A online). The sitters for this photograph
were Henry Taylor, Mary Ryan and Mary Kellaway. The striations visible at the
top of the image are the result of printing from a damaged negative, an
aspect of her working method that is well documented with this photograph
cited as one such example in Cox and Ford. However, there are prints made
from this negative, including miniature ones, where the striations have been
touched up to disappear. Cox and Ford, Julia Margaret Cameron: The
Complete Photographs (2003), 167. See back cover illustration.
£3000-5000
(1)
251* Canada. A group of 20 photographs of Canada, circa 18801920, a mixture of albumen print and gelatin silver print views
including views by Notman of Halifax, Montreal, Quebec, and of
logging operations in British Columbia, mostly approximately 20 x
27cm and smaller, some mounted
(20)
£100-150
252* Cartes de visite. A group of 100 albumen print cartes de
visite, circa 1860s, all portraits of mostly unidentified men and
women with photographer credits to versos, including one portrait
of Queen Victoria and Prince Albert by Mayall and one of the Prince
and Princess of Wales by Ghemar Freres
(100)
78
£100-150
253 Cartes de visite. An album containing approximately 100
window-mounted cartes de visite, circa 1860s and slightly later,
including over 70 portraits from life, subjects including Queen
Victoria, Prince Albert, Queen Victoria and Princess Beatrice,
Princess Alice, Prince and Princess of Wales, Princess Victoria,
Alfred Lord Tennyson, Robert Browning, John Everett Millais,
Holman Hunt, Matthew Arnold, Florence Nightingale, Rosa Bonheur,
European royalty, bishops and clerics, etc., 23 mostly Alpine and
other topographical views window-mounted at rear, contemporary
morocco gilt with brass clasp and decorated upper cover, rubbed,
4to, together with another album containing 52 cartes-de-visite
portraits, 1870s, mostly British and European royalty, including
multiple portraits of the Prince and Princess of Wales, plus royal
children, etc., photographers include Hills and Saunders, United
Association of Photography, Mondel & Jacob, Mayall, etc., oval
mats, some spotting throughout, contemporary morocco with gilt
clasp, some rubbing and wear, spine faded, oblong 8vo
(2)
255 Cartes de visite. An album of 110 albumen print cartes de
visite, all unidentified portraits including 30 with children, of these 3
by O.G. Rejlander including one of a naked toddler seen from behind
on his mother’s lap, other studios include Maull & Polyblank, C.
Ferranti, Vandyke & Brown, Robinson & Thompson, G. Watmough
Webster, Serroni of Scarborough, etc., plus 12 related cabinet cards,
contemporary morocco with gilt clasps, rubbed, 4to, together with
a late 19th-century photograph album containing mounted albumen
prints, mostly artworks, but including some Italian views and
scenes, etc., various sizes, contemporary half morocco, worn, folio,
plus 6 hand-tinted Japanese albumen print views mounted on card,
each 20 x 25cm
(8)
256* Cartes de visite. A group of 10 cartes-de-visite albums, circa
1860s and slightly later, containing several hundred windowmounted cartes-de-visite portraits, topographical views, plus some
mounted albumen prints, some albums blank, contemporary
bindings, various sizes
£250-350
254* Cartes de visite. A group of approximately 230 cartes de
visite, circa 1860s and later, mostly portraits of unidentified sitters,
various photographers, together with a group of approximately 40
cabinet cards and 30 stereocards
(approx. 300)
£100-150
(a carton)
£150-200
79
£150-200
258* Colour Slides. A large group of over 1,000 35mm colour slides,
1960s/1970s, formerly the property of Neil Hornick and including
London theatre performances and related, plus miscellaneous
subjects including fashion, natural history, sports, travel, etc.
(3 cartons)
£200-300
259* Colour Transparencies. A large collection of approximately
700 colour transparencies by E.F. Denny, circa 1958-65, mostly
landscapes and people studies, countries include Italy, Greece,
France, the Alps, England, Shetland Isles, etc., all 6 x 6cm, contained
in 3 transparency tins, a folder and numerous small transparency
boxes, plus a slightly corroded Paterson viewer in original box plus
a Boots previewer for 35mm colour slides
(a carton)
£150-200
257* Clifford (Charles, 1819-1863). View from the bottom of the
Cuesta del Chapiz of Arab mills and the Alhambra, 1862, albumen
print, 414 x 306mm (16.25 x 12ins), original mount (a little spotted
to extremities including upper blank area of image) with
photographer’s blindstamp at foot, ‘C. Clifford / Photo of H.M.’
(1)
£300-500
260* Contemporary Photograph Archive. A large archive of
modern photography, circa 1980s and later, much seemingly by
Wayne Ford, Swindon School of Art and Design, but including
several other contemporary photographers, and some design work,
includes black and white and colour prints, slides, contact sheets,
negatives, laminated advertising sheets, some framed and glazed
(4 cartons)
£200-300
Lot 261
Lot 258
80
261* Cuba. A large collection of approximately 160 medium and
small-format gelatin silver prints, 1950s and later, subjects include
Fidel Castro and Che Guevara, plus views, people, genre subjects
etc., mostly by unidentified photographers but 6 with Korda
wetstamp to versos, some with inscriptions and annotations also,
approximately 20 x 25cm and many smaller
265* Daguerreotypes. Two ninth-plate daguerreotypes, circa 1850,
one of a middle-aged man, the other of a middle-aged woman, both
half-length, tinted, both cases heavily rubbed, together with 3 ninthplate ambrotypes, two of an unidentified man and one of a young
girl, one case split in two, plus a quarter-plate ambrotype of 2 young
women, full length, without lid
(approx. 160)
(6)
£700-1000
£100-150
262* Cuba. A group of 64 gelatin silver print photographs of pre
and post-Revolutionary Cuba, circa 1950s and early 1960s, including
political personalities, trains and aeroplanes, sport, freemasonry,
etc., many vintage prints and mostly 20 x 25cm and similar, some
with press and other captions to versos
(64)
£300-400
266* Early Aviation. A group of 19 diapositive lantern slides of early
aviation, circa 1910, mostly with printed captions within the negatives
(for postcard use etc.), showing Bleriot, Radley, Latham, Rolls,
Barnes, Willows and other aviators with their flying machine in flight
and grounded, one slide cracked, all 8 x 8cm, plus 2 related American
format lantern slides including one showing an Aeroplane Show in
Paris, plus a black and white photographic glass plate negative of a
Bristol Boxkite in flight (?over Bristol Downs), circa 1910, 10 x 12.5cm
(22)
£100-150
263* Daguerreotype. A quarter-plate daguerreotype of a seated
North American family, circa 1850, showing two men and two
women, a little spotting, nonpareil mat, leather case over wood with
stud fastener and embossed pattern to upper lid, 8 x 11cm
(1)
£200-300
264* Daguerreotype. A half-plate daguerreotype of an unidentified
seated gentleman, circa 1840s, three-quarter length, arched top, 11
x 16cm, leather case over wooden boards with fasteners, some
scratches to lower cover
(1)
£200-300
Lot 264
81
Lot 268
267 Early Snapshots. An album containing 141 Kodak No. 1
snapshots of a British family travelling around the country, circa 188890, 2.5 inch circular images pasted four to a page and back to back
on stiff card leaves throughout, some spotting, stitched spine, 4to
An unusual early album illustrating the pioneering Kodak No. 1 snapshot
camera which was put into circulation in 1888 and replaced by Kodak No. 2
in 1890. The photographs, though somewhat faded, depict town and rural
scenes, domestic animal and maritime subjects.
(1)
£300-500
268* Egypt, Greece, etc. An assorted group of over 30 albumen
prints of Egypt, Holy Land, Lebanon, Greece, Malta, Madeira and
Bulgaria, circa 1880s, mostly topographical views, including two-part
panoramas of Athens and Malta, photographers include Bonfils,
Frith and American Colony, various sizes, mostly on old album
mounts including some back to back
(a folder)
Lot 269
£150-200
269* Egypt. A group of 26 albumen prints by P. Dittrich showing
the construction of the Aswan Dam, 1898-1902, all loose, 21 x 27cm
(26)
£150-200
270* Egypt. A portfolio of 20 collotype photographs, produced by
Schroeder and Photoglob, Zurich, circa 1890, all monuments and
ruins, images 21 x 27cm, loosely contained in a pictorial cloth
portfolio, rubbed and soiled, folio
(1)
£100-150
Lot 270
82
271 [Eiffel Tower]. La Tour Eiffel [gilt-titled to upper cover], [Paris,
1889], an album of 8 albumen print photographs of the Eiffel Tower
at the Exposition Universelle, 1889, each approx. 215 x 280mm (8.5
x 11ins) or the reverse, each with negative number, caption and ‘N.D.
Phot.’ credit to lower margin of image, mounted one to a page on
four stiff card leaves with printed headings and titles to mounts,
images somewhat faded, all edges gilt, original half morocco gilt
over cloth, rubbed and a little corner wear, oblong folio
(1)
£100-150
272 Erotica. An album containing approximately 150 gelatin silver
print photographs, circa 1960s, mostly couples and groups with
nudity and sexual activity, some copy prints, mostly approximately
9 x 14cm, corner-mounted as multiples to rectos only, contemporary
cloth, rubbed and soiled, oblong folio
(1)
£200-300
Lot 275
273 Europe & Malaya. An album containing approximately 65
mounted photographs, late 19th and early 20th century, a mixture
of albumen prints and gelatin silver prints, credited photographs and
snapshots, including views in Italy, Sicily, Algeria, Istanbul, Malaya
photographs include some captioned in the negative, ‘Malay
Campong’, ‘Jungle Scene’, ‘Malay Natives’, ‘Bukit Ponto, Padang
Rengas’, photographs 20 x 27cm and smaller, mounted singly and
as multiples and back to back on stiff card leaves, spotting
throughout, contemporary half morocco, rubbed, spine worn, folio
(1)
£150-200
274* Europe. A collection of approximately 110 albumen print
views, circa 1880s, mostly views in Italy, Greece, France, many
captioned in the negative and mostly on individual mounts,
approximately 20 x 25cm and similar
(approx. 110)
£150-200
275* European Architecture. A group of approximately 260
albumen prints of European architecture and details, circa 1870s,
the majority Italy and Venice, some captioned and numbered in the
negatives, approximately 20 x 25cm and similar
(approx. 260)
£200-300
276* Fiske (George, and others). A group of 20 mostly mounted
albumen print views of Yosemite and Yellowstone Park, circa 1880s,
the largest 7 images approximately 32 x 25cm and similar, the
remainder mostly 15 x 20cm or similar, all but three on old album
album mounts, one mount including two views of Niagara Falls and
one of Salt Lake City
(20)
Lot 276
£300-500
83
277* Glass plate negatives. A collection of over 500 glass plate
negatives, early 20th century, including British views and scenes,
mostly half and quarter plate, some contained in unmarked boxes
(2 cartons)
£150-200
278* Good (Frank Mason, 1839-1928). A group of 20 albumen
print photographs of Swanage district, Dorset, and Isle of Wight,
circa 1865, including Swanage pier and tower, Swanage Bay and
volunteer battery, study of trees at Whitecliff Farm, Agglestone Rock
near Studland Heath (x 2), Purbeck House grounds, Alum Bay, Isle
of Wight, Handfast Point and Old Harry Rocks, etc., mostly 22 x
27cm and similar sizes, contemporary album mounts with neat ink
captions beneath except one slightly smaller on modern backing
(20)
£700-1000
279* Hollyer (Frederick, 1837-1933). A platinum print of ‘The
Mirror of Venus’ after Edward Burne-Jones, circa 1900, 31 x 51cm,
contemporary oak frame, glazed
(1)
£200-300
280* Hollywood & Celebrities. A monumental archive of colour
slides, transparencies and negatives, mostly 1980s and later, mostly
celebrity shots, the transparencies often with typed credits and
copyright stamp of Action Press, Alpha London, Syndication
Internation Ltd., uncounted but in total probably approximately
100,000 images
(23 cartons)
84
£700-1000
281 Hong Kong. A photograph album relating to the Royal Navy in
Hong Kong and Shanghai, circa 1930, including profiles of ships,
parade for the new governor at Hong Kong, 1930, HMS Sepoy depth
charge accident and ensuing burial of sailors, 1930, Hong Kong
typhoon, street scenes, scenes from a Chinese funeral, etc., a total
of approximately 220 gelatin silver print photographs and real photo
postcards, various sizes, mounted as multiples and back to back on
24 thick paper leaves, intermittent neat captions to mounts, mounts
somewhat chipped and now largely loose, contemporary patterned
boards with spine tie, somewhat worn and bowed, oblong folio
(1)
283 Hubbard (Gilbert Ernest). Temples of the Western Hills,
published by La Librarie Francaise, Peking & Tiensin, 1923, 13 plates
(as listed) including 10 real photographs of which 1 is mounted to the
upper wrapper, folding map and 4 pages publisher’s adverts at rear,
‘First Thousand copies’ printed to title verso, author’s presentation
inscription to half-title, ‘Miss [Kathleen] Fenton, with the author’s
best wishes, May 19 1923’, original linen-backed wrappers with
mounted photograph to upper wrapper, some soiling and slight wear,
spine frayed with a little loss at head and foot, 8vo (18.5 x 14.5cm)
£300-500
The nine photographs in the book have printed credits for Messrs Hartung
of Peking (5), Mr J. Patterson (2), Mr M.E. Weatherall, and Mrs Calhoun.
Kathleen Fenton, a friend of the vendor, was the wife of Hereward
Livingstone Fenton, a planter in Malaya. During the war she was interned
and then evacuated to Sydney in 1942, returning to Malaya in 1946.
£500-700
(1)
282* Hong Kong. A group of 9 mostly albumen prints of Hong
Kong interest, circa 1880s/1890s, including views of sedan chairs
and rickshaw on Hong Kong Central Waterfront, Central District from
East Point and fan palms in Singapore, each approximately 20 x
26cm, the others somewhat smaller, plus one later gelatin silver
print of Queen’s Road Central, circa 1935, all in modern mats, plus
a somewhat spotted and faded two-part panorama of Hong Kong
harbour, circa 1880, 21 x 70cm, contemporary mount
(10)
284* India & Ceylon. A good group of 44 albumen prints of
topographical and ethnic interest, circa 1865-1880, including
photographs by Bourne, Burke & Baker, mostly 20 x 26cm and similar
large sizes, majority on old album mounts and some back to back
£150-200
(44)
85
£150-200
285* India - (George) Victor Pont (1846-1931). A collection of 100
early and large platinotype views of India, mostly circa 1880s but
some later, a total of 35 initialled V.P. and numbered in the negative,
65 not initialled or numbered but seemingly taken by Pont also, a
total of approximately thirteen duplicates, plus 9 Victor Pont albumen
print with initials and negative numbers, plus seven further albumen
print views of India including one by E[rnest] Pont, one by Phillips
and five blank (one identified W.H. Horton to verso), plus a
photograph of Horton Stores, circa 1923, and two small studio
portraits of Victor Pont’s son Leon (1883-1982), the majority of
platinum prints and most albumen prints 24 x 29cm and similar
sizes, a few much smaller, many with pencil identifications to verso,
many platinum prints with some spotting or browning, the collection
including approximately 13 duplicates
A rare and interesting photographic archive of India with notable early use of
the platinum process. Not too much detail is known about Victor Pont, who
was a district engineer for the East Indian Railway, while his brother and
fellow noted and prizewinning photographer Ernest (1850-1922) worked as
an inspector for the same Railway. Photographs identified and dated from
captions include: Kunaon: Bjhimthal Lake, about 1885, Annie Pont; A Road
near Darjeeling; Primeval Forest near Kalingpong and Tibet Border; Teesta
River between Darjeeling and Kalingpong; Benares. The Ghat where they
burn the dead before committing ashes into the Ganges, about 1886;
Beneares on the Banks of the Ganges; Hindoo Funeral - Cremation of a
woman not he banks of the Ganges; New Bathing Ghat; Top of Bathing Ghat,
Mirzapur; Bridge, Mirzapur; Grounds of Numair Museum; Ghat at Benares
and showing various Temples; Tank at Numair Mausoleum; Gryuthee Bridge,
26.6.1889; Near Mirzapur, about 1890. The bearded Victor is identifiable in
two family group photographs in the collection. Provenance: The family of
Victor Pont, by direct descent.
£2000-3000
(approx. 120)
86
286 India. An album containing 21 mounted albumen prints, circa
1880s, including architectural views, scenes and people, mostly
captioned and credited Del Tufo & Co., Madras, in the negative, 24
x 19.5cm and smaller, plus 4 albumen print photographs of Durban
and South Africa at rear, each 14 x 19cm, all mounted singly or as
multiples of 2 or 3 to rectos of stiff card leaves, contents largely
loose in contemporary cloth, some wear, folio
(1)
£150-200
287* India. A group of approximately 220 gelatin silver print
photographs, circa 1900/1920s, including photographs of Nasrur, Tibet,
photographs of the Kulu Dussera (annual hill festival in the Himalayan
valley of Himachel Pradesh), many with brief pencil notes or captions to
versos, some with lengthy captions and publisher’s markings up, a small
number with credit stamp of H.L. Shuttleworth, some approximately 20
x 25cm and similar but many small format and largely 9 x 11cm and
similar some mounted as multiples on five modern boards
Henry Lee Hadwen Shuttleworth (1882-1960) worked in the Indian civil
service, and was an expert on Western Himalaya, and Tibetan dialects. He
was an eminent photographer. The Shuttleworth Collection of papers,
photographs, translations of letters and manuscripts on Tibet and Indian Tibet
is in the India Office Library (Mss Eur D72).
£300-500
(approx. 220)
Lot 286
288* India. A group of albumen and gelatin silver print photographs,
circa 1890, all topographical and architectural views, including some
river scenes and formal occasions, mostly 19.5 x 27cm and similar
sizes, mostly mounted back to back on old card mounts, some ink
and printed captions beneath
(30)
Lot 287
£150-200
Lot 287
87
289* Inuit Eskimos. A group of 70 diapositive lantern slides of Inuit
life in Greenland and Labrador, 1930s, showing eskimo life and
culture, some slides hand coloured, a few cracks and some seals
broken, some with English ink captions, 8 x 8cm
(70)
88
£600-800
Lot 290
290 Italian Alps. A pair of albums containing albumen prints and
photomechanical prints by Photoglob, circa 1890s, a total of 23
views, mostly credited in the negative and each 20 x 25cm, plus 3
panoramic views of mountains (3, 4 and 6-part panoramas with
linenised backings), Panorama von Diavolessa, 21 x 79cm, Panorama
Fuorcla Surley, 20 x 105cm, and Panorama du Breithorn, 19 x 156cm,
all photographs mounted to rectos only of stiff card leaves and
mostly in one album, the remaining leaves of the second album
blank, matching contemporary half morocco gilt, some edge wear,
oblong 4to/4to
(2)
£100-150
292* Italy. A group of 4 large-format albumen prints of Italian
architecture, circa 1870, one of the colosseum in Rome with
blindstamp of Cuccioni, two others with blindstamp of Alinari and
one uncredited, each 33 x 45cm and similar, plus an unrelated largeformat gelatin silver print by Helene Binet, 1992, all in modern mats
(5)
291* Italy. A group of 30 mounted albumen prints, circa 1870s, all
but one architectural and topographical views of Rome, Venice,
Naples, 25 x 34.5cm and smaller, most mounts with photographer’s
blind stamp credits including Altobelli, Rive, Sommer, etc.
(30)
£100-150
89
£150-200
295* Italy - Rome. Sala delle statue (Vaticano), by James Anderson
(1813-1877), circa 1870, large-format albumen print with printed title
to the lower margin, 38 x 52 cm, framed and glazed
(1)
296* Italy. A group of 5 large albumen print views of Rome, circa
1880, 4 exteriors of temples and ruins by Alinari and one of a church
interior, individual contemporary mounts, 31 x 42cm and similar, plus
7 unrelated medium-format gelatin silver exhibition prints of
Germany, etc., all on individual mounts
293* Italy - Rome. A mammoth plate albumen print by James
Anderson (1813-1877), circa 1870, printed title '22 Arco di Tito' to
lower margin, closed tear repairs to right blank margins with paper
repairs to verso, 53.5 x 40cm
(1)
£400-600
(12)
£150-200
£300-500
297 Japan. An album containing 50 colour-tinted albumen prints,
circa 1900, scenes, people and views, some captioned in the
negative & with pencil titles to mounts, mounted back to back on
stiff card leaves, contemporary decorative cloth with spine tie, some
fraying and covers partly detached, oblong folio
(1)
294* Italy - Rome. A group of 4 mounted albumen prints of Rome
by James Anderson (1813-1877), circa 8170, 3 with printed titles in
the lower margin, showing the falls at Tivoli, the protestant cemetery
and the temple of Vesta, 25.5 x 37 cm and one the reverse
(4)
£500-700
90
£100-150
299* Job (Charles, 1853-1930). A group of 8 mostly carbon prints,
circa 1920, including Richmond Bridge, bridge at Cambridge, scene
with rowing boats, each approximately 25 x 35cm, the others
somewhat smaller including Rappalo, Italy, Dr Jenner’s statue in
Kensington Gardens, on Lake Geneva, Brighton seascape and the
gateway, Rye (mounted on card), 18 x 25cm and similar, some
marginal splits
(8)
£100-150
300 Keppel & Hart Family. A cartes-de-visite album of the Keppel
and Hart family of Norfolk and London, circa 1870s, containing 65
window-mounted cartes de visite and 11 cabinet cards, many
identified in ink to versos, contemporary calf with silver gilt clasp
and decorative strapwork to upper cover, rubbed and a little wear to
spine ends, 4to
The album relates to the family of George Keppel (grandson of the 4th Earl
of Albermarle) and his wife, Alice Le Neve Hart.
(1)
£80-120
301* Lantern Slides and Negatives. A group of approximately 70
glass plate photographic negatives, circa 1914-18, approximately 8
x 10.5cm, mostly in contemporary boxes with felt tip inscription
giving the contents as British in Tanganyika and Naval Interest in
World War I, plus 13 contemporary magic lantern slides of assorted
subjects including naval, plus assorted photographs, postcards, etc.
(a small carton)
£100-150
298
Japan. An album containing 100 gelatin silver print
photographs, early 20th century, mostly family and other group
photographs including school children, religious procession, formal
groupings, etc., various sizes, pasted or corner mounted and mostly
as multiples and back to back on 19 stiff card leaves, Japanese ink
captions to mounts, contemporary boards, covers detached and
backstrip deficient, some edge wear, 4to
(1)
£200-300
302* Lantern Slides - Ireland. A group of 63 hand-coloured
photographic lantern slides by York & Sons, circa 1885, including
street scenes, people, landscapes, towns, etc., all 8 x 8cm,
contained in a contemporary hinged wooden slide box
(63)
Lot 299
91
£150-200
306* Lantern Slides. A group of assorted lantern slides including
4 boxes of photographic and mostly non-photographic black and
white slides of views, history and religion, the photographic lantern
slides including scenes from a missionary in British Guiana and
British views, approximately 200 in total, plus 9 mahogany-mounted
hand-painted slides including 5 black and white letterpress riddle slip
slides, a small quantity of hand-coloured strip slides, a set of 12
hand-coloured lantern slides of Punch of Judy, plus 3 unrelated
snapshot albums and 3 lantern slide catalogues
303* Lantern Slides - South Africa. A group of 14 diapositive lantern
slides of Cape Diamond and Goldmines, circa 1900, all 8 x 8cm
(14)
£100-150
(a carton)
£150-200
304* Lantern Slides - Brazil. A group of 20 diapositive magic
lantern slides of Brazil, circa 1900, mostly street scenes
(commissioned by the Booth Steamship Company of Liverpool), 8 x
8cm
(20)
£100-150
305* Lantern Slides. A group of approximately 25 sets of coloured
lantern slides, early 20th century, stories include Red Riding Hood,
Alice in Wonderland, Jack and the Beanstalk, Peter Pan, Our LifeBoatmen, Sweep and Whitewasher, Dick Whittington, Nursery
Rhymes, etc., mostly 8 slides to a box, though a few slides missing
or slightly damaged, 8 x 8cm
307* Lantern Slides. A large collection of over 500 diapositive
lantern slides, early 20th century, including views in north of England
including Lake District, Africa including wild animals, Middle East,
Russia (coloured), etc., mostly contained in 12 period wooden
lantern slide boxes, some with captions or partial indexes, plus a
small quantity of hand-coloured slides of Gulliver’s Travels, etc.
(approx. 200)
(2 cartons)
£150-200
92
£200-300
308* Lundy Island. A pair of snapshot albums, circa 1930s,
containing approximately 330 window-mounted black and white
snapshots of the island including geological interest and some
wildlife, each 5.5 x 7.5cm, arranged as fours to a page throughout
with some blanks at rear of volume 2, contemporary boards, oblong
large 8vo, together with a related book by John Lloyd Warden Page
and 4 Lundy puffin and Lundy half puffin coins, 1929
(7)
£70-100
Lot 311
309 Madeira. An album of 77 late albumen print and silver print
views and snapshots, circa 1890-1900, a total of approximately 75
photographs mounted back to back and sometimes as multiples on
30 stiff card mounts, many full-page (16 x 23cm and similar) and
including scenes and views in Madeira (15), Tenerife (11), Las Palmas
(6) and South Africa (15), some captioned in the negative and many
with brief ink captions to mounts or blank area of images,
contemporary cloth, rubbed and damp soiled, oblong 8vo
(1)
£150-200
310* Madeira. A pair of large gelatin silver print photographs, circa
1950, the first showing a family group sewing in a field on a hillside
overlooking the harbour in the distance, the second showing a group
of 3 women and a child sewing in front of stone and thatched huts,
images 40 x 50cm, both credited Foto Perestrello, Madeira in ink to
lower right margin, framed and glazed
(2)
£70-100
311 Malaysia & Singapore. An album containing 31 mostly largeformat gelatin silver prints, circa 1960s, including street scenes,
views and people, many 27 x 24cm and similar sizes but some
smaller, pasted to card mounts and bound in cloth stud binder,
rubbed, folio
(1)
£300-400
312 Malaysia. An album compiled by William Henry Hofland,
Director of Public Works, Labuan, late 1920s and early 1930s,
containing approximately 220 gelatin silver print photographs and
snapshots, including scenes from some of the public works, Labuan
Dam, hospital and school projects, some photographs of Brunei,
formal and social groups, etc., various sizes, mounted as multiples
and back to back on 50 stiff card leaves, brief pen or pencil captions
to some photographs, and some related typed reports, references
etc. loosely inserted, ownership inscription of Hofland to front
endpaper, contemporary half morocco gilt, rebacked with original
spine relaid, heavily rubbed and some edge wear, 4to
(1)
Lot 312
£500-800
93
313 Mediterranean. An album containing 60 late albumen prints
and collotypes, circa 1900, including views and scenes in Italy,
France, Algeria, etc., mostly approximately 20 x 27cm and similar,
mounted back to back on stiff card leaves throughout, contemporary
half morocco, gilt-stamped ‘Mediterranean Cruise 1903’ to upper
cover and with monogram GHW to spine, some wear, oblong folio
(1)
319* Miscellaneous photography, 19th and 20th century,
including a partly broken album of gelatin silver print views of the
Forest of Dean, a part album relating to Woronzow Greig and Mary
Somerville including albumen prints of house interiors, a group of
80 photographic specimen prints printed by M. Bozzetto Cartligiano,
Vicenza, Italy, circa 1900, various subjects printed from earlier glass
plate negatives and with negative numbers to lower corners and
credits to verso, Friese-Greene archive copy prints and negatives,
British and European views, portraits, design, stereocards, cartes
de visite, etc.
£200-300
(2 cartons)
£200-300
320* Miscellaneous photography, 19th century, mostly albumen
prints, both loose and on old album pages, together with 3 19thcentury albums, mostly European views, architecture, family
scenes, etc.
(a large carton)
£100-150
321* Miscellaneous photography, 19th & 20th century, an
assorted group of approx. forty albumen and gelatin sliver prints,
including Italian sculpture, British and European views, aviation,
various sizes including some small format, and many mounted as
multiples on old album leaves, plus a mammoth albumen print of
King Theodorick by G. A. Czicbna of Innsbruck, c. 1870s,
photographer’s credit lower left, image 48 x 34cm (19 x 13.5ins),
plus other miscellaneous photography including 20th-century
portraits
(a carton)
£150-200
314* Middle East & India. A group of 48 albumen and platinum
prints, circa 1890s/1900s, including 16 prints with credit ‘Art. G.
Lekegian & Cie’ in the negative, mostly topographical and
architectural views, some British military interest, many
approximately 28 x 22.5cm or similar
(48)
£150-200
315* Miscellaneous photography, late 19th and early 20th
century, including 5 albums of British and European views, plus an
assortment of loose and mounted group photographs including
military and topographical interest, various sizes
(a carton)
£100-150
316* Miscellaneous photography, 19th & 20th century, including
a small quantity of albumen print views of Europe, assorted gelatin
silver prints including views, 4 family snapshot albums, plus
approximately 500 assorted postcards, some postally used
(a carton)
£100-150
317 Miscellaneous photography, late 19th and early 20th century,
including 3 late 19th-century albums with mostly British albumen
print views, plus a later family snapshot album, 5 cartes-de-visite
albums (2 empty), and a postcard album containing approximately
200 mostly Edwardian postcards
(a carton)
£150-200
318* Miscellaneous photography, 19th & 20th century, including
broken albums, subjects include Japanese and European albumen
print scenes and views, portraits, 20th-century world cruise touring
photos on large-format sheets, etc., various sizes
322* Modern photography. A large collection of miscellaneous
20th-century photographic prints, including a group of Fernand
Dengremont (French commercial photographer of the 1940s),
subjects include portraiture, scenes, design, etc., various sizes,
some on mounts
(2 cartons)
(a carton)
£200-300
94
£150-200
324* Mountains. A group of 32 gelatin silver prints of the Alps by
F.L. Ashcroft, 1930s, all unmounted and printed on Agfa Bravia paper,
images 16.5 x 21cm and larger, together with 3 albumen prints of
the Matterhorn and neighbouring peaks, circa 1885, framed and
glazed as a triptych, 40 x 85cm overall
(33)
£100-150
323 Motorway Construction. An album of 48 vintage gelatin silver
print photographs, circa June 1963 to December 1964, all oblique
aerial views of the construction of the M4 motorway (Junctions 15), 20 x 25cm or the reverse, pasted back to back on 24 thick paper
album leaves with tissue-guards, a few detached and showing
credits and some captions and dates to versos, 10 photographs with
typed captions attached to lower part of images with old sellotape,
now partly peeling away with no obvious damage to photographs,
contemporary black synthetic boards with spine tie, oblong folio
325* Mudd (James, 1821-1906). Two extra large display-format
carbon prints on drum mounts, circa 1890, depicting two train
locomotives manufactured by Beyer, Peacock & Co., Manchester, late
1880s, one for Costa Rica and one for Valencia, some soiling and a
few small tears without loss, both with red photo credits lower right,
mounted on wooden stretchers, each approximately 80 x 122cm
The captions visible include: Sipson Road looking East, showing first
complete area of carriageway in foreground; County Bridge looking West with
new County Road in left middle distance; Colnesbrook Culvert looking West
and Staines Railway and Thorney Pit; Old Slade Lane looking East to
Colnesbrook Culvert; Richings Park looking West showing construction of
hardcore access road; Sutton Lane looking East to Richings Park; Sutton Lane
looking West to Langley roundabout; Langley roundabout looking East to
Sutton Lane & Richings Park (all 9 September 1963); Langley roundabout view
looking West, Junction with existing Slough bypass (4 December 1964). This
early section of the M4 was opened in 1965, the English section of the
motorway being completed on 22 December 1971.
£300-500
(1)
These very early enlargements were originally displayed in the Beyer, Peacock
& Co. offices in Manchester.
£300-500
(2)
95
Lot 326
326* Muybridge (Eadweard, 1830-1904). Cap of Liberty, Valley of
the Yosemite No. 31, 1872, mammoth-plate albumen print, 1872,
423 x 535mm (16.75 x 21ins), contemporary card mount
(1)
£1000-1500
327* Panoramas. A group of 3 albumen print panoramas, the first
a two-part panorama of the harbour at Malta, circa 1870, 19 x 46cm,
the second of the Rock at Gibraltar, circa 1895, 3 parts, 15.5 x 50cm,
mounted with ink caption beneath, the third a two-part panorama
of Brindisi by Achille Mauri, circa 1890s, 19.5 x 52cm, contemporary
paper mount
(3)
£100-150
328* Parkinson (Norman, 1913-1990). Unknown model advertising
Revlon for American Vogue, 1958, vintage gelatin silver print,
annotated P183.69, Tobago, to verso, image 258 x 267mm, paper
385 x 305mm
(1)
96
£300-500
329* Parkinson (Norman, 1913-1990). Duchess with Walls
Icecream and robber, 1959, vintage gelatin silver print, annotated
WT1191-16 to verso, image 278 x 240mm, paper size 385 x 305mm
(1)
£200-300
330* Parkinson (Norman, 1913-1990). Ros Watkins wearing Polly
Peck metal foil dress, photograph for Vogue, 1958, vintage gelatin
silver print, annotated CV251-5 to verso, 365 x 290mm, together
with 2 further vintage gelatin silver prints by Norman Parkinson, the
first showing Ursula with Tinka Patterson in the background at
Henley Regatta, 1958, annotated P292-66 to verso, 368 x 294mm,
the second showing an unknown model advertising for DAKS, 1959,
annotated P286-31 to verso, 375 x 290mm, all on paper size 385 x
305mm
(3)
£200-300
Lot 329
331 Parkinson (Norman, 1913-1990). Ros Watkins wearing Susan
Small on plinth, photograph for Vogue, 1959, vintage gelatin silver
print, annotated P230-45 to verso, 260 x 255mm, together with 3
further gelatin silver prints by Norman Parkinson, the first Sue
Kinnear wearing Susan Small with mirror, 1959, annotated WT20020 to verso, 285 x 290mm, the second of Dorian Leigh with guitar
in Monte Carlo, advertising Susan Small, August 1957, annotated
P121-4 to verso, 250 x 250mm, the last also of Dorian Leigh for
Vogue, Monte Carlo, 1957, annotated P121-1 to verso, 250 x
250mm, all with paper size 385 x 305mm
(4)
Lot 330
97
£200-300
332* Parkinson (Norman, 1913-1990). A good group of British Airways
subjects, circa 1950, all vintage gelatin silver prints showing grounded
aircraft and crew from various angles, 6 with Norman Parkinson
wetstamps to verso and some with John Stroud Collection and Aviation
Picture Library to versos, mostly 19 x 24cm or the reverse and similar sizes
(38)
£2000-3000
333* Photographic Furniture. A hand-painted wooden box, late 19th
century, with painted front and rear panels showing flowers and a
kingfisher, the hinged lid with hand-painted monogram TSB to outer lid
and pond lilies to inside lid, brass carrying handles, the inside of the box
containing 3 photograph albums, 2 folio photograph albums containing
albumen print views of Great Britain, one volume with inscription of
Thomas S. Buck, 1877, half morocco, some wear and spine lifting, the
second volume with hand-painted wooden boards and leather spine,
the third empty carte-de-visite album with clasp and monogram plaque
for Buck to upper cover, 4to, box with some surface scratches and
marks, lock and key present, 41cm wide x 32cm high x 21cm deep
(1)
£100-200
98
335* Ponting (Herbert, 1870-1935). Captain Oates with some of
the Siberian ponies in the “Terra Nova”, December 1910, gelatin
silver contact print, surface dings and oblique crease to top righthand corner, pencil inscribed to verso with photographer’s ink
stamps ‘Photographed by Herbert G. Ponting FRGS British Antarctic
Expedition 1910’ and ‘Herbert G. Ponting FRGS copyright’, 9 x 12cm
334* Pictorialism. A large carbon print of Streatley [Luton,
Bedfordshire] by F. Thurston, circa 1910, showing an old man with a
walking stick walking away down a village lane with trees and
cottages, 42 x 57cm, framed and glazed with wooden mat,
photographer’s credit and title printed to lower mat
(1)
£100-150
(1)
£400-600
336* Russia. A group of approximately 90 gelatin silver print
snapshot photographs of Russia, circa 1912-18, including military
interest, people and scenes, many with pencil captions to verso in
English and some with the name of the presumed photographer of
many or all of these photographs F[lorence] Farmborough, many
also numbered to versos in red felt tip, mostly approximately 8.5 x
11cm but some smaller and larger, together with an assorted
collection of approximately 200 postcards, many postally used and
some addressed to Florence Farmborough
Florence Farmborough (1887-1978) was an author, photographer, nurse,
teacher and university lecturer. After growing up in Buckinghamshire she
originally went to live in Russia in 1908, and worked as a governess for a
family in Kiev. Two years later she moved to Moscow, where she was
employed as English tutor. On the outbreak of the Great War in 1914, she
qualified and worked as a Red Cross nurse with the Imperial Russian Army,
and saw service at both the Galician and the Romanian fronts. During her
time as a nurse she kept a diary and habitually took a large plate camera
around with her, though the photographs here would mostly be using a small
portable camera. Extracts from the diaries were eventually used as the
source material for her book, ‘Nurse at the Russian Front’, published in 1974.
She also worked as a reporter for The Times and for BBC Radio. Following
the October Revolution and the disbandment of her Red Cross unit, she
returned to England in 1918.
£500-800
(a small carton)
Lot 335
Lot 336
99
Lot 340
338 Scotland. An album containing approximately 120 albumen print
views of Scotland, circa 1860s and 1870s, including carte-de-visitesize views in Aberdeenshire, Edinburgh, Forfarshire, etc., plus half
and full-page plate view, some credited in the negatives, ink captions
to mounts, mostly mounted as multiples to rectos of paper mounts
throughout, ownership signature and bookplate of James Colquhoun,
Rossdhu, Luss, dated 1871, contemporary half calf gilt, covers rubbed
and marked, folio, together with a late 19th-century photograph album
containing 22 half and full-plate albumen print views of Scotland,
remaining leaves blank, contemporary half morocco, some wear, folio
(2)
339* Space. Apollo 12 70-mm Photographic Catalog, July
1970/Apollo 13 Photographic Data Package, December 1970/Apollo
14 Photography 70-mm, 35-mm, 16-mm, and 5-in. Frame Index,
Parts 2 & 3, August 1971/Apollo Mission 14 Lunar Photography
Indexes, June 1971, all published NASA, numerous b & w
illustrations from photos, folding index plate loosely inserted into
second volume, three large folding sheets stapled into final part, all
original printed wrappers and stapled as issued, 4to (final volume
slim narrow folio), together with other related lunar ephemera
337 Scotland. An album containing 35 albumen print views, circa
1890, including views of Edinburgh, yachting on the Clyde, planting
potatoes in Skye, spinning wool in Skye, the herring season at
Aberdeen, etc., mostly credited to James Valentine or George
Washington Wilson in the negative, images 19 x 29cm and mounted
to rectos only of stiff card leaves, contemporary padded morocco,
rubbed and some wear, oblong folio
(1)
£200-300
(8)
£70-100
340* Stereoscopic Daguerreotype. British Grenadier Officer
stereoscopic daguerreotype in Claudet-patent stereoviewer, 1850s,
hand tinted, red tunic to right image only, arched top, paper passepartout, gilt credit stamp to upper cover, some solarisation, viewer
somewhat distressed and tacks from hinges to upper lid now missing
£70-100
(1)
100
£2000-3000
341* Stereoscopic Daguerreotype. A stereoscopic daguerreotype
of statuary depicting a female nude with clutching figure by James
Pradier, circa 1855, some spotting and solarisation to both images,
authentication printed label initialled by the photographer to right
margin, seal tear upper right, 8.5 x 17.5cm
(1)
£200-300
343*
Stereoscopic Ambrotypes. A pair of stereoscopic
ambrotypes of rooms with Roman statuary at the Crystal Palace
Great Exhibition, 1851, one with cracked glass to right image and
split seal with sellotape repair, Gladwell, City Stereoscopic Depot
large printed label to verso, the second with small glass crack to
uppe right corner not affecting image, both 8 x 17cm
(2)
£300-500
342*
Stereoscopic Daguerreotypes. Two stereoscopic
daguerreotypes of statuary at the Crystal Palace Great Exhibition,
1851, one of ‘a bathing nymph’ (by John Lawlor), the other of
‘Sabrina’ by W.C. Marshall, printed label of Gladwell, City
Stereoscopic Depot to versos, some solarisation to edges and
spotting to left image of second daguerreotype, both 8 x 17cm
(2)
£400-600
344* Stereoviews - Mining. A group of 26 stereographic
photographs of mining in South Africa by G.B. Neilson, circa 1900,
some spotting to mounts
(26)
101
£150-200
345* Stereoviews. A group of approximately 200 assorted
stereoviews, mostly late 19th and early 20th century, publishers
include Underwood & Underwood, etc., subjects include Jerusalem,
Boer War, Scandinavia, married life, geology, etc., together with 4
hand-held stereoviewers (1 broken)
(a carton)
£100-150
346* Stieglitz (Alfred, 1864-1946). Nearing Land, vintage
photgravure on tissue, original paper mount present but detached,
21.5 x 17.5cm
From Camera Work XII, 1905.
(1)
£300-400
347* Sutcliffe (Frank Meadow, 1853-1941). The Dock End, Whitby
(from the Railway Station), 1880, contemporary carbon print on card,
signed in pencil ‘FM Sutcliffe’ lower right above image negative
number ‘174’, 235 x 285mm, framed and glazed
(1)
£600-800
348 Third Afghan War, 1919. An album containing approximately
160 window-mounted POP. photographs, circa 1919, many as real
photo postcards, showing military camps, trains, buildings, rural
areas, etc., uncaptioned and displayed three to a page,
contemporary cloth, rubbed, narrow folio, together with a wallet of
approximately 100 related negative transparencies
(2)
£400-600
Lot 346
Lot 347
Lot 348
102
350* Valor Company Ltd. A group of 15 mounted gelatin silver
print photographs of the construction and early workshop workings
of Aston Brass Company Ltd, Rocky Lane, Birmingham, circa
1924/1926, 2 photographs showing female factory workers at Rocky
Lane in 1924, images 23 x 28cm and similar, mounted on
contemporary card, some with brief ink captions, plus 15 related
vintage and later including further prints of factory workers, Valor
heaters and machinery, plus a small folder of colour drawings and
copies of electric Valor heater, circa 1960, plus 2 shop display
maquette models of Valor heaters (one with minor damage)
(a small archive)
349* Tolstoy (Leo, 1828-1910). Albumen print cabinet card by
Scherer & Nabholz, Moscow, circa 1900, three-quarter length,
seated, minor spotting, together with a half-length cabinet card
photograph of Victor Hugo by Chalot, circa 1870s
(2)
£150-200
351* World Travel. A photograph album of a military family in South
Africa travelling to Northern China, Japan, South America, Western
Siberia, circa 1900-20, mostly gelatin silver prints of various sizes
including some military and family interest, plus local types and
views while on travels, including a good selection of Kazakhs from
Ormsk region and Irkutsk in Siberia, a total of approximately 200
images, mounted as multiples and uncaptioned throughout,
contemporary cloth, oblong 4to
£150-200
(1)
Lot 351
103
£400-600
MARCUS AND GILBERT ADAMS PHOTOGRAPHY ARCHIVE PART II
(Arthur) Walton Adams (1842-1934) was a photographer who worked in Southampton and Reading. He was the co-inventor of the dryplate process. His son, Marcus Adams (1875-1959), established a reputation as a leading child photographer. In 1919 he joined up with
Bertram Park (1883-1972) and his wife Yvonne Gregory (1889-1970) to form the 'Three Photographers'. In 1926, Marcus Adams took
first official photographs of the Duchess of York and Princess Elizabeth (future Queen Mother and Queen Elizabeth II) and continued
up to 1956 in a sitting with Princess Anne. His son, Gilbert Adams (1906-1996), assisted in his early years but later established his own
highly successful career as a photographer, specialising in photographing the ballet.
All the following lots come from the estate of Gilbert Adams’ late widow, Rosalind Thuillier. See Rosalind Thuillier, Marcus Adams,
Photographer Royal (1985).
352* Marcus Adams Archive. A collection of photographs relating
to the Adams family, including many portraits of Marcus Adams, of
his wife, his father Walter Adams, of people who worked with him
and of Gilbert Adams’ wife, various processes and sizes
(a large folder)
£100-150
353* Marcus Adams Archive. A large collection of photographs by
Marcus and Gilbert Adams, Bertram Park and Yvonne Gregory,
mostly studio portraits, various processes and sizes
(a carton)
£300-400
354* A similar lot
(a carton)
£300-400
355* A similar lot
(a carton)
£300-400
Lot 352
Lot 353
Lot 356
104
356* Camera. Marcus Adams’ custom-made travelling camera, on
a base with casters and riser rods for height adjustment, Tessar lens
1:45 f = 25cm with shutter and iris, glass viewing screen and two
plate holders, together with various lenses and shutters including
brass bound Dallmeyer soft focus lens no. 100799 and brass bound
Dallmeyer triple acromatic lens no. 10107, with various other camera
parts and a slide viewer including colour slide of Marcus Adams
This travelling camera designed and used by Marcus Adams is described and
illustrated in Rosalind Thuillier, Marcus Adams: Photographer Royal (1985),
pp. 45-46.
(camera & 2 cartons)
£500-800
357* George VI (King, and family). A large group portrait of King
George VI and Queen Elizabeth with their two daughters Princesses
Elizabeth and Margaret, in the entrance to the Music Room,
Buckingham Palace, photographed by Marcus Adams, 1939, bromoil
gelatin silver print, a few old small water splash marks discernible,
76 x 53.5cm, framed and glazed (glass partly cracked), printed details
of the occasion to verso
(1)
Lot 359
£100-150
Lot 360
358* Nudes. A small group of approximately 60 glass plate
negatives of male and female nudes, presumed by Gilbert Adams,
contained in 5 negative card boxes, the whole contained in a small
wooden storage cabinet marked ‘MA’
(approx. 60)
£100-150
359* Nudes. A good collection of male and female nudes from the
Adams, Park & Gregory Studio, mostly gelatin silver prints including
approximately 75 medium and large format plus many smallerformat studies, many mounted as multiples on approximately 70
card mounts
(a carton)
£300-400
360* A similar lot
(a carton)
£300-400
361* Ballet & Theatre. A very good collection of approximately 80
mostly gelatin silver print photographs of ballet and theatre interest,
mostly Gilbert Adams and Bertram Park, various sizes and including
some exhibition prints and one Gevaluxe print by Park, plus some
contact prints and negatives
(a folder)
Lot 361
£300-500
105
362* British Royalty. A good group of approximately 50 gelatin silver
prints by Marcus Adams, Bertram Park and Studio, mostly relating
to King George VI and Queen Elizabeth and their young family,
including approximately 20 in modern mats, plus 2 related albums
(an archive)
£300-500
Lot 363
363* Writers & Artists. A group of approximately 60 mostly gelatin
silver print photographs by Gilbert Adams and others, relating to St
Ives and including Peter Lanyon, Terry Frost, etc., plus views in St
Ives and portraits of writers, various sizes, 8 items framed and glazed
(approx. 60)
365* Portraiture. A large collection of over 100 large-format portraits
of children from the Adams Studio, mostly gelatin silver prints including
exhibition prints in modern mats
£300-500
(approx. 100+)
364* Portraiture. A large collection of over 100 large-format portraits
from the Adams Studio, mostly gelatin silver prints of largely unidentified
men and women, including exhibition prints in modern mats
(approx. 100+)
£300-500
366* Portraiture. A large assorted collection of portraiture from the
Adams Studio, a mixture of larger and smaller-format mostly gelatin
silver prints of unidentified men, women and children
£300-500
(2 cartons)
Lot 364
Lot 365
106
£200-300
Lot 366
367* Architecture. A large collection of approximately 600
architectural studies, mostly gelatin silver prints of English
ecclesiastical architecture, 22 x 28 cm, on contemporary mounts
loosely contained in Walton Adams portfolios, plus a quantity of
architectural photographs by other photographers
(3 cartons)
£300-500
368* Adams Studio. A miscellaneous collection of Adams Studio
photographs, mostly medium and smaller formats, including some
family photographs, negatives and related
(a carton)
£200-300
Lot 367
369* Adams Studio. A miscellaneous collection of Adams Studio
photographs, various subjects, media and sizes, a few items framed
and glazed
(a carton)
£200-300
370* Adams Studio. A similar lot
Lot 368
(a carton)
107
£200-300
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name and address provided on your registration form.
Please note successful bids made via live bidding cannot be invoiced or paid for until the day after an auction.
A live bidding fee of 3% + vat will be added to your invoice.
METHODS OF PAYMENT
Cheque
Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further
information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear
before purchases can be collected or posted.
Cash
Payments can be made at the Cashier’s Office, either during or after the sale.
Debit Card
There is no additional charge for purchases made with these cards. Debit cards drawn on an overseas bank, however,
will be subject to a 2% surcharge.
Credit Cards
Visa and Mastercard are accepted, a 2% surcharge will apply. It is a good idea to let your card provider know in advance
if you are intending to buy something. This can help cut down the time we need to seek authority when you come to pay.
Bank Transfer
All transfers must state the relevant invoice no. If transferring from a foreign currency, the amount we receive must be
the total due after the currency conversion and the deduction of any bank charges.
Collection/Postage/Delivery
If you attend the auction in person and are successful in your bid, you are free to collect your item once payment has
been made.
Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house
packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice.
Where it is not possible for our in-house packing department to send your item you will be required to make your own
arrangements or to contact Mailboxes etc (tel: 01793 525009) who may be able to help.
We provide a monthly delivery service to Central London, usually on Wednesday of the week following an auction.
Payment must be received before this option can be requested. A charge will be added to your invoice for this service.
108
INDEX OF ARTISTS
Anderson, Anne
Anderson, Stanley
Austin, Robert Sargent
108
80
69, 70, 71
Badmin, Stanley Roy
Baird, Johnstone
Banting, John
Beardsley, Aubrey
Belleroche, Albert de
Bewick, Thomas
Blampied, Edmund
Bone, Sir David Muirhead
Brightwell, Leonard Robert
Briscoe, Arthur John Trevor
Brockhurst, Gerald Leslie
Cameron, David Young
Chahine, Edgar
Coker, Peter Godfrey
Copley, John
Corinth, Lovis
Craig, Edward Gordon
72
54
121
18
21
1, 2
39, 40
38, 41
88
55
89, 90, 91, 92, 98, 99
100, 101, 110, 111, 112, 113
56, 57, 58, 59, 60, 93, 94, 95, 96, 97
33,34
129
115, 116, 117, 118
29
130
Dauchez, Andre
Dawson, Nelson Ethelred
De Jong, Martinus Johannes
Detmold, Edward Julius
Derain, Andre
Dicksee, Herbert
Dielman, Ernest Benham
Dore, Gustav
Drummond, Malcolm
Drury, Paul
Dufy, Raoul
Edwards, Edwin
Eggeler, Stefan
Farrell, Frederick Arthur
Feibusch, Hans
Flint, William Russell
Frank, Hans
Fraser, Claud Lovat
Freedman, Barnett
Gekko, Ogata
Gill, Eric
Ginner, Charles Isaac
Goya, Francisco de
Griggs, Frederick Landseer
Haden, Sir Francis Seymour
Hallward, Patience Mary
Hamanishi, Katsunori
Hankey, William Lee
Hawkins, Harold Frederick Weaver
Helleu, Paul Cesar
Henschl, Hugo
Herkomer, Hubert von
Hiroshige, Ando
Hokusai, Katsushika
Howey, Robert Leslie
35
87
30
102
36
20
37
12
119
66, 73
31
10
28
86
122
123
131
132
124
177
114, 133, 134
138
8
61, 62, 63, 64, 65
11
85
179
125, 126
139
26, 27
25
15
180
181
140
Kasamatsu, Shiro
Kasimir, Luigi
Kauffer, Edward McKnight
Kawarazaki, Shodo
Knight, Laura
Kunisada, Utagawa
Kunisada, Toyokuni III
Kuniyoshi, Utagawa
182
32
142
183
107
185, 186, 187, 188
189
190, 191, 197
Lamb, Lynton
Le Bas, Rachel Anne
Legros, Alphonse
Leibermann, Max
Leighton, Clare Veronica Hope
Lewis, Frederick
Lloyd, Reginald
Lord, Elyse Ashe
122
84
13
22
143, 144, 145
5
127, 146
105, 106
Maillol, Aristide
Martin, John
Millet, Jean-Francois
Minko, Tachibana
Minwa, Gosentei
147
3, 4, 5
6, 7
195
193
Nash, John
Nash, Paul
Nevinson, Christopher Richard Wynne
Palmer, Samuel
Pellew, Claughton
Pennell, Joseph
Piper, John
Power, Cyril Edward
Pryse, Gerald Spencer
Raverat, Gwen
Roberts, John Vivian
Rothenstein, Will
Rouault, Georges
Sadahide, Utagawa
Saito, Kiyoshi
Sauter, Rudolph Helmet
Schwabe, Randolph
Settei, Tsukioka
Short, Sir Frank
Shumboku, Ooka
Strang, William
Sullivan, Edmund
Tanner, Robin
Thorne, Diana
Tissot, James Jacques Joseph
Tout, Ann
Toyokuni, Utagawa
Verpilleux, Emile Antoine
Vlaminck, Maurice de
Itcho, Hanabusa
195
Walcot, William
Webb, Clifford Cyril
Webb, Joseph
West, Joseph Walter
White, Ethelbert
Wyllie, William Lionel
Jones, David
141
Zorn, Anders
109
148
120
48, 49, 50, 51, 52
9
149
16, 17
150
83
42, 43, 44
135, 136, 137, 151, 152, 153, 154
128
19
36
193
194
104
82
195
81
181
103
104
67, 68
109
14
155
197
24
36
78, 79
156
74, 75, 76, 77
53
157
45, 46, 47
23
Conditions of Sale and Business
1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or
is properly authorised to sell the property by the true owner and is able to
transfer good and marketable title to the property free from any third party
claims.
2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer
considers that a dispute has arisen he has absolute authority to settle
it or re-offer the lot. The Auctioneer may at his sole discretion determine
the advance of bidding or refuse a bid, divide any lot, combine any two
or more lots or withdraw any lot without prior notice.
(b) Where goods are bought at auction by a buyer who has entered into
an agreement with another or others that the other or others (or some
of them) shall abstain from bidding for the goods and the buyer or other
party or one of the other parties is a dealer (as defined in the Auction
Biddings Agreement Act 1927) the buyer warrants that the goods are
bought bona fide on joint account.
3. The buyer shall pay the price at which a lot is knocked down by the
Auctioneer to the buyer (“the hammer price”) together with a premium of
19.5% of the hammer price. Where the lot is marked by an asterisk the
premium will be subject to VAT at 23.40% which under the Auctioneer’s
Margin Scheme will form part of the buyer’s premium on our invoice and
will not be separately identified (the premium added to the hammer price
will hereafter collectively be referred to as “the total sum due”). By making
any bid the buyer acknowledges that his attention has been drawn to the
fact that on the sale of any lot the Auctioneer will receive from the seller
commission at its usual rates in addition to the said premium of 19.5% and
assents to the Auctioneer receiving the said commission.
4. (a) The buyer shall forthwith upon the purchase give in his name and
permanent address and pay to the Auctioneer immediately after the
conclusion of the auction the total sum due.
(b) The buyer may be required to pay down during the course of the sale
the whole or any part of the total sum due, and if he fails to do so after
such request the lot or lots may at the Auctioneer's absolute discretion
be put up again and resold immediately.
(c) The buyer shall at his own expense take away any lot or lots purchased
no later than five working days after the auction day.
(d) The Auctioneer may at his own discretion agree credit terms with a
buyer and extend the time limits for collection in special cases but
otherwise payment shall be deemed to have been made only after the
Auctioneer has received cash or a sterling banker’s draft or the buyer's
cheque has been cleared.
5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to
clause 4 or breaches any other condition of that clause the Auctioneer
as agent for the seller shall be entitled after consultation with the seller
to exercise one or other of the following rights:
(i) Rescind the sale of that or any other lots sold to the buyer who defaults
and re-sell the lot or lots whereupon the defaulting buyer shall pay to
the Auctioneer any shortfall between the proceeds of that sale after
deduction of costs of re-sale and the total sum due. Any surplus shall
belong to the seller.
(ii) Proceed for damages for breach of contract.
(b) Without prejudice to the Auctioneer's rights hereunder if any lots or
lots are not collected within five days or such longer period as the
Auctioneer may have agreed otherwise, the Auctioneer may charge the
buyer a storage charge of £1.00 + VAT at the current rate per lot per day.
(c) Ownership of the lot purchased shall not pass to the buyer until he has
paid to the Auctioneer the total sum due.
6. (a) The seller shall be entitled to place a reserve on any lot and the
Auctioneer shall have the right to bid on behalf of the seller for any lot
on which a reserve has been placed. A seller may not bid on any lot on
which a reserve has been placed.
(b) Where any lot fails to sell, the Auctioneer shall notify the seller
accordingly. The seller shall make arrangements either to re-offer the
lot for sale or to collect the lot and may be asked to pay a commission
not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot.
(c) If such arrangements are not made within seven days of the notification
the Auctioneer is empowered to sell the lot by auction or by private
treaty at not less than the reserve price and to receive from the seller
the normal selling commission and special expenses.
7. Any representation or statement by the Auctioneer in any catalogue,
brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated
selling price is a statement of opinion only. Every person interested should
exercise and rely on his own judgement as to such matters and neither the
Auctioneer nor his servants or agents are responsible for the correctness
of such opinions. No warranty whatsoever is given by the Auctioneer or
the seller in respect of any lot and any express or implied warranties are
hereby excluded.
8. (a) Notwithstanding any other terms of these conditions, if within fourteen
days of the sale the Auctioneer has received from the buyer of any lot
notice in writing that in his view the lot is a deliberate forgery and
within fourteen days after such notification the buyer returns the same
to the Auctioneer in the same condition as at the time of the sale and
satisfies the Auctioneer that considered in the light of the entry in the
catalogue the lot is a deliberate forgery then the sale of the lot will be
rescinded and the purchase price of the same refunded. "A deliberate
forgery" means a lot made with intention to deceive.
(b) A buyer's claim under this condition shall be limited to any amount paid
to the Auctioneer for the lot and for the purpose of this condition the
buyer shall be the person to whom the original invoice was made out
by the Auctioneer.
9. Lots may be removed during the sale after full settlement in accordance
with 4(d) hereof.
10. All goods delivered to the Auctioneer's premises will be deemed to be
delivered for sale by auction unless otherwise stated in writing and will
be catalogued and sold at the Auctioneer's discretion and accepted by
the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of
books that, in the opinion of the Auctioneer at his absolute discretion,
have no saleable value and, therefore, might detract from the saleability
of the rest of the lot and the Auctioneer shall incur no liability to the seller,
in respect of the books disposed of. By delivering the goods to the
Auctioneer for inclusion in his auction sales each seller acknowledges that
he/she accepts and agrees to all the conditions.
11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's
premises and in their custody will be held insured against the risks of
fire, burglary, water damage and accidental breakage or damage.
The value of the goods so covered will be the hammer price, or in the
case of unsold lots the best bid, or in the case of loss or damage prior
to the sale that which the specialised staff of the Auctioneer shall in
their absolute discretion estimate to be the auction value of such goods.
(b) The Auctioneer shall not be responsible for damage to or the loss, theft,
or destruction of any goods not so insured because of the owner’s
written instructions.
12. The Auctioneer shall remit the proceeds of the sale to the seller thirty
days after the day of the auction provided that the Auctioneer has received
the total sum due from the buyer. In all other cases the Auctioneer will
remit the proceeds of the sale to the seller within seven days of the
receipt by the Auctioneer of the total sum due. The Auctioneer will not
be deemed to have received the total sum due until after any cheque
delivered by the buyer has been cleared. In the event of the Auctioneer
exercising his right to rescind the sale his obligation to the seller
hereunder lapses.
13. In the case of the seller withdrawing instructions to the Auctioneer to sell
any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's
middle estimate of the auction price of the lot withdrawn together with
Value Added Tax thereon and any expenses incurred in respect of the lot
or lots.
14. The Auctioneer’s current standard notices and information (i.e. Collation
and Amendments) will apply to any contract with the Auctioneer as if
incorporated herein.
15. These conditions shall be governed by and construed in accordance with
English Law.
#
DOMINIC WINTER
SPECIALIST AUCTIONEERS AND VALUERS
Saleroom and Offices: Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ
Tel: 01285 860006 Fax: 01285 862461
COMMISSION SLIP
Please Bid on my behalf at the sale on 7 April 2016 up to the amount shown.
I acknowledge that I will be required to pay a buyer's premium at the current rate.
Lot
£
Brief Description
______________________________________________________________________________________
Name:
Address
Telephone:
Email:
Fax:
Postage can be arranged for most purchases. For UK and European customers we use DPD (formerly Parceline) or
Royal Mail: a separate charge is added to the invoice (minimum £15) and parcels are despatched as soon as possible
after payment has been received. All framed and glazed items and all lots for overseas customers outside Europe
will be sent to Mail Boxes Etc. (tel: Swindon 01793 525009) or R.F. Shipping (tel: London 0845 873 6240). Both of
these companies will quote and invoice separately. Please note: DWBA invoices must be paid before consignments
are handed to third party shipping companies.
The nearest train station to the saleroom is Kemble (BR) which is on the London (Paddington) to Worcester Shrub Hill
line. Train journey times from London are on average 90 minutes whether direct or with one change, and run at about
one per hour from early until late. Several of the trains in each direction are direct and about half the services require a
brief change at Swindon. Customers are advised to check train times and book as early as possible for the best range of
ticket services and discounts.
National Rail Enquiries:
08457 484950
Telephone advance train ticket booking:
08457 000125 (First Great Western)
Online train timetables and online ticket bookings:
www.nationalrail.co.uk
Taxis from Kemble Station (5 miles/10 minutes)
Brian's Cabs
Cirencester Radio Cars
Cirencester Taxis
01285 655299 / 07980 579947
01285 650850
01285 642767
Taxis from Swindon Station (12 miles/25minutes)
V-Cars
01793 701701
Cirencester Visitor Information Centre
+44 (0)1285 654180
[email protected]
Catalogue Produced by
Jamm Design – 020 7424 7830
[email protected]
Photography by
Ben Cavanna – 07968 342013
[email protected]
THE BOOKBINDING STUDIO
OF PHILIP SMITH
Thursday 16 June 2016
The Divine Comedy of Dante Alighieri, by Tom Phillips, 3 vols.
Magnificent impasto maril onlay designer bindings by Philip Smith
For further information please contact:
Colin Meays | [email protected]
Susanna Winters | [email protected]

Catalogue PDF - Dominic Winter Auctioneers

Transcription

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