Catalogue PDF - Dominic Winter Auctioneers

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Fine Art & Antiques
3 MARCH 2016
Dominic Winter
SPECIALIST AUCTIONEERS & VALUERS
DW101-147 Part One.qxp_Layout 1 18/02/2016 11:23 Page 1
Dominic Winter
SPECIALIST AUCTIONEERS AND VALUERS
All lots are offered subject to the
Conditions of Sales and Business exhibited in the saleroom.
A buyer’s premium of 19.5% of the hammer price is payable by the buyers
of all lots, except those lots asterisked, in which case the buyer’s premium is 23.40%
Lots marked with a cross (+) are subject to VAT on the hammer price as well as the premium
CERAMICS, ORIENTAL WORKS OF ART
SILVER, JEWELLERY & WATCHES
FURNITURE & EFFECTS
PAINTINGS & WATERCOLOURS
OLD MASTER & MODERN PRINTS
THE STUDIO OF MARCUS ADAMS
Thursday 3 March 2016
Lots 1- 504 commencing at 11am
Viewing: Tuesday & Wednesday 1 & 2 March, 9am-7pm and morning of sale from 9am
Payment may be made while the sale is in progress: please see the cashier in the auction office.
Customers are asked to pay cash or establish a credit reference with the Auctioneers prior to the sale.
Please ensure that all telephone and commission bids reach us by 10am on the morning of sale.
Results will be posted on our website immediately after the sale.
Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ
Tel: 01285 860006
www.dominicwinter.co.uk
Fax: 01285 862461
[email protected]
For directions on how to find us, please refer to map at rear of this catalogue
Cover illustrations:
Front cover: lot 261 • Back cover: Silver, various lots
Inside front cover: lot 484 • Inside back cover: lot 143
Gwen Raverat (1885-1957). From an album of 340 artist’s proofs of her own woodcuts and wood engravings.
The Art of the Print, 7 April. Estimate £10,000-15,000
FORTHCOMING SALES
Wednesday 6 April
Printed Books & Maps, Documents & Royal Memorabilia
Natural History, Fishing, Sporting & Wildlife Art and Books
Music Opera & Theatre, The Ridgewell Collection of Classical LPs
Thursday 7 April
The Art of the Print: 19th & 20th Century Fine Prints
Photography 1850-2000
Islamic, Indian & Oriental Art
Wednesday 11 May
Printed Books, Maps & Documents
British Topography, Archaeology & County Histories
Sports Books, Olympics, Wisden’s Cricketer’s Almanacks
Thursday 12 May
Motoring, Cycling, Maritime & Railway History
Motoring Collectables & Literature, Bicycles and Models
Friday 13 May
Military History including Battle of the Somme
Aviation & Naval History
Books, Medals, Arms & Armour, Stamps, Coins & Banknotes
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]
CONTENTS
Commencing at 10am
Ceramics
1-10
Collectables
11-56
Oriental Works of Art
57-68
Jewellery & Watches
69-101
Silver
102-141
Clocks
142-145
Furniture
146-160
Approximately 12noon or thereafter
Tradition Watercolours
161-224
Oil Paintings
225-248
Portraits & Miniatures
249-266
Old Master Prints & Drawings
267-293
The Studio of Marcus Adams
294-377
Modern Paintings, Drawings
& Watercolours
378-450
Jewish & Émigré Art
451-465
Modern Prints & Artist’s Books
466-504
IMPORTANT NOTICES
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 enquiries concerning any lot in this sale, please contact a member of our specialist staff
Furniture, Silver, Ceramics & Collectables
Henry Meadows BA Hons, MRICS
Matthew Farren BA Hons, FRAS
Paul Rasti
Paintings, Watercolours & Prints
Nathan Winter MA (History of Art)
Susanna Winters MA (History of Art)
Colin Meays BA Hons (Conservation)
CERAMICS
To commence at 10am
Lot 2
Lot 3
1* Cream Ware. An 18th-century twinhandled chestnut basket, of tapered form
with lattice-work decoration, painted with
black sprigs, 25cm long on a matching
stand (minor damage)
(1)
£100-150
2* Duke of Wellington. A Victorian parian
bust by E.W. Wyon for Wedgwood, well
modelled in drapery on circular socle,
impressed ‘E.W. Wyon F’, 39cm high
Edward William Wyon (1811-85) joined the Royal
Academy of Art School in 1829, exhibited at the
Great Exhibition of 1851 and a year later made a
bust of Wellington for Wedgwood.
£200-300
(1)
3* Meissen. A 19th-century porcelain
figure modelled as a boy wearing a plumed
hat standing by a classical ruin, blue crossed
swords mark to base, incised E94, 16.5cm
high, together with a similar Continental
figure, modelled as a man firing a crossbow
standing before a Classical ruin, blue mark
to base, 17cm high (some damage)
(2)
£150-200
4* Meissen. A 19th-century porcelain
figure, modelled as a lady card player with
suits of card in each hand standing before
a pedestal card table, blue crossed swords
mark to base incised F64, 17cm high (some
damage and restoration)
(1)
Lot 4
5* Meissen. A late 19th-century Meissen
porcelain sweetmeat dish, modelled as a
maiden in 18th-century dress holding a
flower, seated on two baskets painted with
flowers on a rocaille base, underglaze blue
crossed swords mark to base, incised
‘3024’, 14cm long (some damage),
together with a porcelain figure modelled
as a lady after the original by Michael Victor
Acier with feathered muff reading, on a
rocaille base, spurious overglazed blue
crossed swords mark, plus incised beehive
mark and No. ‘844’, 21cm high, plus two
other porcelain figures
(4)
8* Studio Pottery. A pair of Winchcombe
pottery lidded jars by Ray Finch (1914-2012),
each with domed lid, and two handles,
impressed seal mark to base, 14cm high,
together with a two bowls, two vases and
a pair of small plant pots all in the
Winchcombe style, plus an Ashby Guild
pottery vase with a light brown glaze and
streaks of darker brown, the base incised
‘Ashby’, 20cm high plus a twin division
slipware dish with white scroll decoration
on a brown ground
(9)
£100-150
£200-300
6* Parian Bust. A Victorian parian bust of
The Duke of Wellington by Joseph Pitts,
London, finely modelled and incised on a
socle, 24cm high
(1)
£100-150
7* Plaques. A pair of Copenhagen plaques
by Ipsen, decorated after Thorvaldsen
representing day and night, with giltpainted borders, impressed marks to base,
13cm diameter (one with chip to rim)
(2)
£70-100
£150-200
Lot 6
5
Lot 7
Lot 9
9*
Wedgwood. A large Wedgwood
basaltware bowl, decorated in the
Neoclassical style, stamped to base, 30cm
(12ins) diameter
(1)
COLLECTABLES
£150-200
11* Arts & Crafts. An early 20th-century
stationery box, covered in embossed
pewter with stylised grape and vine
geometric decoration with semi-precious
stone cabochons, the hinged lid enclosing
stained beech compartments, 15cm high x
26cm wide
(1)
£150-200
12* Boot Jack. An Edwardian turned
mahogany boot jack, 84cm long, together
with another plus an iron gun rack
(3)
£70-100
13*
Sarcophagus Box. A Regency
sarcophagus box, veneered in satinwood
with a lyre and scroll nailed decoration,
mother-of-pearl escutcheon and cartouche,
boxwood string inlay, the hinged lid
enclosing velvet lining, on four bone feet,
8.5cm high x 14cm wide x 8cm deep
(1)
£70-100
14* Box. A Victorian tortoiseshell and
piqué sewing box, the hinged sloping lid
with white metal cartouche, inset
throughout with roundels, lined in red silk,
10.5cm high x 6.5cm wide x 5cm deep
(1)
15* Bronze. A Victorian Bacchanalian
bronze in the manner of Claude Michael
Clodian (1738-1814), circa 1860, modelled
as a putto with female in drapery holding a
tambourine on a shaped marble base,
unsigned, 22cm high
(1)
10* World Cup. A Lladro porcelain model
of the football World Cup trophy, after the
design of Bertoni, lettered at foot FIFA
WORLD CUP, printed to base with Lladro
mark and Sport-Billy Productions 1978,
height 34.5cm (13.6ins)
Originally issued to Fifa officials and later reissued for the 1982 World Cup in Spain.
(1)
£400-600
6
£100-150
£500-800
18* Chess Set. A 19th-century AngloIndian carved ivory and bone chess set,
one stained red the other natural, with
turned bases, King 12cm high (some
damage), in a mahogany box
(1)
£70-100
19* Collectables. A mixed collection of
items including an Acme Dove & Pigeon
Call, 17.5cm long, Victorian horn beaker with
copper rim, 9.5cm high, Victorian folding fork
and spoon each with ivory grips, various
pocket knives, Edwardian silver prayer book,
the cover decorated with cherubs, brass
watchmaker’s depthing tool etc.
(a carton)
£70-100
20* Bronze. A 19th-century Continental
bronze vessel, probably Italian, formed as
three infant satyrs, 8cm high
(1)
£70-100
Lot 15
16* Bronze. A late Victorian bronze statue
modelled as a recumbent female nude,
hollow with solid base, 18cm long
(1)
£100-150
17* Caton (Paul). Bowl, circa 1980, cast
iron with black patina, 24cm (9.5ins)
diameter, together with associated letter
from the artist
(1)
£100-150
21* Cup. A 19th-century ivory cup, probably
Indian, intricately carved with swirls and
beaded decoration, lined with rosewood, on
a long-stemmed foot, 14cm high
(1)
7
£100-150
Lot 23
22* Curtains. A pair of large heavy
curtains, French, early 20th century, two
lined and interlined curtains, thick brocade
with a pattern of large floral sprays, in
shades of red, yellow, green, and blue, on
a light brown ground, lined with cream silk,
the head of each curtain wider than the foot
and gathered with a rosette (lacking on
right hand curtain), trimmed with bobble
braid, top gathered with single pinch pleat,
with original brass rings and thick cord with
brass pulls, generally faded and
discoloured, and some wear, with loss to
braid, drop 285cm (112.25ins), width at
head 182cm (71.5ins), width at foot 117cm
(46ins), together with a pair of matching
long thick cord ties, and a pair of matching
large tasselled tie-backs (worn), plus another
dark red pair of tie-backs similar, plus a set
of six embroidered wall panels, French, early
20th century, hand-embroidered in wool,
with flowers and trees, including palm trees,
arum lilies, crown imperial lilies, irises, ferns,
bull rushes, 175 x 62cm (69 x 24.5ins), and
two matching smaller panels depicting
irises, 88 x 28cm (34.5 x 11ins), using long
and short stitch, satin stitch, French knots,
and stem stitch, on an olive green baize
ground, with remains of old tacks in edges
(with consequent holes to margins and
some fraying)
(10)
24* Gyroscope. A modern all steel
gyroscope on a substantial circular base,
approximately 35cm high, together with a
protractor, a Victorian brass 360 degree 12
inch protractor, signed Halden & Co,
Manchester, a 6.25 inch protractor signed
Cary, London, plus a pair of iron callipers,
30.5cm long
(4)
(2)
£200-300
£150-200
26* Knives & Forks. A late 18th-century
dinner knife and fork, with gilt metal grips
engraved with foliate scrolls, the knife
blade engraved with a monogram, the fork
with two steel prongs, 18cm long, together
with another two prong fork with horn grip,
three 19th-century carving knives including
one with ivory grip, plus two knife steels
both with ivory grip
£100-200
23* Eyes. A cased set of Victorian glass
Optician’s eyes, comprising 50 of various
size and colour, contained in a velvet-lined
case, 33.5 x 16.5cm
(1)
25*
Icon. A Russian icon depicting
Madonna and child, oil on panel in a silver
frame with champlevé enamel decoration,
with second Kokoshnik mark for St
Petersburg (1908-26), 8.5cm x 6cm,
together with another similar with marks
for 1890-1916
(8)
£500-700
Lot 25
27* Lathe. An early 19th-century tabletop
engineer’s model-making lathe, finely
constructed in brass with steel on a
rosewood plinth inlaid with barber’s pole
stringing, approximately 49cm long
(1)
8
£100-150
£1000-1500
Lot 27
28* Luggage. A vintage Louis Vuitton
briefcase, with brass catches, corners and
lock stamped Louis Vuitton Made in France
with serial no. 17623 and registration mark,
leather handle and address tag, enclosing
light leather interior and brown leather
strap with brass buckle, general wear,
43cm wide
(1)
£500-800
29* Luggage. A vintage crocodile skin
attaché case, with nickel-plated catches and
locks, crocodile swing handle and initials
J.M.G, enclosing fitted interior, 38.5cm wide
Lot 28
(1)
£100-150
9
30* Merrett (Edward, fl. 1930s). A bronze
sculpture modelled as a hand, signed and
additionally incised ‘Ellen Mary 1932’,
17.5cm long
From the Marcus Adams Collection.
Edward Merrett was famous for his sculptures of
hands with his most famous commission being
the Indian Messiah Meher Baba which he
undertook in 1932 and was the first time that
Baba had permitted any sculptor to depict him.
(1)
£100-150
Lot 34
Lot 35
Lot 36
10
31* Metalwares. A collection of Eastern
metalwares, including a brass bowl with
Arabic script decorated in silver and copper,
23cm diameter plus a similar plate, 32cm
diameter and other items
(4)
£70-100
32* Minerals. A collection of minerals,
including a polished Labradorite specimen,
Finland, 11cm wide, Smoky Quartz, Brazil,
10cm wide, four quartz obelisks, Brazil,
approximately 16cm high etc.
(9)
£70-100
35* Painted Fan. A hand-painted fan,
French, 1861, folding paper fan, the
watercolour leaf with a pastoral landscape
scene depicting figures, including one
playing a cittern, flanked by lake scenes
with boats, swans, and frolicking putti,
within a decorative frame, dated and
indistinctly inscribed in manuscript to lower
edge, mounted on wide pierced bone
sticks, 27cm (10.5ins)
(1)
39* Pewter. A collection of 18th-century
and later pewter, including six side plates,
three with touch marks including Brown,
approx. 25cm diameter, two Victorian
rowing trophy cups each engraved for
Christs College Boat Club Trial Eights,
various measures etc.
(approx. 24)
£70-100
£100-150
36*
Panels. A pair of 19th-century
Continental hardwood panels, each finely
carved with dead game in heavy relief on a
shaped back panel with scrolls and
rosettes, 95cm high x 60cm wide
(2)
£1200-1500
40* Pharmaceutical. A group of three
ironstone pottery apothecary jars by DNW,
Staffordshire, for Leeches, Tamarinds and
Honey, with blue and gold decoration,
42cm high and smaller
(3)
33*
Nailsea Court. A collection of
artefacts reputedly recovered from Nailsea
Court, Somerset, including an oak panel
with carved geometric decoration, 35cm x
19.5cm, a pair of Victorian oak barleytwist
candlesticks, 31cm high, rusted tools,
hinges etc.
Nailsea Court was once home to Richard Percival,
whose deciphering of secret Spanish documents
gave Queen Elizabeth I timely warning of the
Armada invasion plan. The Queen was so grateful
that she gave Percival a pension of 800 marks a
year for the rest of his life.
£150-200
(a carton)
34* Painted Fan. A hand-painted fan,
French, circa 1850, folding paper fan, the
watercolour leaf with a pastoral scene
depicting figures in a landscape, before
turreted buildings, a lake, mountains, and
trees, flanked by floral and foliate
decoration and gilt volutes, faintly rubbed
and creased in places, parchment verso
with watercolour vignette of a church with
spire, and gilt volute decoration, occasional
light spots and marks, mounted on wide
pierced mother-of-pearl sticks with gilt
decoration, 27cm (10.5ins)
A finely painted fan in very good condition.
(1)
£200-300
37* Panels. A pair of late 19th-century
Continental panels, probably Dutch, each
applied with a carved figure in medieval
costume, displayed in carved gilt pine
frames, 39.5 x 23cm
(2)
£200-300
41* Pharmaceutical. A collection of
Victorian chemist’s bottles, comprising five
blue, seven green, ten clear and three
pottery mostly with stoppers and covers,
including a poison bottle with Wright,
Layman & Umney original trade label, 25cm
and smaller (some damage)
(25)
38* Patch Box. A Bilston enamel patch
box, circa 1760s, painted with sprays of
flowers on a pink ground, the hinged lid
enclosing remains of a mirror, 4.5cm wide,
together with a circular enamel plaque,
painted with profile of Marie Antoinette,
3.5cm diameter
(2)
£70-100
£200-300
42* Pharmaceutical. A set of brass
chemist’s scales by Dakin Brothers, with
pans and weights for 5-500g, mounted on
a mahogany base, 40cm high, together
with related items including a pill cutter by
J.W. Pindar & Co., 29cm long, a
cachet/caspule filler, small glass chemist’s
bottles, reference books and other items
(2 cartons)
11
£200-300
£100-150
Lot 43
Lot 46
43* Planters. A pair of Regency lead
planters in the classical style, with lion’s
head Greek key handles, festoons and
square pedestal base, 39cm high
(2)
£300-500
46* Sewing Machine. A Victorian sewing
machine by James G. Weirs & Sons, black
and gilt finish with manufacturer’s
markings, lacking handle, 20.5cm long,
together with a Victorian electric shock
machine in a mahogany case with brass
winding handle and works, original paper
label to inner lid, 22cm long
(2)
44* Purse. An enamel ladies purse,
French, mid 19th century, enamel faced
arched rectangular purse, the front painted
with a young girl wearing a circlet of
flowers on her head, within a beaded oval
frame, the black ground detailed in silver
and gilt with volute pattern, the reverse
conforming, fabric interior worn and
enamel facings detached, 6.5 x 7.5cm (2.5
x 3ins)
(1)
£80-120
45* Samovar. A Georgian copper and
brass samovar in the form of a barrel with
ring handles, brass tap with green stained
ivory handle on a square base with ball
feet, 30cm high
(1)
£50-80
Lot 47
£100-150
47* Shoes. A pair of silk shoes, Shenck,
circa 1830s, a pair of ladies’ shoes covered
in ivory satin, with square toe and throat,
the latter trimmed with a small bow of ivory
silk and long ties of the same, one shoe
with silk perished at heel and ties
sometime renewed (one detached), white
kid shank in each shoe with original oval
engraved label ‘Schenck Shoe Maker
Furnisher to her Majesty the Princess
Imperial, Marie Louise Archidutchess of
Austria, Dutchess of Parma, Plaisenca and
Guastalla, Varranted by S A R Mlle.
D’Orleans, No.7 Duke Street Grosvenor
Square London and in Paris 374 St Denis
Street Passage St. Chaumont’, one shoe
inscribed
inside
in
contemporary
manuscript ‘S’h Me. De Wernon’, 23.5 x
6.5cm (9.25 x 2.5ins), together with a mid
19th century French blouse, white broderie
anglais cotton, with pintucks and lace
inserts, with a high neck, concealed
buttoned back, and long sleeves with frilled
buttoned cuffs, plus a small collection of
other white and cream embroidered and
lace items and fragments, including tray
cloths and several bonnets, plus three
parasols: one floral, mid 20th century; one
cream, early 20th century; and the other
pale blue silk edged with braided tassels,
19th century, silk perished and edging
worn, with a jointed wooden handle, and
ivory finial and keeper ring on a cord
(a small carton)
£100-200
12
48* Spectacles. An extensive collection of
George III and later spectacles, including
three pairs of Georgian silver spectacles,
each with turnpin sides, circa 1807, Victorian
steel and brass framed spectacles, vast
array of 20th-century examples plus
lorgenttes and cases together with a
reference book by Peter Owen, Fashions in
Eyeglasses, published 1967 by R. & R.
Clark Ltd., Edinburgh
(a carton)
£200-300
49* Statue. A late 19th-century Continental
ivory ecclesiastical carving of a priest, fully
robed with headdress adorned by glitter
holding a staff and hammer, traces of paint,
incised 1224 to the rear of base, 32cm high
(1)
£300-500
50* Stringbox. A 19th-century lignum
vitae stringbox in the form of a beehive,
finely carved with raised knop on three bun
feet, 12cm high
(1)
£100-150
Lot 55
52* Tribal. A Benin bronze wall plaque
depicting the three household gods,
18th century?, sand-cast bronze, 25cm
(10ins) high
(1)
£200-300
53* Tribal. An African Gabon tribe mask,
with white pigment face and grass beard
(1)
£60-80
54* Tribal. An Oceanic feather box probably
Sepik River, carved with characterful face
and geometric decoration, 47cm long
(1)
51* Tea Caddy. A Regency rosewood
sarcophagus tea caddy, with flower basket
ring turn handles, enclosing twin division
interior and covers with bone handles on
four brass ball feet, 17cm high x 19cm wide
x 11cm deep
(1)
£80-120
55* Tribal. An African Mali tribe Chiwara,
probably early 20th century, carved in the
standing position with elongated head and
horns to the rear, adorned in hammered tin
with cowry shells and coral beads on a
rectangular base, 68cm long
(1)
Lot 49
£60-80
£800-1200
56* Witch’s Ball. A late 19th-century large
green glass witch’s ball, 22cm high plus a
smaller silver glass witch’s ball
(2)
Lot 50
Lot 52
13
£100-150
ORIENTAL WORKS OF ART
Lot 57
14
57* Censer. A Chinese bronze censer,
Jiaqing period, circa 1800, cast bronze in
hexagonal form with two bifad qilong
handles (one lacking head), taotie mask
decoration, cover with large shi-shi finial it’s
paw resting on a ball and a smaller one
clambering for the ball on three feet with
cast seal mark to base, 48cm (19ins) high
(1)
59* Chinese Ricepaper Drawings. A
group of six studies of Chinese boats and
street vendors, early 20th centuries,
watercolour and gouache on rice paper,
occasional small closed tear, each 9.5 x
13cm (3.75 x 5ins) and similar, framed and
glazed together in two frames
60* Chinese Silver. An interesting mid to
late 20th-century Chinese mask, with
ceremonial headdress cast with dragons,
various stamps including 925, filled with
hanging loop, 15cm long, weighted
(2)
61* Chinese Silver. A fine early 20thcentury Kowloon silver belt, formed as 13
panels linked by chains with pierced
bamboo leaf buckle cast with two Chinese
characters, approx., 87.5cm long, 8oz
£100-150
£1500-2000
(1)
(1)
£200-300
£300-500
62* Chinese Vases. A pair of red flambe
bottle vases, 20th century, red flambe
glaze, erroneous four character seal script
mark to base, 13cm (5ins) high
(2)
Lot 60
58* Chinese Bronze. A Chinese bronze
vase decorated with dragons, with dragon
handles, cast and incised decoration, seal
script mark to base, 21cm (8.25ins) high
(1)
£100-150
Lot 59
Lot 61
15
£70-100
63* Chinese Terracotta. A Tang-style oil
vessel, terracotta, traces of red decoration,
10cm (4ins) high
(1)
Lot 67
£50-80
67* Mirror. A Chinese bronze mirror,
probably Han Dynasty, circular cast with
figures within Chinese characters and
geometric decoration, 12.5cm diameter,
together with a shaped mirror probably of
the same period, shaped and cast with
exotic birds within trees , 13.5cm long
(2)
64* Chinese. A Chinese porcelain lidded
dish, decorated with erotic scenes,
Yongzheng mark, but later, porcelain lidded
dish decorated with polychrome enamels,
Yongzheng mark in red to base, 8cm (3ins)
diameter
(1)
66* Ivory. A late 19th-century Indian ivory
figure, carved as a warrior holding a spear
and sabre mounted on a square base,
9.5cm high, together with a composite
shrine encasing Guanyin standing on a
lotus leaf base, 9.5cm high
(2)
68* Paktong. A pair of 18th century
Chinese paktong candlesticks, circa 1775,
reeded on square foot, 25.5cm high,
approx. 38 oz
(2)
£50-80
£80-120
65* Erotica. A pair of composite Japanese
figural groups, formed as a male and
female embracing one another, approx.
7cm high, together with a modern bone
inro with three compartments carved with
embracing couples, 8cm high
(3)
£100-150
Lot 67
16
£300-500
£300-500
JEWELLERY & WATCHES
Lot 74
74* Fobs. Six Victorian gold-plated fobs
each inset with semi-precious stone
(6)
69* Chain. A Victorian 9ct gold guard
chain, approx. 70cm long, 20.7g
(1)
£100-150
£150-200
72* Fob. A Georgian yellow metal fob
inset with an amber hardstone intaglio of
Horatio Nelson, 3cm
(1)
£100-150
75* Gold Watches. A Continental 18K gold
fob watch, circa 1900, with Arabic
numerals, 2cm diameter green radial
enamel dial, the rear inset with old cut
diamond surrounded by five smaller
stones, stamped K.18, together with a
larger Continental 18K gold fob watch, with
black roman numerals, 3.3cm diameter
white enamel dial, rear with coronet inset
with nine diamond chippings on a green
enamel ground, stamped K.18 (some
damage to the enamel)
(2)
£150-200
70* Fob. A Victorian yellow metal fob inset
with a yellow stone, 3.8cm high
(1)
£100-150
73* Fob Watch. An Art Deco 14K gold
ladies fob watch, the gilt metal dial with
black Arabic numerals signed J.W.
Charlton, in a finely enamelled blue case
with blue stone winding crown and
suspension leading to 9ct gold ribbon
brooch, presented in a blue fitted velvet
case
(1)
£150-200
76* Pocket Lighter. A Dupont pocket
lighter, silver plate and black enamel serial
no. 4FK04JT28, in original fitted case with
card packaging
(1)
71* Fob. A Victorian yellow metal swivel
fob with yellow stone intaglio depicting an
African slave, 3cm high
(1)
£70-100
17
£70-100
82* Omega. A gent’s Omega Seamaster
wristwatch, with gold dial, luminous
Mercedes hand and baton, black bezel and
bi-metal strap, with soft case and box
Fully serviced by Omega (21.9.2015), with receipt
and certificate plus spare strap link and pin.
£700-1000
(1)
77* Pocket Lighter. A Dupont pocket
lighter, gold plated with reeded design,
serial no.18EDB84, in fitted case with
packaging
(1)
£70-100
80* Necklace. A 9ct gold necklace with
graduated drop, 27.7g
83* Pendant. A 9ct gold pendant inset
with amber hardstone bust of Apollo after
Nathaniel Marchant, signed ‘Marchant’,
3cm long
(1)
(1)
£150-200
78* Pocket Lighter. A Cartier pocket
lighter, gold plated with reeded design,
serial no. 54825V, in fitted case with
certificate and accompanying booklet plus
card packaging
81* Necklace. A Victorian coral necklace,
with long drop and tassels, 48cm long
(1)
(1)
£70-100
£50-80
79* Mourning. A Victorian gold plated
pendant with circular compartment with a
lock of hair, reverse with engine-turned
decoration, 5.2cm long, together with a
Victorian watch key pendant, gold plated
with cornelian, 5.5cm long, plus an
Edwardian yellow metal horseshoe
pendant set with small pearls, 3cm
(3)
£80-120
84* Pocket Watch. A George III silver pair
case pocket watch by Thomas Carpenter
London 1789, with black roman numerals,
white enamel dial, brass fusee movement
signed Radford Liverpool 4284
£80-120
Lot 82
18
(1)
£150-200
85* Pocket Watch. A 9ct gold open face
pocket watch, the circular white enamel
dial signed Judges Sixdot, Leicester, Swiss
movement, with 9ct gold albert and T-bar,
chain 32g
(1)
£500-700
86* Ring. An 18ct gold wedding band, 11.7g
(1)
£120-180
87* Ring. An 18ct gold wedding band, 6.2g
(1)
£100-150
88* Ring. A late Victorian yellow metal ring
set with a carved fly intaglio, inner
circumference 18mm
(1)
Lot 85
£100-150
Lot 90
89* Ring. A Victorian yellow metal ring set
with an amethyst surrounded by small
pearls, inner circumference 19mm
(1)
90* Ring. A George III period yellow metal
spiral twist ring, inset with carved agate
intaglio Classical male bust, inner
circumference 20mm
(1)
£150-200
£80-120
91* Ring. A Victorian 18ct gold ring inset
with blue sapphire surrounded by four
pearls, stamped 18ct, inner circumference
19mm
(1)
19
£80-120
95* Sovereign. A Royal Mint gold proof
sovereign, E.II.R., 1983, mint with box and
information card
(1)
£150-200
96* Sovereign. Gold sovereign, E.II.R,
1982, mint
(1)
92* Rings. Three dress rings, comprising
yellow metal with smoky quartz stone, 9ct
gold with yellow stone and 9ct gold with
purple cabochon
(3)
£150-200
97* Sovereign. Gold sovereign, E.II.R.,
1980, mint
(1)
£150-200
£80-120
98* Tie Pin. An Edwardian gold tie pin
with fox head inset with diamonds and ruby
eyes, 6.5cm long
(1)
£80-120
93* Rings. Three dress rings, comprising
yellow metal with purple stone, 9ct gold
with yellow stone and 9ct gold with purple
cabochon
(3)
£80-120
100*
Timepiece. A fine Continental
enamel timepiece, probably Vienna, late
19th century, the oval watch with black
roman numerals, single winding hole on a
silver gilt and enamel ground, the French
movement signed ‘Bon a Paris’, the rear
with finely enamelled pictorial panel
depicting Mercury with cherubs, with
cockerel finial on an exotic bird pedestal
base with a domed foot enamelled with
classical panels, 20cm high
94* Seal. A Victorian yellow metal seal
pendant, set with a cornelian panel carved
with family crest with the motto ‘Through’,
5cm long
(1)
£80-120
99* Timepiece. A Victorian silver and
enamel timepiece by Frederick Wich & Co,
London 1896, the architectural case with
front panel depicting a courting couple and
a panel of sprays of flowers to the rear
within columns encompassing a watch
with black roman numerals, white enamel
dial flanked by silver cherubs, 12cm high
(minor chipping to the enamel)
(1)
(1)
£300-500
£300-500
101* Whistle. A Victorian yellow metal dog
whistle, with scrolls and suspension ring,
3cm long, approx. 2.8g
(1)
20
£50-80
SILVER
Lot 102
102* Arts & Crafts. A George V silver bowl
by Munsey & Co, London 1910, with three
stylised arms leading to pedestal base
decorated with scallop shells, the base
engraved with initials and dated 1861-1911,
15cm high x 20cm diameter, approx. 33oz
(1)
£300-500
Lot 104
104* Bottle Stand. A William IV three
bottle stand, the three amethyst glass
decanters for Rum, Brandy and Hollands,
18cm high each with associated stopper, in
a silver stand by Edward, Edward Jnr and
W. Barnard, London 1832, with central
handle leading to trefoil base with scroll
feet, 30.5cm high, approx. 25oz
(1)
£500-700
107* Centrepiece. A William IV Old
Sheffield plate four branch epergne,
supporting heavy cut glass bowl with four
smaller bowls, on lion’s paw feet, 32cm high
103* Bon Bon Dishes. An Continental
pierced silver basket with three strand bow
handle, wavy rim on a flared foot, stamped
800 (probably German), 18cm high,
together with a small pair of silver bon bon
dishes by E.J. Houlston, Birmingham 1905,
9cm diameter
(3)
£80-120
105* Butter Dishes. A pair of George V
silver butter dishes by Goldsmiths &
Silversmiths Company Ltd., London 1916,
of scallop form with plain thumb-piece,
12cm long, approx. 4 oz
(2)
£50-80
106*
Candlesticks. A pair of silver
candlesticks, London 1965, each with
detachable sconce, 22cm high, filled and
weighted
(2)
£100-150
21
(1)
£300-500
108* Coffee Spoons. Eight mid 19thcentury Continental silver gilt coffee spoons,
fiddle patten with shell thumb-pieces,
stamped ‘12’ and further mark on the bowl,
9.5cm long, approx. 3.5 oz
(8)
£50-80
111* Fish Servers. A pair of Victorian
King’s Pattern Regimental fish servers, by
George Adams, London 1851, each
engraved 40 (2nd Somersetshire), 32.5cm,
fork, 25.5cm long, approximately 10 oz
(2)
£100-150
112* Flatware. A collection of George III
and later flatware, comprising 16 table
forks, 13 dessert forks, 7 serving spoons,
12 dessert spoons, 3 sauce ladles, sugar
tongs, all in the fiddle and thread pattern,
various makers including George Adams,
together with 6 teaspoons, butter knife and
other items, approximately 140oz
(approx. 60)
£800-1200
109* Cream Jug. A George III silver
helmet-shape cream jug, by Charles
Chesterman II, date letter rubbed, engraved
with an armorial, long slender handle, 16cm
high, approx. 3.5 oz
113* Fruit Bowl. A George V pierced silver
fruit bowl by Edward Viner, London 1935,
pierced with scrolls and shields, 28.5cm
long, 11oz
(1)
(1)
£100-150
£80-120
115* Jug. A Victorian silver-mounted claret
jug by Walter & George Sissons, Sheffield
1879, of baluster form with silver cover
engraved with family crest and scroll
thumb-piece, scroll handle
(1)
114* Inkwell. A George V silver capstan
inkwell, by E. & F. Bauer, Birmingham 1929,
of typical form with weighted circular base,
12cm diameter, lacking liner
(1)
£50-80
116* Match Holder. A Victorian silver
match holder by Horace Woodward & Co.,
London 1888, with striker and swirl base,
weighted, 7cm high, together with an
Elizabeth II silver cigarette box by Adie
Brothers, Birmingham 1959, with engineturned lid and geometric border with faux
snakeskin base, 16.5cm wide
(2)
Lot 110
Lot 111
£70-100
117* Mixed Silver. A twin-handle sugar
bowl by A.E Poston Ltd., Birmingham 1931,
together with a cased set of six coffee
bean spoons retailed by Selfridge & Co,
Birmingham 1922 (one spoon silver plate),
plus another cased set of coffee bean
spoons, pepperette, mustard pot, cased
set of six coffee spoons etc, weighable
silver approx. 10oz
110* Fish Server. A William IV silver fish
server by Mary Chawner, London 1834,
fiddle and thread pattern engraved with
family crest, shaped and pierced blade,
30cm long, 5 oz
(1)
£500-700
£70-100
(10)
22
£100-150
Lot 112
23
Lot 118
Lot 120
118* Mixed Silver. An impressive George
V silver condiment set by Mappin & Webb,
Birmingham 1911, comprising four salts, a
pair of mustard pots and pepperettes on
cabriole feet, approx. 12oz, together with a
pair of cased silver navette salts, London
1910, plus six plated napkin rings
(8)
121* Pepperette. A Victorian ivory pepper
grinder with three silver bands, London
1897, 9cm high
(1)
£150-200
£150-200
119*
Mixed Silver. A cased set of
Edwardian silver coffee spoons by A.J.
Bailey, Birmingham 1904, in the rococco
style, 10cm long, together with a silver threebranch candleabrum, Birmingham 1963, plus
a pair of modern Thai silver salad servers
(4)
124* Salver. A George III circular silver
salver, by John Hudson London 1792, with
traces of engraved family crest, on three
reeded feet, 20.5cm diameter, 11oz
(1)
£100-150
£60-80
120* Mustard Pot. A George III silver
navette mustard pot by William Abdy II,
London 1815, with hinged covers and urn
finial, pierced decoration, scroll handle and
blue glass liner, 10cm long, with silver salt
spoon, together with another silver mustard
pot, by George Frederick Pinnell, London
1839, with blue glass liner, 7cm diameter
(2)
125* Salver. A George III silver salver with
marks for IC (probably John Chapman II),
London 1773, with pie crust edge on four
claw and ball feet, 34.5cm diameter, 37 oz
£120-180
(1)
£300-400
122* Pounce Pot. A George III Scottish
silver pounce pot by Howden, lacking
date mark but assayed in Edinburgh,
engraved with ferns on pedestal foot,
9cm high, approx. 2 oz
(1)
£80-120
123* Salt Spoons. A pair of George IV
silver salt spoons by Charles Eley, London
1827, fiddle and thread pattern with shell
thumb-piece, gilded bowls, 11cm, London,
plus three silver salt spoons by Solomon
Hougham, Solomon Royes & John East
Dix, plus a pair of mid 18th-century silver
salt shovels, approx. 3.25 oz
Lot 121
(7)
£60-80
24
126* Sauce Boat. An Edwardian silver
sauce boat probably by Barker Brothers,
Chester hallmark, in the 18th-century style
with flying scroll handle, gadrooned rim and
shell cabriole feet, 15cm long, approx. 6.5 oz
(1)
£80-120
Lot 128
129* Sifter Spoon. A George III silver
bright-cut sifter spoon by Thomas
Chawner, London 1781, engraved with
vacant shield cartouche, and pierced bowl,
21cm long, 2 oz
(1)
127* Sauce Boat. A George V silver sauce
boat by William Aitken, Birmingham 1911,
with shaped rim, flying scroll handle and
three cabriole feet, 13cm long, together
with a similar sauce boat, 15.5cm long,
total weight approx. 6.5oz
(2)
£70-100
128* Sauce Boat. A pair of George II silver
sauceboats by Benjamin West, London 1737,
each with shaped rim, scroll handle and
traces of Armorial, on three cabriole feet,
18.5cm long, total weight approx. 18.5oz
(2)
£150-200
130* Silver Plate. A collection of silver
plate including a fine circular salver,
engraved with family crest within scroll
and key borders and mask head pierced
rim, 34cm diameter, a Matthew Boulton
teapot, of squat ogee form with ivory finial
and ebonised handle, star-shaped stamps
to base, 28cm long, plus a pair of
candlesticks each with detachable sconce
and other items
(6)
£100-150
131* Spoon. An early 18th-century silver
‘Dog Nose’ spoon, with rat tail bowl, marks
worn, 18cm long, together with a similar
period spoon, approximately 2.5oz
(2)
£700-1000
Lot 130
Lot 129
25
£80-120
Lot 134
Lot 135
132* Sugar Basket. A George III silver
pedestal basket by Hester Bateman,
London 1790, with bright-cut decoration,
swing shape on navette pedestal base,
14cm long, approximately 4.5 oz
(1)
£150-200
136* Tea Caddy. A Victorian silver tea
caddy by Henry Wilkinson & Co. Ltd.,
retailed by James Aitchison, Edinburgh,
London 1893, of bombé form with half
gadrooned cover and base, ivory finial on
four ball feet, 8cm long, 4oz
(1)
133* Sugar Caster. A Victorian silver
pedestal sugar caster by Sibray, Hall & Co.,
London 1889, with pierced cover and vase
finial, and acanthus and scroll decoration,
20.5cm high, approximately 6oz
(1)
£100-150
137* Teaspoons. Six George IV silver
teaspoons, 5 by Charles Eley, London 182
and 1 by Edward Farrell, fiddle and thread
pattern engraved with initials, 13.5cm long,
approx. 5.5 oz
(6)
Lot 132
£100-150
£70-100
134* Table Spoons. Six George II silver
table spoons, 5 by P. Roker London 1749,
each engraved with family crest, 20.5cm
long, approximately 14.5 oz
(6)
£150-200
135* Table Spoons. Six George II silver
table spoons by Thomas Jackson, London
1741, each engraved with crest of Bishop
of Worcester, 20.5cm long, approx. 13.5 oz
(6)
£200-300
138* Tobacco Box. A Victorian silver
squeeze tobacco box, probably by Hilliard
& Thomason, of oval form engraved with
shield cartouche and scrolls, 10cm long,
approx. 4 oz
(1)
Lot 133
Lot 136
26
£50-80
139* Vanity Box. A Victorian coromandel
vanity box, inlaid with brass cartouche and
key plate, the hinged lid enclosing 10 silvertop jars and containers by Hilliard &
Thomason, Birmingham 1862, mother-ofpearl accessories, all well-presented in a
fitted velvet interior, 18cm high x 31cm
wide x 23cm deep
(1)
£300-500
140* Vesta Case. An Art Nouveau-style
Sterling silver vesta case, with embossed
female decoration within scrolls, stamped
‘Sterling’, 6.5cm long, together with an
Edwardian silver vesta case with later
composite panel depicting a female nude,
5cm long
(2)
£80-120
Lot 139
141* Wine Coolers. A pair of William IV silver wine coolers by Robert Hennell, London 1826,
each with flared foliate rim, half acanthus decoration with religious engraving on socle and
circular foot, gilded interior, 17cm high x 17cm diameter, approx. 36 oz
(1)
£400-600
Lot 141
27
CLOCKS
Lot 142
Lot 144
142* Carriage Timepiece. An Edwardian
shaped brass carriage timepiece, with
white enamel dial, black Arabic numerals,
signed Elkington & Co. Ltd Paris, with
platform escapement, in a leather travelling
case with key, 12cm high
(1)
£150-200
143* Clock. A mid 18th-century 8-day
longcase clock, the brass dial with black
roman numerals, silvered chapter dial,
calendar aperture and subsidiary seconds
dial, signed John Cannon, Malborough [sic],
striking bell movement, in an oak case with
caddy hood, movement 40 x 30cm, case
213cm high
(1)
£1000-1500
144* Clocks. A Victorian mahogany mantel
clock, white enamel dial with black roman
numerals, inlaid case with shaped panels
and mother of pearl inlay, lion’s head
handles, brass movement on four claw and
ball feet, 35cm high, together with an Art
Nouveau mantel clock with white enamel
dial, black Arabic numerals in a shaped
mahogany case inlaid with a conch shell,
with brass movement on four bun feet,
25.5cm high, plus another clock by Mappin
& Webb
(3)
145* Mantel Clock. A 19th-century mantel
clock, with silvered dial, black roman
numerals signed Gardener a Paris, with 8day bell striking movement, in an ebonised
case with brass line inlay and carrying
handle, with key and pendulum, 22.5cm high
(1)
£100-150
Lot 143
28
£150-200
FURNITURE
146* Arts & Crafts. An oak hostess trolley,
circa 1930s, inset with two black slate tiers
within oak frame and carrying handles, on
carved supports with casters, 76cm high x
61cm wide x 46cm deep
(1)
£70-100
147* Bible Box. An elm bible box, carved
with initials WW, tulip and dated 1709, of
nailed construction, the sloping lid with
later brass hinges enclosing compartment,
17cm high x 41cm wide x 28cm deep
(1)
£100-150
Lot 150
Lot 152
148* Bookcase. An Edwardian inlaid
mahogany bookcase with swan neck
pediment, two glass doors enclosing
shelves, with two drawers and panel doors
beneath, profusely inlaid with classical
decoration, 206cm high x 76cm wide x
44cm deep
(1)
£400-600
151* Chair. A late Victorian button-back
armchair, with curved back and scroll arms
on turned mahogany supports with brass
cup castors, 99cm high
(1)
£150-200
152* Chandelier. A 20th-century glass
twelve branch chandelier, with tapered
stem supporting twist branches each with
drip tray, 48cm high x 52cm diameter, for
electrical use, plus a brass chandelier
(2)
£100-150
153*
Hanging Cabinet. A Victorian
Aesthetic Movement ebonised hanging
cabinet, with single panel door painted with
a bird perched on a cherry tree on a gold
ground, 96cm high
(1)
£70-100
149*
Bookcase. A Kashmir wood
revolving book stand, profusely carved with
dragons, with original paper label for
Ganmede Wood Carver and ... Machie
Maker, Sprinagar Kashmir, 31cm high x
28cm square
(1)
£70-100
150* Cabinet. An early 20th-century
penwork cabinet, finely detailed with
geometric decoration, the single door
enclosing shelf, 60.5cm high x 35.5cm
wide x 20.5cm deep
(1)
£150-200
154* Mirror. A large late 19th-century
gesso frame mirror, the frame moulded
with baskets of fruit and strap work
decoration, 106 x 93cm, some damage
Lot 148
(1)
29
£100-150
Lot 155
30
Lot 157
155* Mirror. A fine George III style gilt
wood wall mirror, carved with a
pagoda, exotic birds and c-scrolls inset
with bevel edge glass, 136cm high x
82cm wide
(1)
£1000-1500
156* Settee. A Victorian mahogany
two seater settee, the carved
mahogany frame with scroll ends and
arched back on carved cabriole
supports, 80cm high x 104cm wide x
70cm deep
(1)
£200-300
157* Table. A George III mahogany
drop flap table with gate leg action on
pad feet, 74cm high x 106cm wide
(1)
£100-150
158* Table. A William IV specimen
table, the octagonal top inlaid with
various woods on a rosewood
pedestal base carved with lotus and
trefoil base with scroll feet, 69cm high
(1)
Lot 158
£300-500
Lot 160
159* Table. A Regency mahogany tilt-top breakfast table, the rectangular
top with rounded corners and rosewood crossbanding on square tapered
pedestal on quatrefoil base with line inlay and four curved supports, 70cm
high x 96cm deep
(1)
£150-200
160* Whatnot Stand. A Victorian rosewood whatnot stand, with five tiers
each with barley twist columns, on ceramic casters, 156cm high
(1)
£150-200
Lot 159
31
DW101-147 Part Two.qxp_Layout 1 18/02/2016 14:38 Page 32
32
OIL PAINTINGS,
WATERCOLOURS
& PRINTS
TRADITIONAL WATERCOLOURS
161* Alphonse (L. V., 19th century). A pair of still lifes of fruit,
against a mossy bank, 1873, watercolour, each signed and dated,
16 x 23cm (6.25 x 9ins), framed and glazed
(2)
163* Architectural Watercolour. Architectural capriccio, pen and
ink over watercolour, depicting a theatrical interior in an Italianate
manner, with vaulted, coffered ceiling, colonnaded mezzanine and
stairs, signed R. J. H., 19 x 20.5cm (7.5 x 8ins) mount aperture,
framed and glazed
£200-300
(1)
164* Bates (David, 1840-1921). "On Pencraig Moor Bettws-yCoed", 1914, watercolour, showing a young peasant girl carrying a
large bundle of sticks on her back, crossing a stone bridge over
a stream against moorland and mountains, signed and dated lower
left, 35.5 x 52.5cm (14 x 20.5ins), mounted, framed and glazed,
with manuscript label on verso giving artist, title, and date
162* Anderson (A., active 1882-1885). At Biddenham, Bedfordshire,
1881, watercolour, showing trees on the banks of the River Ouse,
with Bromham Bridge in the distance, and a young man with a small
girl and sheep in the foreground, signed, titled, and dated in red
lower left, 54 x 74.5cm (21.25 x 29.25ins), mounted, framed and
glazed
(1)
£100-150
Provenance: Private Collection, Lancashire.
(1)
£250-300
34
£150-200
Lot 165
Lot 167
165* Benger (Berenger, 1868-1935). A pair of garden scenes, two
watercolours, one showing a girl in bonnet and gown in a cottage
garden, with old tiled cottage roofs visible though trees, the other
depicting a path running alongside a wide herbaceous border, with
a poplar tree and a house in the background, each signed lower right,
44.5 x 29.5cm (17.5 x 11.5ins), matching gilt mounts and frames
(some damage), glazed
(2)
£100-150
168* Brabazon (Hercules Brabazon, 1821-1906). Cairo, watercolour
with pencil on paper, initialled in pencil lower right, captioned in
watercolour lower right, 20 x 12cm (8 x 4.75ins) mount aperture,
framed and glazed
166* Booty (Frederick William, 1840-1924). Whitby from Larpool,
1902, watercolour on card, signed and dated lower right, remains
of adhesive to edges where previously mounted, 9 x 13.5cm (3.5 x
5.25ins), together with four similar watercolour views of Whitby by
the same artist
(5)
(1)
£150-200
£200-300
167* Brabazon (Hercules Brabazon, 1821-1906). Bazaar, Cairo,
watercolour with pencil on paper, initialled and captioned to lower
edge, 17 x 25cm (6.75 x 10ins), framed and glazed
169* Burgess (John, 1814-1874). Snowdon from Llanberis Road,
watercolour, showing a mounted figure and dog driving cattle along
a track, against a mountainous backdrop, signed and titled ‘Llanberis’
lower right, 36.5 x 54.5cm (14.25 x 21.5ins), titled gilt mount, framed
and glazed
(1)
(1)
£200-300
35
£150-200
170* Burgess (Thomas, 1783/4-1807). Rock scenery near
Matlock, 1805, watercolour with traces of pencil on paper,
signed and dated lower left, laid down on card, with additional
inscription in pencil to lower margin (possibly in the artist’s hand
‘Rock scenery near Matlock by T. Burgess 1805’, 290 x 237mm
(11.4 x 9.3ins)
Thomas Burgess junior was one of several artist sons of the painter
Thomas Burgess (circa 1730-1791). The younger Burgess first exhibited
at the Royal Academy in 1802 with Market Gardener’s House at Walham
Green. In 1805 and 1806, he exhibited Derbyshire and Devonshire
views, of which the present work may have been an example.
£200-300
(1)
Lot 171
171* Burne-Jones (Edward Coley, 1833-98). An original pen & ink drawing within an inscribed copy of Le Morte Darthur, circa 1897, pen &
ink heightened with gold, showing an altar with wild flowers on either side, with the Cup of Life atop into which falls several droplets, with
sun rays above, lettered above image ‘This is that golden book called Le Morte Darthur in which are written the deeds of the holy King Arthur
and the glorious company of the Round Table and the quest of the most holy sangreal’, drawn on the preliminary blank of a late 19th century
edition of Le Morte Darthur, with Caxton’s colophon at rear (lacking title-page?), blank following sketch inscribed by the artist ‘To my dear
Grand-daughter Angela, Edward Burne-Jones, Oct 27th 1897’, rough-trimmed, marbled endpapers, upper hinge split, contemporary straightgrained green morocco, extremities rubbed, gilt lettered spine faded, 8vo, leaf size 15 x 9.5cm (6 x 3.75ins)
Edward Burne-Jones’s fascination with Thomas Malory’s ‘Morte d’Arthur’, which began when he and William Morris were undergraduates at Oxford, is welldocumented. It was not just the pictorial splendours in Arthurian legend that the Pre-Raphaelites found so appealing, but it was also the romantic and moral
ethos of the tales which they embraced as a foil to the increasingly ugly industrialised and materialistic world. “Nothing, ” Burne-Jones wrote, “was ever like
Morte d’Arthur - I don’t mean any book or any one poem - something that can never be written, I mean, and can never go out of the heart.” Novelist Angela
Margaret Thirkell (1890-1961) was the elder daughter of Margaret Burne-Jones and John William Mackail. Her father was a Scottish classical scholar and civil
servant from the Isle of Bute, who was Oxford Professor of Poetry from 1906 to 1911.
(1)
£500-800
36
175* Clutterbuck (Violet, late 19th/early 20th century). East
Anglian landscape, watercolour, showing a landscape with a cluster
of dwellings and a windmill, signed lower left, 23 x 34.5cm (9 x
13.5ins), mounted, framed and glazed, with old Norwich framer’s
label on backboard
(1)
£70-100
172* Carse (Andreas Duncan, 1876-1938). An unmounted fan leaf
with fairy design, watercolour on silk, depicting a fairy flanked by
hummingbirds, with datura flowers and a bumble bee, signed lower
left, some surface wear and faint staining, 32.5 x 10cm (12.75 x
4ins), mounted, framed, and glazed
(1)
£150-200
173* Carter (Richard Harry, 1839-1911). Beachcombers on the
Shore, watercolour, heightened with bodycolour, showing four
figures on a beach, with a stormy sea crashing on rocks, signed
lower left, 38 x 64.5cm (15 x 25.25ins), framed and glazed
(1)
176* Manner of Edward Henry Corbauld (1815-1905). A Medieval
tournament, watercolour on paper, 24 x 38cm (9.5 x 15ins) mount
aperture, framed and glazed
£150-200
(1)
£100-150
177* Cruikshank (William, 19th century). A pair of oval still lifes
of birds’ nests and primrose against a mossy bank, 1852-53,
watercolour on paper, initialled and dated, 23 x 28cm (9 x 11ins),
framed and glazed
(2)
174* Manner of Giovani Battista Cipriani (1727-85). Bacchante,
pastel on lined paper, 22 x 18cm (8.75 x 7ins) mount aperture,
framed and glazed
(1)
£200-300
37
£300-400
178* Darvall (Henry, active 18481889). Exterior Stair in the Court of
Palazzo Contarini Porta di Ferro,
Venice, 1882, watercolour, showing a
young lady wearing a green dress
and black shawl, descending a short
flight of stone steps with ornate
balustrade, with a vista of a garden
through a tracery doorway behind,
signed and dated on lowest step,
69.5 x 39.5cm (27.25 x 15.5ins), gilt
mount, framed and glazed, backboard
with old framer’s label, and
manuscript label in the artist’s hand,
giving title, artist’s name, a price of 5,
and his address ‘4138 Riva Schiavoni
Venice - and care of Mr. Smithers, 95
Leadenhall St. London’
Provenance: From the collection of artist
decorator Charles Eaton (1885-1963);
thence by descent to the god-daughter
and cousin of his daughter Lilian Eaton,
the current vendor. Henry Darvall
moved to Venice in 1875 and exhibited
views of Venice at The Royal Academy for
several years.
(1)
£700-1000
Lot 178
38
Lot 179
Lot 180
179* Dawson (Alfred, 1843-1931). An album of watercolour views,
1874/5, twenty-five watercolours, mostly to rectos, but one or two on
versos, and a few pencil sketches, some titled, dated, and signed or
monogrammed, including ‘Dartmouth’, ‘Teignmouth’, ‘Nr. Shaldon’,
‘Moonlight Dawlish’, ‘Berry Pomeroy [Castle]’, ‘Bolt Head’, ‘At
Salcombe’, ‘Heene near Worthing’, ‘Brickyard at Arundel’, and ‘Sea at
Dartmouth’ with anotations by the artist regarding colour, composition,
and form of the wave, album leaves 17.5 x 25cm (7 x 9.75ins), biro
inscription on front pastedown, stitching partially broken, original cloth,
with crude adhesive tape repair to spine, edges rubbed, oblong 8vo
Alfred Dawson was taught to paint by his father, a marine and landscape artist,
eventually establishing himself as a successful etcher and landscape artist in
Chertsey, Surrey. He exhibited regularly at the Royal Academy between 1860
and 1889, as well as at the Suffolk Street Gallery and the Royal Institute of Oil
Painters. In addition to his career as a landscape painter he produced
illustrations for a number of books, including ‘A Royal Warren, or Picturesque
Rambles in the Isle of Purbeck’ and ‘A History of Dorset’. In later life he was
frequently commissioned to produce etchings for ‘The Portfolio’.
£500-800
(1)
180* Dutch School. The Four Seasons, together four fine grisaille
gouache paintings on copper, probably early 19th century, each
showing a young child as one of the four seasons: Spring is shown
wearing a hat and carrying a posy of flowers; Summer wears a
garland of flowers and holds up a plate of fruit; Autumn carries a
scythe; and Winter is skating on a frozen lake, each 10.5 x7cm (4 x
2.75ins), matching mounts and frames, glazed
(4)
£100-150
181* Dutch School. The Music Lesson, circa 1840-50, watercolour
on paper, heightened with body colour and gum arabic, sheet size
44 x 34cm (17.3 x 13.3ins), laid down on old card, framed and glazed
(1)
£100-150
Lot 181
39
182* East (Alfred, 1849-1913). Alpine Landscape, watercolour on
paper, heightened with bodycolour, signed lower left, 19.5 x 25.5cm
(7.7 x 10ins) mount aperture, period gilt frame, with old framer’s label
of W.A. Lewitt, Nottingham to verso
(1)
£250-350
184* Eton. View of Eton College Chapel, 1867, watercolour on
paper, laid on card, showing a vista across rooftops of Eton College
from a large stone window aperture, with plant pots and foliage in
the foreground, titled in manuscript to lower edge, ‘The Roof 5.30
am September/67’, and monogrammed ‘MTD’ lower right, 30 x
25cm (11.75 x 9.75ins), arched mount, framed and glazed
(1)
£200-300
183* English School. Alpine Pass with Figures, mid 19th century,
pen & ink with watercolour on paper, heightened with body colour,
with arched top, apparently unsigned, 54 x 39cm (21.25 x 15.3ins),
period frame, glazed
185* Fairman (Frances C., 1836-1923). Daddy, 1901, watercolour
portrait of a King Charles spaniel, on paper, signed and dated lower
right, captioned upper left, 36 x 27cm (14 x 10.5ins), framed and
glazed
(1)
(1)
£150-200
40
£300-500
186* Ferguson (William J., active 1849-1886). Fishing scene,1850,
watercolour, showing an angler fishing in a wide river spanned by a
stone bridge with watching figures, with a ruined fortress and mountain
in the background, signed and dated lower left (slightly rubbed but
legible), 34 x 51cm (13.25 x 20ins), mounted, framed and glazed
(1)
£200-300
187* Attributed to George Frost (1754-1821). Wooded Hillside
with Sheep Grazing, black chalk on paper, sheet size 213 x 203mm
(8.4 x 8ins), framed and glazed
(1)
Lot 187
£150-200
188* Gianni (Michele, late 19th/early 20th century). The Bay of Naples, watercolour and gouache, showing figures on a path overlooking
the Bay of Naples, with Vesuvius erupting in the background, signed lower left, 29.5 x 47.5cm (11.5 x 18.75ins), mounted, framed and glazed
(1)
£300-500
41
Lot 189
189* Greiffenhagen (Maurice William, 1852-1931). Spectators on
the water at the Henley Regatta, pen, ink, and watercolour, showing
ladies with parasols and young gentlemen in blazers in rowing boats
downstream from Temple Island, waiting for the competitors to
appear, signed lower left, 33 x 48cm (13 x 18.75ins), mounted,
framed, and glazed
(1)
£500-700
190* Griffith (J., 19th century). Landscape with cattle, mid 19th
century, watercolour, showing a track below a wooded cliff, with a
horse-drawn vehicle and a glimpse of the sea in the distance,
and two horned cows in the foreground, a couple of areas of
discreet repair, signed lower right, 34.5 x 54.5cm (13.5 x 21.5ins),
mounted, framed and glazed
(1)
£100-150
Lot 190
42
Lot 192
193* Hayes (Edwin, 1819-1904). Coastal scene with shipwreck,
1863, watercolour, showing a stormy seascape, with figures on
rocks salvaging wreckage, with a sailing ship floundering in the
distance and a ruined castle on the clifftop, some light
discolouration, signed ‘E. Hayes RHA’ and dated lower left, 27 x
52.5cm (10.5 x 20.5ins), mounted, framed and glazed
191* Halswelle (Keeley, 1832-1891). Coutances Cathedral, Normandy,
pen, ink and monochrome wash on paper, signed and titled lower left,
170 x 220mm (6.7 x 8.7ins), mount aperture, framed and glazed,
together with London. Horses and Carriages by Marble Arch, London,
mid 19th century ink and monochrome wash on pale blue paper, signed
with monogram SW lower left, 138 x 222mm (5.4 x 8.75ins) mount
aperture, framed and glazed, with J. Morton Lee label to verso of each
(2)
Edwin Hayes was born in Bristol but spent his youth in Dublin. He was drawn
to art as a career from an early age, and was a student at the Dublin Society
Schools. A keen sailor, he spent his spare time sailing around Dublin Bay in
his small yacht. He first exhibited at the Royal Hibernian Academy in Dublin
in 1842, and contributed to all but five of the next sixty-three annual
exhibitions, showing a total of two hundred and fifty-five paintings. He lived
in Dublin for the next ten years, moving to London in 1852 where in 1855 he
began exhibiting at the Royal Academy, showing works there regularly for
the next forty-nine years. He is known for his seascapes, for which he took
inspiration from his travels on the continent as well as round the British coast,
in particular Cornwall.
£200-300
(1)
£150-200
192* Harper (Thomas, 1820-1889). Life by the Sea: Robin Hood’s
Bay; Near the Farne Islands, together two watercolours, the first
showing the sun slanting on cottages on the cliffs above a cove, with
peasant figures, the other depicting a barque on a beach, with various
boats and figures, each 35.5 x 55.5cm (14 x 22ins), matching mounts
and frames, glazed, each attributed and titled in pencil on verso
(2)
£200-300
43
194* Hewitt (W.H.M., late 19th century). The Eye, Devon, 1875,
watercolour on paper, river scene with sluice gate, figures fishing
in a boat, and cottages, titled, signed, and dated lower right, framed
and glazed
(1)
£100-150
196* Kaufmann (Lily Skeaping, active 1894-1930). Lady at a
casement window, watercolour, showing a wistful young lady in a blue
gown and white mob cap tied with a pink ribbon, standing at an open
latticed casement window in a panelled room, with an oval portrait
miniature in her hand, and a potted red geranium on the window sill,
signed lower right, 30 x 23.5cm (11.75 x 9.25ins), mounted, framed
and glazed
(1)
195* Hooton (Richard). Portfolio of 12 original designs for wallpapers
and tiles, 1868-70, mainly gouache on paper heightened with gold,
also including several in pencil, most with Nottingham School of Art
printed label to lower right corner, sheet size 73.5 x 53.5cm (29 x
21ins) and similar
(1)
£150-200
£100-150
197* Kilburne (George Goodwin, 1839-1924). English Civil War
soldier, 1866, watercolour, depicting an English Civil War soldier
wearing Morion helmet, breastplate and backplate, signed and dated
lower left, Thomas McClean retailer’s label to verso, 31 x 22cm
12 x 8.75ins), framed and glazed
44
(1)
£150-200
Lot 199
Lot 198
201* After Jean-Francois Millet (1814-1875). Bringing Home the
Newborn Calf, late 19th/early 20th century, charcoal on laid paper,
showing two labourers carrying a calf on a wooden stretcher, with
a peasant woman and cow beside, and a house in the background,
with pencil signature ‘J.F. Millet’ lower left, sheet size 18 x 21.5cm
(7 x 8.5ins), mounted, framed and glazed
198* Landseer (Sir Edwin, 1802-1873). Portrait of a gentleman,
sepia pen & ink sketch on blue paper, head portrait of a bearded
man, inscribed beneath in pencil ‘Sir E. Lansdseer a sketch made
by him one morning at the Star & Garter Richmond (Aug 20. 1857)
and given to yours very faithfully M. Blackmore. To J.M. Richardson
Esq’ and in ink ‘Rosenheim Oct 14. 1860’, sheet size 19 x 12cm (7.5
x 4.75ins), laid down on thick paper
(1)
£150-200
The collector Martin Blackmore was a patron of the Artists’ Benevolent Fund
and a friend of Landseer.
(1)
£100-150
199* Ludovici (Albert, 1852-1932). Grosvenor Gate and New
Lodge, Hyde Park, London, watercolour on paper with a few figures
sketched in pencil only, unsigned, 24 x 53cm (9.5 x 21ins) mount
(1)
£200-300
200* Markes (Albert Ernest, 1865-1901). Seascapes, two
watercolours, one showing a sunrise over a partially submerged
wreck on a beach, with rocks and headland, signed lower left, 14.5
x 35cm (5.75 x 13.75ins), the other showing sailing boats and figures
on a beach, signed lower left, faintly spotted, 14 x 22cm (5.5 x
8.75ins), in matching mounts and glazed frames, each with old
gallery label on backboard ‘Leggatt Brothers’
Albert Markes was a marine watercolourist who lived in Cornwall before
coming to London. He painted scenes on the east coast of England, as well
as working in Belgium and Holland.
(2)
£100-150
202* Montalba (Clara, 1842-1929). Mary Queen of Scots,
watercolour, showing Mary Queen of Scots kneeling on a flagstone
floor in a sparse interior, accompanied by several female figures,
initialled lower left, 32 x 23.5cm (12.5 x 9.25ins), arched mount,
framed and glazed, early framer’s label on backboard with the artist’s
name and price in manuscript
Clara Montalba studied for four years in Paris under Eugene Isabey, and is
particularly known for her scenes of Venice, where she lived for many years.
She exhibited widely, including seventeen works at the Royal Academy.
(1)
£100-150
Lot 201
45
203* Paris. Four views of Paris, circa 1820s, together four fine
miniature watercolour drawings on paper, each depicting an elegant
view or building in Paris, with figures, carriages, and horses,
including the Rue de Rivoli and the Theatre Royal Italien, some
spotting and toning, each approximately 8 x 14cm (3 x 5.5ins), each
laid down on cream card
(4)
£300-400
Lot 205
204* Poncy (Alfred Vevier de, active 1871-1890). Evening
landscape with cattle watering, watercolour, showing a group of
horned cattle at a watering hole, signed in red lower left, 17 x 23cm
(6.75 x 9.25ins), mounted, framed and glazed
Alfred Vevier de Poncy was a painter of landscape and genre scenes, who
exhibited at the Royal Academy and Suffolk Street.
(1)
£100-150
206* Rivers (Leopold, 1852-1905). Cottage scene, watercolour,
showing a small girl in a white pinafore, with a dog, in a garden
with a red brick cottage with tall chimneys, signed lower right, 27.5
x 37.5cm (10.75 x 14.75ins), mounted, framed and glazed, together
with Noel (John Bates, active 1870-1927), Herding Sheep, watercolour,
mountain landscape with rocky stream and bridge, and a herd of sheep
with shepherd and dog, signed lower right, 25 x 34cm (9.75 x
13.25ins), mounted, framed and glazed, plus three others, including
a watercolour view of the Palais de Justice, Brussels, signed 'C.E.
Shaw', 16 x 29cm (6.25 x 11.4ins), mounted, framed and glazed
205* After Joshua Reynolds (1723-1792). Heads of Angels, mid
19th century, pastel, showing a series of studies of five year old Lady
Frances Gordon’s head from five different angles, after Reynolds’
famous picture (held by Tate Britain), some minor staining, 63 x
54.5cm (25.75 x 21.5ins), framed and glazed
(1)
£200-300
(5)
46
£100-200
207*AR Rosenkrantz (Arild, 1870-1964). Adoration, pastel, showing a standing male figure in a blue tunic with
arms outstretched in worship before an elevated cross transfigured by light, with a lantern on the ground beside,
signed lower right, 63.5 x 45.5cm (25 x 18ins), original architectural gilt frame (slight loss to upper right), with
Horner Galleries, Sheffield, label on verso
Baron Arild Rosenkrantz was a Danish painter, sculptor, stained glass artist and illustrator, who studied in Rome and Paris,
and spent much of his working life in England. He was influenced by the Pre-Raphaelites, in particular Edward Burne-Jones,
and also by William Blake, Turner and Monet. In 1894 and 1895 he travelled to New York where he started working with
stained glass, carrying out work for The Decorative Stained Glass Company and Tiffany. In England he showed work in the
final exhibitions of the New Gallery, the favoured gallery of Burne-Jones and his followers in the 1890s, which closed in 1909.
He had many commissions, including twelve large panels for the ceiling in the dining room at Claridges Hotel in London. He
made stained glass windows and bronze sculptures for a number of English churches, houses and castles, and also
established himself as a portrait painter, as well as a book illustrator. Arild Rosenkrantz was a spiritual seeker throughout his
life, meeting Rudolf Steiner in 1912, founder of the philosophy of anthroposophy, the connection of the human understanding
with the spiritual world. This painting, in both technique and subject matter, is typical of the deeply emotive and otherworldly
quality of his work.
£400-600
(1)
47
210* Ludby (Max, 1858-1943). Evening, near Guildford, 1915,
large panoramic watercolour with cattle watering on the River Wey,
buildings beyond, signed and dated lower left, 33 x 76cm (13 x 30
ins), gilt frame, glazed, with portion of label for the Royal Institute
of Painters in Water Colours to verso
(1)
£100-150
208* Rowbotham (Thomas Leeson, 1783-1853). Italian lake
scene, watercolour on paper, showing fishing boats on the lake with
buildings on the shore and mountains beyond, signed lower left,
paper slightly toned, 18 x 28cm (7 x 11ins) mount aperture, framed
and glazed
(1)
£100-150
209* Sand Paintings. St. Cross’s Hospital, Winchester, & St.
Cross’s Church, Winchester, together a pair of sand pictures, some
spotting to background sky on both, latter slightly rubbed in places,
22.5 x 34.5cm (9 x 13.4ins) and 21 x 30.5cm (8.25 x 12ins)
respectively, matching mounts and frames, glazed
(2)
211* Attributed to John Simmons (1823-1876). ‘The Moth and
the Flame’, circular watercolour and gouache on paper, signed lower
centre, diameter 38cm (15ins), old gilt frame, glazed
£100-200
Provenance: From a private collection, Bristol, UK.
(1)
48
£500-800
212* Attributed to John Warwick Smith (1749-1831). Heidelburg
Castle, watercolour, showing an elevated castle, with a mounted
peasant herding cattle, some light toning, 34.5 x 47.5cm (13.5 x
18.75ins), title and attribution in ink on mount, framed and glazed
(1)
£300-500
214* Stone (Sarah, circa 1760-1844). A rose-breasted grosbeak, 1785,
watercolour, showing a bird perching on a branch, signed and dated to
lower margin, toned, 38 x 29cm (15 x 11.5ins), framed and glazed, with
remains of old framer’s label on backboard from earlier frame
Sarah Stone’s father was a fan painter, and it was from him that she learnt
her technique. When she was about 17 she visited the Leverian Museum at
Leicester House in London. This vast and important collection of natural
objects, including live animals, consisted of around 27, 000 items. Its owner,
Sir Ashton Lever, commissioned Sarah Stone to paint many of the specimens
housed in the vast sixteen room mansion. Her artwork is considered of great
importance as a record of some of the species collected by explorers and
housed in the long-since defunct museum, some of which are now extinct
or have endangered populations. The museum was put up as a lottery prize
in 1786, with tickets priced at one guinea. The collection was eventually
dispersed in 1806, selling at auctions over a period of sixty-five days. The
library at the Natural History Museum has a large collection of Sarah Stone’s
watercolours.
£400-600
(1)
213* South Africa. View of Capetown and Table Mountain across
Table Bay, by A. Menzies, early 20th century, watercolour on paper,
signed lower left, 22.5 x 33.5cm (8.8 x 13.2ins) mount aperture, gilt
frame, glazed
(1)
£70-100
49
Lot 215
215* Thompson (Edward Horace, 1879-1949). "Passing Gleams"
Loweswater and Melbreck, watercolour, showing sun shining
through clouds over a loch with mountains, signed lower left, 25
x 39.5cm (9.75 x 15.5ins), mounted, framed and glazed, with
artist's original printed label on backboard titled in manuscript
(1)
£200-300
216* After Joseph William Mallord Turner (1775-1851). Scene on
the Loire (near the Coteaux de Mauves), watercolour on thick wove
paper, heightened with gouache and white bodycolour, sheet size
135 x 228mm (5.3 x 9ins)
A 19th century copy after Turner’s original watercolour sketch, which dates
from circa 1826-1830, and is now held at the Ashmolean Museum in Oxford
(see Wilton 947).
(1)
£150-200
217* After Joseph Mallord William Turner (1775-1851). Combe
Martin, Devonshire, circa 1860s, watercolour, showing boats, mules,
and fisherfolk, 14 x 22.5cm (5.5 x 9ins), mounted, gilt moulded
frame, glazed
218* Upham (John William, 1772-1828). Portland Bill, watercolour,
coastal view of Pennsylvania Castle and the ruins of Rufus Castle,
with two sailing boats, 27 x 38cm (10.75 x 15ins), attributed on
mount, framed and glazed, pencilled title on verso
The original watercolour drawing by Turner is in the Ashmolean Museum,
Oxford. It was reproduced as an engraving in Cooke’s ‘Picturesque Views on
the Southern Coast of England’, published in 1825.
£150-200
(1)
(1)
50
£200-300
222* Wood (John Barlow, 1862-1949). Evening, watercolour on
paper, signed lower right, 150 x 240mm (5.9 x 9.5ins) mount
219* Urquhart (G. S., 20th century). Scene in a World War Two
Bunker, watercolour and pencil on paper, 20 x 30cm (8 x 12ins)
mount aperture, framed and glazed, together with eight other
watercolours, two showing First World War scenes, the others
views of Sussex, similar sizes
(8)
(1)
£70-100
£150-200
220* Watercolour Albums. Two albums of nineteenth century
watercolours and drawings by various hands, including still lifes of
flowers signed L R G and dated 1888, related flower studies,
landscapes and botanical studies (some signed M J Beddome),
others initialled J C C and dated 1869, E D (undated but circa 1850s),
both folio (245 x 305mm and 415 x 290mm), together with one
other small album of amateur sketches in the Far East, circa 1900
(3)
£200-300
223* Worsey (Thomas, 1829-1875). Flowers in a mossy
crevice, 1866, watercolour, showing bluebells, primroses and pink
wax flowers growing amongst moss and rocks, with fallen oak
leaves and a snail, signed and dated lower left, 38.5 x 31.5cm (15
x 12.25ins), mounted, framed and glazed
221* Weeks (Edwin John, 1849-1903). Egyptian Desert Landscape
with camel and figure praying, watercolour, signed with initial lower
right, 15 x 23.5cm (6 x 9.25ins), framed and glazed
(1)
£100-150
(1)
224 No lot
51
£500-800
OIL PAINTINGS
225* Barker (William, 19th century). The Shepherd’s Christmas,
oil on panel, inscribed in an early hand to verso, 18 x 23cm (7 x 9ins),
framed
(1)
£200-300
227* Cole (George, 1810-1883). Girl in a Sunlit Meadow, oil on
board, showing a summer landscape with three female figures
working in a field of corn, and a girl in bonnet and white pinafore in
the foreground, signed lower left, 50 x 40.5cm (19.75 x 16ins), framed
George Cole was a self-taught portrait, landscape and animal painter. From
1849 he exhibited at the Royal Academy and painted mainly landscapes,
including views of Hampshire, Cornwall, Wales and Sussex. His son George
Vicat Cole was also a landscape painter (see Christopher Wood, Dictionary
of Victorian Painters, page 106).
£300-500
(1)
226* After Oliver Clare (1853-1927). Still life of apples and a pear,
early 20th century, oil on canvas, 25 x 35cm (10 x 13.75ins), framed
(1)
£200-300
52
228* Follower of John Constable (1776-1837). A pair of rural landscapes, mid-19th century, oil on canvas, unsigned, each 305 x 255mm
(12 x 10ins), matching period gilt frames, glazed (some damage to frames)
(2)
£300-500
230* Dutch School. Kitchen Scene, early 19th century, oil on canvas
depicting a young kitchen maid, 30.5 x 25.5cm (12 x 10ins), framed
229* Continental School. Portrait of an old man in red and white
cloth headdress, circa 1850-75, oil on wood panel, chamfered edges
to verso, old illegible handwritten label to verso, 25.3 x 19cm (10 x
7.5ins), gilt frame
(1)
(1)
£150-200
53
£150-200
231* Egg (Augustus Leopold, 1816-1863). Interior with cavalier and family, oil on board, showing a woman seated with a young child whilst
a cavalier and his dog are seated opposite, contemporary inscription and old stock number to verso, 26 x 32cm 10 x 12.5ins), framed
(1)
£1000-1500
54
234* Manner of Egbert van Heemskerck I (1634-1704). Two
Figures by a Tavern Window, oil on oak panel, showing two men
beside a leaded open window, one with a pewter tankard, the other
leaning on a stone window ledge and looking at a leaf of paper, 24
x 21.5cm (9.5 x 8.5ins), gilt moulded frame, glazed
(1)
£400-600
232* English School. The Virgin Mary sewing, early to mid 18th
century, oil on panel, 37 x 27.5cm (14.5 x 10.8ins), framed
(1)
£400-600
233* Fulleylove (John, 1847-1908). Durham Cathedral, oil on card,
showing two men in a boat with Durham Castle rising beyond,
signed lower right, 24 x 30cm (9.5 x 12ins), framed
235* Ten Kate (Herman Frederik Carel, 1822-1891). Spinning
Wheel, oil on panel, showing a woman weaving with a cavalier
beside her, signed lower left, 23 x 18.5cm (9 x 7.5ins), gilt frame
(1)
(1)
£200-300
55
£200-300
237* Medley (Samuel, 1769-1857). Visitation of Eastern Dignitaries
before a seated Queen, 1793, oil on copper, signed ‘Mr Medley’,
and dated 1793 to lower right verso, several areas of heat damage
and blistering, 610 x 460mm (24 x 18ins), old gilt frame
The son of a baptist minister of the same name, Samuel Medley exhibited at
the Royal Academy between 1792 and 1805, initially historial and
mythological subjects, but latterly more often portraits. From 1805 however
he traded on the Stock Exchange, and later became one of the founders of
University College, London.
£300-500
(1)
238* Pether (Abraham, 1756-1812). Moonlit riverscape with
watermill, oil on canvas, showing a watermill on the banks of a wide
river with moonlit reflection, three figures fishing in a boat, and a
skyline with spire, re-varnished and re-lined, 50.5 x 61cm (20 x
24ins), gilt moulded frame
(1)
239* Attributed to Sebastian Pether (1790-1844). Moonlit
seascape with hermit, oil on panel, showing a wooded inlet with
moonlit reflection, a hermit in a cave on the shore, and a tower
hidden amongst trees, 33 x 40.5cm (13 x 16ins), gilt moulded frame
236* Lawes (Harold, 1865-1940). Cottage Garden, oil on board,
showing an English cottage, with two figures in the garden drawing
water from the well, signed lower left, 20 x 25.5cm (8 x 10ins),
framed and glazed
(1)
£1500-2000
(1)
£300-500
£100-150
240* Follower of Sir Edward James Poynter (1836-1919).
Preparing for the Festival, Flowers for the Gods, oil on canvas,
showing a young lady in a yellow-green diaphanous dress seated on
a marble bench and holding posies of roses aloft, with a sea vista
through trellis beyond, monogrammed top left ‘EJP’, pencilled title
on stretcher, 34 x 24cm (13.5 x 9.25ins)
Lot 237
(1)
56
£200-300
Lot 238
Lot 239
57
241* Richards (L.). Fishing on the Conway, late 19th or early 20th century, oil on canvas, relined, signed lower left, 50.5 x 77cm
(20 x 30ins), framed
(1)
£200-300
242* Rose (H. Randolph, active 1887-1930). Portrait of an elderly lady in an interior, oil on canvas, showing an elderly
laded seated with a side table beside, signed lower right, 67 x 102cm (26.5 x 40ins)
(1)
£300-500
58
243* Swinnerton (Frederick, late 19th century). Bruges, oil on canvas, showing a peasant girl making lace, seated on a wooden
stool beside houses alongside a canal, with a stone bridge over the water beyond, and washing hanging on a line, signed and titled
in red lower right, 80 x 61cm (31.5 x 24ins), original fine quality gilt frame, with leaf and berry moulding and recessed acanthus
leaves to corners, glazed, with later framer’s label on verso annotated in manuscript ‘regilded 1949’
(1)
£700-1000
59
244* After Titian (Tiziano Vecellio, 1485/89-1576). Girl with a Basket of Fruits (Lavinia), late
18th/early 19th century, fine oil on canvas, showing a young girl standing in front of an open
window with a vista of mountains, holding a dish of fruit and flowers aloft, and turning to face the
viewer, re-lined and some restoration, frame aperture 97 x 74cm (38 x 29ins), contemporary ornate
gilt frame of moulded maple leaves and grapes (some repairs)
After the oil painting by Titian of 1558, depicting his daughter Lavinia, now in the Staatliche Museen zu Berlin
in Germany.
(1)
£1000-1500
60
246* Windsor Castle. Bathing and rowing on the Thames with
Windsor Castle beyond, early 20th century, oil on board, showing
nude bathers swimming with rowing boats going past, 14.5 x
29.5cm (5.75 x 11.5ins) mount aperture, framed and glazed
(1)
£150-200
245* Watson (J. D.). Woman in an interior reading, oil on canvas,
signed with initials lower left, old stock number stenciled to
stretcher, 26 x 36cm (10 x 14ins), period gilt frame, glazed
(1)
£300-500
247* Wright (George 1860-1942). Coaching Scene, grisaille oil on canvas, showing a stagecoach travelling along a wooded lane, and a
waggon loaded with tree trunks following behind, signed lower right, 47.5 x 63.5cm (18.75 x 25ins)
(1)
248 No lot
£300-500
61
PORTRAITS & MINIATURES
249*AR Buhler (Robert, 1916-1989). Portrait of Robin Fedden,
pastel on paper, head and shoulders portrait of a sandy-haired man
half-turned to the right, wearing a white shirt, and blue jacket and
tie, signed upper right, 53 x 41cm (20.75 x 16ins), framed and glazed
Primarily a painter of places, Robert Buhler is also much praised for his
portraits, which are characterised by simple and uncluttered design with the
use of strong tones. He received many commissions but most of all enjoyed
painting friends from London’s artistic and literary circles. Among his sitters
were Steven Spender, Ruskin Spear, Barnett Freedman, John Davenport,
John Minton and Francis Bacon. Henry Robin Romilly Fedden, CBE, (19081977) was an English writer, diplomat and mountaineer. He was the son of
artist Romilly Fedden and novelist Katherine Waldo Douglas, and cousin to
artist Mary Fedden who taught at the Royal College of Art alongside Robert
Buhler. He served as a diplomat in Athens and taught English Literature at
Cairo University, where he became part of the literary group of Cairo poets,
and co-edited the literary journal ‘Personal Landscape’ with Lawrence Durrell
and Bernard Spencer. After the second world war he worked for the National
Trust, rising to the post of Deputy Director-General. He wrote a number of
books on a variety of different subjects, his best-known being ‘The Enchanted
Mountains: A Quest in the Pyrenees’ and ‘Chantemesle’.
£200-300
(1)
Lot 250
250* Davidson (E. M.). Half-length portrait of a woman, Edwardian
oil on canvas, signed upper left, 50 x 41cm (19.75 x 16ins), framed
(1)
£200-300
251* De Hem (Louise, 1867-1922). Portrait of a young woman, oil
on canvas, head and shoulders portrait of a young woman with dark
hair and enigmatic gaze, signed upper right ‘Louise de Hem, Paris’,
some over-cleaning, 46 x 37.5cm (18 x 14.75ins)
Belgian artist Louise de Hem was initially tutored by her sister’s husband,
artist Théodore Ceriez (1831-1904), who noticed her talent. After exhibiting
her first work in 1885 she went to Paris to study further where, at the private
Académie Julian, she painted living and sometimes nude models (which was
at that time in Belgium still forbidden for women). In 1891 she returned to
Ypres where she began painting still lifes and receiving commissions for
portraits. She exhibited widely, being the only Belgian painter to exhibit at
the Women’s Exhibition in London in 1900, and in 1904 she won a gold medal
in Paris for her painting ‘The Japanese Doll’.
£150-200
(1)
Lot 251
62
Lot 254
Lot 255
252* English School. Portrait of a woman, circa 1860, oil on
canvas, half length portrait of a seated woman wearing a brown
dress, patterned shawl, and frilled white cap, re-lined, 76.5 x 63.5cm
(30 x 25ins), framed
(1)
254* Gillespie (James H., 1793-c.1838). Portrait of a young lady,
oval watercolour, head and shoulders profile facing right, on a black
gouache ground, showing a young lady with dark curly hair in a bun,
wearing a black dress, bead necklace, and small hoop earrings, 7 x
5.5cm (2.75 x 2.25ins), original ebonised frame with convex glass,
engraved label on reverse ‘J.H. Gillespie, Profile Miniature Painter’
(with some loss)
£150-200
253* Gapp (J., active 1827-1840). Portrait of a Lady, scissor cut
silhouette on cream card, full-length profile facing right, showing a
lady wearing a gown with gigot sleeves and high collar, and a
bonnet, some slight loss, 24 x 13.5cm (9.5 x 5.25ins), with printed
label on reverse ‘J. Gapp, The original Profilist for cutting accurate
Likenesses, attends Daily at the Third Tower in the centre of the
Chain Pier’, original maplewood frame, together with Field (John
M., 1772-1848), Portrait of a Gentleman, bronzed green painted oval
silhouette on tan card, bust profile facing right, of a young
gentleman, signed, 8.5 x 7cm (3.25 x 2.75ins), original ebonised
frame (unglazed), with engraved label on reverse ‘Field, Miniature
Profile Painter at Mr. Jarman, Jeweller & Watch-man’, plus
Dempsey (John, active 1832-1844), Robert Miles: Aged 89 Years,
April 18th, 1850, pencil, watercolour, and gouache on cream card,
half-length profile facing right, showing an elderly gentleman in a
coat and waistcoat, titled and dated in manuscript below image,
8.5 x 5cm (3.25 x 2ins), mounted, framed and glazed, with printed
label on verso ‘To Emigrants, Travellers & the Public. The Celebrity
and Cheapness of J. Dempsey’s Profile & Likeness Establishment,
No. 26, Upper Arcade, Bristol, is known in all quarters of the globe’,
plus three others (a pencil sketch attributed to William Wynn Ryland,
a gouache and watercolour portrait miniature of a gentleman,
early-mid 19th century, and a broken silhouette on glass by
Rosenberg of Bath)
Provenance: From the collection of the late Christopher Lennox-Boyd.
£100-150
(1)
255* Hamlet (William the Elder, b.1751). Portrait of a Lady,
painted oval silhouette on tan card, highlighted with white, head and
shoulders profile facing left, showing a young lady wearing a dress
with chiffon neck frill, 7 x 6cm (2.75 x 2.25ins), original ebonised
frame with convex glass, engraved label on reverse ‘Hamlet, Profile
Painter, To Her Majesty and the Royal Family, No.12, Union Street,
Bath’, together with Portrait of a Lady, painted oval silhouette portrait
on tan card, highlighted with white, head and shoulders profile
facing left, showing a young lady with curled hair and wearing small
hoop earrings, 7 x 6cm (2.75 x 2.25ins), original ebonised frame with
convex glass, engraved label on reverse ‘Hamlet, Profile Painter, To
Her Majesty and the Royal Family, No.17, Union Passage, Bath’
£150-250
(2)
£150-200
(6)
63
256* Manner of Giuseppe Macpherson (1720-1792). Sei Pittori
Italiani, circa 1850, calligraphic title-page with gold initial letters, six
oval portrait miniatures of artists, watercolour on card, mounted
within gilt line border on thick card leaves (foxed), each with
calligraphic name in black ink below: Giovanni Cimabue, Giotto,
Tiziano, Raffaello, Annibale Caracci, Carlo Dolci, all edges gilt,
marbled endpapers, original brown morocco, lightly rubbed in
places, spine faded, raised bands between blind rules, covers with
blind double fillet border, gold metal clasp, small 4to
(1)
£200-300
257* Mason (Gilbert, 1913-1972). Mr. & Mrs. Charlesworth, 1965,
oil on canvas, half-length portrait of an elderly couple seated sideby-side in an interior, signed and dated lower right, 71 x 91.5cm (28
x 36ins), framed, together with a catalogue of an exhibition of the
artist’s works held in 1974
Believed to be No.52 listed in the aforementioned exhibition catalogue.
£200-300
(1)
Lot 256
Lot 257
64
Lot 258
Lot 260
258* Miers (John, 1756-1821). George Pochen, Barkby Hall, 1808,
a finely bronzed painted oval silhouette portrait, head and shoulders,
profile turned to the right, of a gentleman in coat and frilled necktie,
some marginal dust-soiling, 8 x 6.5cm (3 x 2.5ins), original ebonised
frame with convex glass, engraved label on reverse ‘Miers, Profile
Painter & Jeweller’, with early ink inscriptions ‘Picture of Geo. Pochin
1808 Barkby Hall’ and ‘C.N. Pochin, 1861 Decr.’
Provenance: From the collection of the late Christopher Lennox-Boyd. Barkby
Hall has been the seat of the Pochin family since 1604.
£150-200
(1)
259* Miers (John, 1756-1821). Portrait of a Gentleman, a finely
bronzed painted silhouette portrait, head and shoulders, profile
turned to the right, of a gentleman in a coat, 7.5 x 6cm (3 x 2.5ins),
original ebonised frame glazed, with engraved label on reverse
‘Miers & Field... Profile Painters, Jewellers, Seal Engravers’
(1)
£150-200
260* Miers (John, 1756-1821). Portrait of a Gentleman, painted
oval silhouette portrait, head and shoulders, profile turned to the
right, of a gentleman with a pigtail tied with a ribbon, 8.5 x 6.5cm
(3.25 x 2.5ins), original ebonised oval frame with convex glass,
engraved label on reverse ‘Miers, Profile-Painter & Jeweller’, with
some old adhesive stamp paper repairs
£100-150
(1)
Lot 259
65
261* Opie (John, 1761-1807). Portrait of Miss Reynolds as Red
Riding Hood, oil on millboard, head and shoulders portrait of a young
girl with short brown hair wearing a red cloak, recent light cleaning
and revarnishing, 52 x 41.5cm (20.5 x 16.25ins), verso with early
manuscript label ‘Portrait by Opie of Miss Reynolds Miniature
Paintress. Property of W. Walker Esq. 64 Margaret St. Cavendish
Sq.’ and William Walker’s printed address label, framed, Jack Fenning
Collection typed label on reverse
Exhibited: Royal Academy, Winter Exhibition, 1875, No. 234; Grosvenor
Gallery, 1888-1889; Grafton Galleries, ‘Fair Children’, 1895. Renowned
miniaturist Elizabeth Reynolds (1800-1876) was the daughter of painter and
engraver Samuel William Reynolds, and became the wife of Scottish engraver
William Walker. She exhibited at the Royal Academy between 1818 and 1850,
was appointed miniature painter to William IV in 1830, and executed portraits
of five Prime Ministers. Elizabeth evinced an early love of the arts, but it wasn’t
until this portrait was painted by Opie that her talent became apparent. She
and her parents encountered John Opie at the residence of their mutual friend
Samuel Whitbread in Bedfordshire; the painter invited Elizabeth to sit for him
and the result was this portrait. When it was finished Elizabeth “then not more
than eight years of age, commenced, of her own accord, an engraving from
it, and completed it with scarcely any assistance; and so extremely well was
the work executed that it would not have been unworthy the experienced
artist. - This was Miss Reynold’s first essay” (‘The Ladies’ Monthly Museum’,
August 1825). As a result of this her father determined on teaching her the
art of engraving, and she became a valuable assistant to him. However, it
became obvious before too long that her talents were wasted as a mere
copyist, so her father encouraged her to became a portrait painter.
£2000-3000
(1)
262* Porcelain plaque. A young mother and her children in a
landscape, mid 19th century, painted porcelain, showing a young
peasant woman holding a baby aloft, and a small girl clutching her
skirt, with trees and a cottage in the background, signed lower right
and on label on verso ‘Muller Fraiden’, 17.5 x 12.5cm (7 x 5ins), with
carved wooden rococo frame (broken with loss)
(1)
£200-300
Lot 262
66
Lot 261
67
263* Portrait Miniatures. A pair of portrait miniatures of a lady and
gentleman from Goggingen, painted in Mainburg, Germany, 2nd
September 1831, watercolour on ivory, backed with green paper, both
half-length portraits in profile, the lady facing to the right and the
gentleman to the left, the lady attired in a red-patterned yellow dress
and head-piece, and a many-stranded bejewelled gold choker and
large gold earrings, the gentleman wearing a navy blue coat, patterned
waistcoat, and black cravat, latter with contemporary pencil inscription
detailing places and date on verso, each 6.5 x 5cm (2.75 x 2ins)
(2)
£150-200
265* Manner of John Singer Sargent (1856-1925). Young woman
in a taffeta and organza dress, oil on canvas, three-quarter length
portrait, showing a lady in a cream dress with cinched waist and
bustle, embellished with gold spangles, with a green curtain and
pale pink peonies in the background, trimmed and re-mounted over
smaller stretcher (with old framer’s label), 104 x 77cm (41 x 30.25ins),
period gilt frame
(1)
£300-400
266* Field (John, 1772-1848). Portrait of a young girl, 1842, a finely
bronzed painted silhouette portrait, head and shoulders, profile
turned to the right, of a young lady wearing a dress with a chiffon
collar, her hair in a plaited bun and with ringlets held in a clasp,
signed ‘Field 2 Strand’, toned, with Field’s engraved label on reverse
‘Field, Profile Painter, Jeweller, Seal Engraver, &c...’, and with
contemporary manuscript inscription above ‘S.P. to J.N.P.’ dated
1842, image size 6 x 3cm (2.25 x 1.25ins)
A fine example of the work of one of the foremost silhouette artists. John
Field exhibited extensively at the Royal Academy and was particularly known
for his bronze detailing.
(1)
£150-200
264* Follower of Sir Henry Raeburn (1756-1823). Portrait of a
Girl, circa 1800, oil on wood panel (cut down to lower edge), halfprofile portrait to left of a dark-haired girl in a cream muslin dress,
32 x 33cm (12.75 x 13ins)
(1)
£200-300
68
OLD MASTER PRINTS & DRAWINGS
267* Aquila (Pietro, 1650-1692). The Battle of Constantine and Maxentius at the Milvian Bridge (after Raphael), 1683, large-scale etching
on 4 sheets of laid paper, published by Dominici de Rossi, Rome, some marks and light soiling, overall size 1750 x 685mm (69 x 27ins)
Le Blanc 86. A monumental engraving by Pietro Aquila after the fresco in the Stanze di Raffaello, in the Vatican, executed by Giulio Romano and other members
of Raphael’s workshop.
£200-400
(4)
268 Audran (Gerard). Les Proportions du Corps Humain, mesurées
sur les plus belles figures de l’antiquité, 1st edition, Paris, 1683,
[7]pp., 30 etched plates, ownership signature of José Manuel de
Carvalho e Negreiros to title, text leaves somewhat soiled and with
professional archival repairs and restoration not affecting text, some
old soiling and marginal dampstaining, several marginal splits without
loss, bound with Pariset (R.M.), Nouveau livre de principes de
dessein receulli des etudes des meilleurs maitres tant anciens que
modernes, Paris & Lyon, [1748?], additional engraved title, engraved
vignette title, engraved text leaf and 29 (of 37?) etched plates,
manuscript folio numbers, to outer corners, bound with a group of 9
red chalk drawings, 21 pencil drawings, and 95 engravings, by José
Manuel de Carvalho e Negreiros, tipped or pasted on to 39 thick
paper leaves, the drawings and many of the engravings being related
anatomical drawing studies, one with his name and the date 1770 to
upper margin, a little soiling, a few splits and scattered marginal
restoration and repairs, the drawings of various sizes, approximately
50 x 24cm (19.75 x 9.5ins) and smaller, modern calf gilt, rubbed, folio
(38 x 27cm)
José Manuel de Carvalho e Negreiros (1751-1815) was a Portuguese architect
and military engineer. He was the son and disciple of Eugénio dos Santos
Carvolho who planned the rebuilding of Lisbon. For the first work see Heirs
of Hippocrates 635. Sold as an album and not subject to return.
£1000-1500
(1)
Lot 268
69
Lot 271
269* Bloemen (Jan Frans van, ‘Il Horizonti’, 1662-1749). 5 Italianate
landscapes, early 18th century, 5 etchings on wove paper, corner
mounted onto album leaves, plate size 240 x 175 mm (9.5 x 6.9 ins),
with short margins, together with other later 17th and 18th century
etchings and engravings by various Dutch & Flemish artists,
including Ruisdael, Rembrandt, Barriere after Claude, Pieter de Laer,
Theodore van Kessel, Karel Dujardin, etc., mostly mounted onto 29
album leaves, folio
(80)
272* Boydell (John, 1719-1804). Six Landskips Drawn after Nature,
1747, together 6 etchings on laid paper, printed & sold by John
Boydell, plate size 140 x 265 mm (5.5 x 10.5 ins), with wide margins,
sheet size 200 x 325 mm, the first plate with some damp damage,
bound with Six Landskips Drawn after Nature by John Boydell, 1747,
together 6 etchings on laid paper, printed & sold by John Boydell, all in
very good condition, similar size, plus another similar series of 6
etchings, probably by John Boydell, after landscapes by Teniers, similar,
all bound in original plain wrappers, stitched as issued, some wear and
fraying to edges, with contemporary handwritten title to upper
wrapper, small slim oblong folio, plus Bickham (George, circa 16841758), A New Collection of Landskips, &c., Engrav’d by G. Bickham
jun, 1732, together 6 etched views on laid paper, printed for John
Bowles, plate size 215 x 150 mm (8.5 x 6 ins), sheet size 330 x 202
mm (13 x 8 ins), bound with 5 similar etched landscapes after Albert
Flamen (1620-1692), published by Jacques Lagniet, circa 1730-40,
stitched as originally issued, with upper wrapper only present, small
slim oblong folio, plus one similar booklet of 18th century etchings,
including Sebastian Le Clerc, A New Drawing-Book, very necessary
for ye practice of all young beginners, in the Arts of Painting, Drawing,
Engraving, published by J. Clark, 1721, and Figures from Callot &
Others, printed for J. Bowles, circa 1720s, containing 18 and 9
engravings of figures and costume on 6 and 3 sheets respectively,
sheet size 270 x 185 mm (10.5 x 7.25 ins), bound in original plain
wrappers with handwritten label to upper cover, and 4 similar small
booklets of landscape engravings (by H. Roberts after Swanevelt and
Grimaldi, Boydell, and James Roberts after Perelle, etc)
£300-500
270 No lot
271* Bolswert (Schelte Adams, 1576-1659). Landsape with large
Roman ruins, after Peter Paul Rubens, circa 1638, etching and
engraving on laid paper, from the set of 20 small Landscapes,
published by Gillis Hendricx, Antwerp, with the engraver’s and
artist’s name lower and centre right respectively, and the publisher’s
name to lower right, a good strong impression, sheet size 345 x
445mm (13.5 x 17.5ins), together with Morghen (Raphael, 17581833), Lot and his Daughters, after Guercino and Stefano Tofanelli,
[1787], etching and engraving on laid paper, some light marginal
soiling (generally a good strong impression), plate size 480 x 565mm
(19 x 22.25ins), sheet size 495 x 590mm (19.5 x 23.25ins), plus
[Marco Dente da Ravenna, circa 1493-1527], Two satyrs facing
Silenus on a braying ass, circa 1515-27 [but later], copper engraving
on laid paper, a later 17th century issue by Giovanni Baptista de
Rossi, with narrow margins, plate size 111 x 175mm (4.3 x 6.9ins)
(3)
£100-150
Provenance: From the Collection of Christopher Lennox-Boyd.
(7)
70
£200-300
273* Brustolon (Giovanni Battista, 1712-1796). Feste
Ducali, Venice, [1766], 10 etchings with engraving on laid paper
(from the set of 12 views, also known as the Solennita Dogali),
published by Ludovico Furlanetto, lacking only plates 1 and 2,
printed caption and publisher’s imprint to lower margin, and
numbered to lower right corner (2-12), each trimmed just
inside plate mark, occasionally touching the outer border line,
some minor marks and and several closed tears repaired,
sheet size 440 x 550mm (17.25 x 21.6ins), or similar
A fine series of views of Venice after Canaletto, depicting the
festivals and ceremonies of the Doge, Brustolon’s most famous
series of prints, and his second set, following three years after
the series of 12 engravings titled Prospectuum Aedium... urbis
Venetiarum, also published by Furlanetto.
£2000-3000
(10)
71
Lot 275
Lot 274
274* Campanella (Angelo, 1746-1811). A Roman fresco in the
grounds of Villa Negroni: Bacchus and Ariadne (from the series of
eight engravings after Anton Raphael Mengs and Anton von
Maron), 1783, hand coloured etching on laid paper, heightened with
gouache, thread margins, with loss of printed title to lower edge,
500 x 815mm (19.7 x 32ins), framed and glazed
276* After Correggio (Antonio Allegri, circa 1489-1534). The
Reading Magdalen, black chalk on wove paper, inscribed to lower
margin Correggio Dipinze, and indistincly signed Luigi Panfieri (?)
and dated 1811 lower right, some marks and light soiling, short
closed tear to right hand margin, slightly touching image, sheet size
322 x 465mm (12.7 x 18.4ins)
This is plate VII from the series.
(1)
After the picture formerly in the Dresden Gallery.
(1)
£150-200
£150-200
275* Chodowiecki (Daniel Nikolaus, 1726-1801). A collection of
twenty various engravings, 1785-91, twenty engravings on various
subjects, including several workshop interiors, 126 x 74mm (5 x
2.9ins) and similar, and twelve smaller engravings from the series
Histoire et Aventures de Sir Will Pickle, 90 x 53mm (3.5 x 2.1ins),
together with a further group of etchings by Eugen Neureuther,
1838-46, plus several etchings by Wierotter
(30)
£100-150
277* French School. David playing the harp for King Saul, 1757, red
chalk drawing on laid paper, dated and indistinctly initialled LFDB
lower left, some marks and short marginal closed tears, sheet size
273 x 340mm (10.75 x 13.4ins)
(1)
Lot 276
72
£150-200
278* Hollar (Wenceslaus, 1607-1677). Lucas et Cornelius de Wael
(after Van Dyck), 1646, etching on heavy laid paper, published by J.
Meysens, trimmed to plate mark, 302 x 229mm (11.9 x 9ins),
together with a large collection of various 17th and 18th century
prints and engravings, including Giuseppe Vasi, Basilica di S. Pietro
in Vaticano, Marinus after Van den Hoecke, Ferdinandus Austriacus
(coloured), Bockman after J. Molin, The Owl Face, printed for John
Bowles at No. 13 in Cornhil (mezzotint), a large etching of a
gentleman and girl carrying corn in a field, printed for Carington
Bowles, engraved portrait of John Caspar Lavater by William Blake,
published by J. Johnson, May 1 1800, engraved portrait of
Ferdinandus Philippi IV by Moncornet by Van Dyck, 2 mezzotint
portraits by John Faber of Johannes Hus and Hieronimus a Praga,
1714/15, a series of small etched illustrations to the Epistole
Heroiche of Antonio Bruni, etc., various sizes and conditions
(approx. 130)
279* Italian & Dutch Schools. A folio album of 95 various 17th
century engravings and etchings, including a few late 16th century,
including 7 etchings of Old Testament scenes after Antonio
Tempesta, 6 large etchings by Jost Amman (1539-1591), illustrating
Tasso, etchings of sheep and goats by Paulus Potter (1625-1654) and
Mark De Bye, one copper engraving by Leonard Gaultier from the
series History of Cupid and Psyche after Raphael (1609), one large
etching by Jacques Callot (1593-1635), with the caption ‘Vous qui
prenez plaisir en leurs parolles, Gardez vos blancs, vos testons, et
pistolles’, several etchings of animals by Stefano della Bella (16101664), published by Mariette, one etching by Francesco Curti
(1603-1670) after Guercino, one etching by Giovanni Bernedetto
Castiglione (1616-1670), Circe with the companions of Odysseus
transformed into animals, circa 1650, with corners and triangle to
centre of top margin excised, engraved landscapes by Cock, Roland
Savery (1576-1639), and Raphael Sadeler (1555-1616), a series of
engraved studies of figures in costume, heads, etc., by Frederick
Bloemart after Abraham Bloemaert (1564-1647), etc., various sizes,
all mounted in 18th century folio album in reversed calf (except 8
plates loose), rubbed and marked to board edges, and spine with
later reback (380 x 245mm)
£300-500
(1)
73
£400-600
281* Lauwers (Nicolaes, 1600-1652). Novae Legis Triumphus, after
Peter Paul Rubens, copper engraving on two sheets, printed on laid
paper, engraved and published by Nicolaes Lauwers, Antwerp, closetrimmed to margins, closed tear to upper right margin, overall sheet
size 645 x 890mm (25.5 x 35ins), together with Vorsterman (Lucas,
1595-1675), The Adoration of the Shepherds, The Adoration of the
Magi, & The Deposition, 1620, 3 copper engravings on laid paper,
trimmed to plate mark, one or two short closed marginal tears, and
2 other large-scale engravings after Rubens by Paulus Pontius and
Pieter de Bailliu (both with some damage)
(7)
282 Lucas (Richard Cockle, 1800-83). A collection of 26 etchings
by R.C. Lucas, 1843, including studies of old trees in Hyde Park,
Regent’s Park, The Bursting of St. Anthony’s Dyke, rustic landscapes
and nocturnes, View from Shooter’s Hill, Salisbury, from the South
East, Pont y Prid, The Bridge of Beauty, etc., various sizes, all laid
down on later large album leaves, 20th century quarter black cloth,
rubbed and some marks, oblong folio (350 x 430mm), together with
Ottley (Sir William Young), A Collection of Thirty-Nine Fac-Similes,
of Rare Etchings, by Celebrated Painters of the Italian, Dutch, and
Flemish Schools, with a descriptive catalogue, 1828, 39 etched
plates, tipped-in, original green cloth-backed boards, rubbed and
some soiling, a little wear to extremities, folio
280* Italian School. Il Circo Massimo come era Anticamenta, circa
1725-50, pen, ink and watercolour on watermarked, laid paper, sheet
size 20.5 x 28cm (8 x 11ins), framed and glazed
(1)
£200-400
£200-300
(2)
Lot 281
74
£150-200
Lot 284
283* Mortimer (John Hamilton, 1740-1779). Reposo, 1778,
etching on thick wove paper, published December 8th 1778, a few
minor pinholes, plate size 305 x 205mm (12 x 8ins), with margins,
together with Basire (James, Ryland, W.W., Watts, Simon), 22
engravings in the crayon manner [from Charles Rogers, A Collection
of Prints in Imitation of Drawings, 1773], all on laid paper, with full
margins, rubbed and some marginal marks and soiling, sheet size
565 x 380mm (22.25 x 15ins), plus Houbraken (Jacobus, 16981780), 3 engraved portraits [from Heads of Illustrious Persons of
Great Britain, 1743-52[, including Lieutenant General Fleetwood,
Charles Howard, Earl of Nottingham, John Pym, trimmed, to plate
mark, sheet size 370 x 235mm (14.5 x 9.25ins), or similar, and 4
others similar, including Anthony Warker after Ostade, Law,
published by John Boydell, March 1st 1763, George Vertue after
Holbein, Henry Howard, Earle of Surrey, 1747, J.P. Pichler after H.
Fuger, Gideon Ernest Loudon, 1788, and Johann Friedrich Bause
after Le Roy, Peter The Great, 1786
(30)
285* Piranesi (Giovanni Battista, 1720-1778). Tempio antico
volgarmente detto della Salute su la via d’Albano... (from Vedute di
Roma), 1763, etching on heavy laid paper (watermarked with a fleurde-lys within a double-rule circle), trimmed to plate mark, some marks
and light waterstain to lower right corner, sheet size 416 x 560mm
(16.4 x 22ins), together with Veduta di un Sepolcro creduto de Scipioni
fuori di Porta S. Sebastiano sopra l’antica Via Appia (from Antichita
Romane), etching on thick laid paper, numbered ‘Tom. II, XXVIII (plate
28 from the second volume of the Roman Antiquities), signed in the
plate lower right Piranesi Archit, some marks and soiling, one or two
short closed tears, and light waterstains, narrow margins, plate size
400 x 520mm (15.75 x 20.5ins), sheet size 410 x 535mm (16.2 x
21.1ins), plus Veduta degli avanzi del tablino della Casa Aurea di
Nerone, detti volgarmente Il Tempio della Pace (from Vedute di Roma),
1757, etching on heavy laid paper, state iii (of vi), with the longer title,
address and price, some marks and light soiling, central vertical crease,
and some minor tears to outer margins, plate size 420 x 553mm (16.5
x 21.75ins), sheet size 440 x 575mm (17.25 x 22.7ins), and Rossini
(Luigi), Arco di Settimio Severo detto degli Argentieri in Roma nel foro
Boario (from Gli Archi Antichi Trionfali), circa 1820, etching on thin wove
paper, laid down on backing paper, some marks and tear with minor
loss towards lower right corner, plate size 405 x 360mm (16 x 14.2ins)
£150-200
284* Piranesi (Giovanni Battista, 1720-1778). Tempio della
Fortuna Virile ora S. M. Egizziana, 1745, etching on laid paper,
together with thirteen other small views of Rome by Piranesi, all
on laid paper, most mounted Plates numbered 28, 36, 41-2, 51-2,
56, 62, 64, 70, 72, 75, 91, & 95.
(14)
Hind 71, state II (of iv) (first work). Wilton-Ely 385 (second work). Hind 45,
iii/iv (third work).
(4)
£200-300
£200-300
75
286* Piranesi (Giovanni Battista, 1720-1778). The Well,
plate XIII from the series Carceri d'Invenzione (Imaginary
Prisons), 1749-60 [but later], etching and engraving on 20th
century heavy wove paper, plate size 405 x 553mm (16 x
21.75ins), sheet size 625 x 800mm (24.7 x 31.5ins)
(1)
£150-200
Lot 286
287* Piranesi (Giovanni Battista, 1720-1778). The Pier
with Chains, plate XVI from Carceri d'Invenzione (Imaginary
Prisons), 1749-60 [but later], etching and engraving on 20th
century heavy wove paper plate size 410 x 555mm (16 x
21.75ins), sheet size 625 x 800mm (24.7 x 31.5ins), framed
and glazed
(1)
£150-200
Lot 287
288*
Piranesi (Giovanni Battista). Tempio Antico
Volgarmente detto della Salute..., [1763], uncoloured etching
on thick laid paper, Roman edition with fleur-de-lys in a
double circle watermark, slight spotting and staining, largely
confined to margins, tipped on to later card, 415 x 565mm
Hind 71.
(1)
Lot 288
76
£200-300
Lot 290
289* Sadeler (Raphael I, 1560-1628 & Raphael II, 1584-1632).
Album of 46 copper engravings by Raphael Sadeler the Elder and
Younger, circa 1584-1615, including The Annunciation after Petrus
Candidus, The Virgin and Child with St. Anne after Hans von Aachen,
1589, St. Felix, 1615, St. Paul, 1599, St. Jerome, 1603, Christ
Triumphant, 1614, St. Veronica holding Christ’s Shroud, etc., all
mounted on laid paper in 18th century calf-backed marbled boards,
heavily rubbed and marked, some wear to edges and corners, folio
(400 x 290mm, 15.75 x 11.25ins)
(1)
£700-1000
290* Sadeler (Joahnnes, 1550-1600). Fiducia, from the series
Virtues Conquering Vices after Maerten de Vos, 1579, copper
engraving on laid paper, together with five other copper-engravings
from the same series (Justitia, Maiestas, Religio Christiana, Politeia
and Precatio), with margins, plate size 140 x 95mm (5.5 x 3.75ins)
and similar, sheet size 167 x 120mm (6.5 x 4.7ins) and similar, each
tab-mounted to later card
Hollstein 541 for the first engraving.
(6)
£200-300
291* Schon (Erhard, circa 1491-1542). Emperor Charles V, circa
1519-30, woodcut on laid paper, margins close-trimmed, sheet size
122 x 99mm (4.8 x 3.9ins)
Bartsch 42.
(1)
£100-150
Lot 291
77
292* Van der Straet (Jan, 1523-1605). Venationes Ferarum, Avium, Piscium. Pugnae Bestiariorum: & mutuae Bestiarum [Antwerp], Philip
Galle, [1578], copper engraved title page, and 56 (of 104) copper engraved plates only, by Collaert, De Mallery, Cornelis and Theodorus Galle
after Stradanus, each plate with a legend of 4 lines in Latin verse (occasionally 2 lines only), printed on laid paper, some soiling and marks
throughout, some plates frayed to margins and some trimmed to plate mark, some plates browned, later marbled paper boards, oblong folio,
260 x 330mm (10.25 x 13ins)
Schwerdt II, 226. Born in Bruges, Johannes Stradanus, or Jan van der Straet, worked principally in Italy as a designer of cartoons for tapestry. From 1553 to
1571 he was employed by Cosimo de Medici, who commissioned from him a series of lavish representations of hunting, fowling and fishing for the adornment
of 20 rooms in the palace of Peggio-a-Cajano, from which these engravings were made. One of the finest hunting books ever published. The plates not present
are numbers 6, 17-18, 20-22, 25-28, 30-35, 43, 49-52, 55-60, 62, 64-65, 67, 72-79, 82, 92, 94, 96-100 and 104.
£700-1000
(1)
293 No lot
78
THE STUDIO OF MARCUS ADAMS
Marcus Adams (1875-1959). Born in Reading, the seventh son of artist and photographer Walton
Adams (1842-1934), Marcus went on to work in a solicitor’s office. Attending night school at
Reading Art College, he began to develop his skills as a draughtsman and designer. In 1892 he
was apprenticed at his father’s photography studio, first preparing negatives and then proofing
and retouching. Whilst he was starting to gain a reputation for the photographic portraits for
which he would become famous, he continued his artistic education by studying in Paris and
travelling to Switzerland, North Africa and beauty spots around England. In 1919 he left the studio
of his father and established the Three Photographers’ Studio with husband and wife Bertram
Park and Yvonne Gregory. He continued to paint and draw throughout his life, travelling widely
and pursuing his other great passion of gardening, culminating in prize winning sweet peas and
the beautifully designed gardens which inspired many of the works offered in this sale.
Chris Adams (1867-1960). The elder brother of Marcus, Christopher studied at Reading University.
Best known for his miniature paintings, he exhibited at the Royal Academy, Royal Miniature
Society and Walker Art Gallery. He was commissioned to paint two miniatures for the library of
Queen Mary’s Dolls’ house, both preserved in the Royal Collection. He married Minnie Walters
Anson, also a miniature painter, whose work is represented in the present sale.
Gilbert Adams (1906-1996). Making a third generation of photographers and artists, Marcus’s son
Gilbert also studied art at Reading University under the tuition of Allen Seaby and Herbert Maryon.
He too earned a reputation as a photographer, being commissioned by the British Council to
make a series promoting Britain to tourists. He spent a great deal of time in St Ives where he
became close friends with most of the major artists working in the area, especially Peter Lanyon
and Hyman Segal. His work is held by many institutions and he exhibited widely, both as a
photographer and painter.
Marcus Adams (1875-1959)
Art and picture making with a camera are fundamentally the same, requiring
such essential qualities as good taste, beauty of line, and perfect juxtaposition of
tone, together with atmosphere that stirs the emotion.
Gilbert Adams, Photograms of the Year, (1948), p. 11
Rosalind Thuillier (1939-2015). By marrying Gilbert in 1978, Rosalind became another contributor
to the family’s artistic output. Rosalind is probably best known for her books, including a
biography of Graham Sutherland and an account of Marcus Adams’ royal portraits, Rosalind’s
work is characterised by a bold use of colour and a blending of representative draughtsmanship
with abstract freedom.
Chris Adams (1867-1960)
Rosalind Thuillier (1939-2015)
Gilbert Adams (1906-1996)
79
Lot 294
294 Adams (Marcus, 1875-1959). New Ideas for Containers to
assist simple decorative display of cut flowers/New Designs for
Vases [cover-titles], 1956, together a pair of albums, with forty and
twenty-nine watercolours on card respectively, mounted on card
album leaves, mostly one (but sometimes two) to a page, on rectos
only, each with a design for a receptacle for holding flowers, many
with tissue overlay with pencil and watercolour illustration of
flowers, showing how each vessel might be used, some unfinished,
most titled in pencil to lower margin, two designs attributed to
Merrill Rose, printed address label and calligraphic title at front of
each volume, both signed by the artist, and latter dated, original blue
cloth-backed pink card wrappers tied with blue cord, front covers
stamped ‘Marcus Adams’ in gilt, and with mounted calligraphic title
label, housed together in a patterned paper-covered cardboard box,
title label with original illustration mounted on pull-off lid
A pair of most unusual and decorative albums, showing influences of both
Christopher Dresser and the Art Deco period.
(2)
£500-800
295* Adams (Marcus, 1875-1959). A collection of pen & ink
drawings, approximately eighty pen & ink drawings and sketches,
mostly landscapes, buildings, and a few interiors, gardens, etc.,
some titled and dated, a few signed, various sizes, 36 x 26cm (14.25
x 10.25ins) and smaller, some mounted
(approx.80)
Lot 295
£100-150
80
296* Adams (Marcus, 1875-1959). A collection of pastel drawings,
approximately 80 landscape drawings, most depicting sunsets and
atmospheric conditions, pastel on paper, some signed in pencil
lower right, approximately 9 x 13cm (3.5 x 5ins), mounted and with
tissue guards, most mounts dated in pencil 1950s, some with place
names, including Jersey, Mallorca, Henley, Salfords in Surrey
(approx.80)
Lot 298
£200-300
297* Adams (Marcus, 1875-1959). A collection of pastel drawings,
approximately 80 landscape drawings, most depicting sunsets and
atmospheric conditions, pastel on paper, some signed in pencil
lower right, approximately 9 x 13cm (3.5 x 5ins), mounted and with
tissue guards, most mounts dated in pencil 1950s, a few with place
names, including Salfords in Surrey, Sussex Downs, Jersey
(approx.80)
£200-300
298 Adams (Marcus, 1875-1959). Mediterranean sketchbook, circa
1904, appproximately 120 watercolours and drawings, mounted into
a contemporary album, most signed or initialled, some dated 1904, 8
x 14cm (3 x 5.5ins) and similar, oblong folio (album lacking upper cover)
299* Adams (Marcus, 1875-1959). A collection of forty-five original
pencil studies of Majorca, circa 1931, forty-five pencil sketches on
various papers, mostly landscape and coastal views, townscapes
and architectural motifs, etc., many captioned and dated to lower
edge, sheet size 30 x 23cm (12 x 9ins) and similar, each tipped into
original mount with artist’s printed studio label to verso, loosely
contained in contemporary box with manuscript title label
Views include Cairo, Lyon, Marseille, Italian coast, Mt. Etna, Athens,
Acropolis, Piraeus, Jericho, Jerusalem, Dead Sea, Jordan, Nazareth,
Bethlehem, Jenin, Alexandria, Great Pyramid, and the Sphynx.
(1)
£300-500
Views include Palma Market Day, Pollensa Bay, Formentor Hotel, Casa Catala Bay,
The Rocks, Alfonso Hotel, The Clouds over Soller, Genova, Palma, and others.
£700-1000
(45)
81
300* Adams (Marcus, 1875-1959). Tuareg tents, oil on board,
12 x 16.5cm (4.75 x 6.5ins), together with eleven similar oils on board,
mostly landscape scenes, most probably of continental scenes
(12)
Lot 302
£200-300
301* Adams (Marcus, 1875-1959). Scuplture garden, oil on board,
11.5 x 16cm (4.5 x 6.25ins), together with twelve similar landscapes,
including parklands and gardens, one signed to lower edge
(13)
£200-300
302* Adams (Marcus, 1875-1959). An album of twenty-one
scraperboards, circa 1957, black and white scraperboard, one or two
heightened with colour, most signed, many titled to mount, some
with original tissue guards, seven loosely inserted to rear of album,
original artist’s label to upper cover, 16 x 13cm (6.5 x 5ins) and
slightly smaller
Subjects include, views from Lavender Cottage (the artist’s home), the
Matterhorn, still lifes, a 2000 year old olive tree in Mallorca, Three Cliff Bay,
Bodmin Moor, flowers and plants.
£300-400
(1)
303* Adams (Marcus, 1875-1959). A collection of thirty-five
original pencil studies of Switzerland, circa 1930, thirty-five pencil
sketches on various papers, including landscapes, mountain studies,
architectural motifs, etc., many captioned and dated to lower edge,
sheet size 30 x 22.5cm (12 x 8.75ins) and similar, each tipped into
contained in contemporary box with manuscript title label
Views include snapshots from the train, Val di Fassa from Ciampedie, SaasFee, Saas-Grund from the Tea Hut, and others.
(35)
£500-800
82
304* Adams (Marcus, 1875-1959). A collection of fifty-two original
pencil studies of trees, circa 1931, fifty-two pencil sketches on
various papers, including trees in landscapes, studies of trees and
branches, etc., some captioned and dated to lower edge, some
timed, sheet size 30 x 23cm (12 x 9ins), each tipped into original
mount with artist’s printed studio label to verso, loosely contained
in contemporary box with manuscript title label
305* Adams (Marcus, 1875-1959). A collection of fifteen original
pencil studies of Cornwall, circa 1931, fifteen pencil sketches on
various papers, including landscapes and coastal views, townscapes
and architectural motifs, etc., many captioned and dated to lower
edge, sheet size 23 x 30cm (9 x 12ins) and similar, each tipped into
contained within contemporary box with manuscript title label
Subjects include Cornish Inn, Resting Spot in Exeter, Beech Trees, On the
Thames, A Wonderful Old Oak, Gorran Haven, Cornwall, Olive Trees, and others.
(52)
£300-500
Views include Fawey, Near St. Ives, Gorran Haven, The Brook Vale Farm,
Portbury, Mevagissey, Hayle, and others.
(15)
£200-400
306* Adams (Marcus, 1875-1959).
A collection of forty original pencil
studies, mostly Italy and North
Africa, circa 1929-31, forty pencil
sketches on various papers, mostly
landscapes
and
townscapes,
architectural motifs and gardens,
etc., many captioned and dated to
lower edge, sheet size 23 x 30cm (9
x 12ins) and similar, each tipped into
original mount with artist’s printed
studio label to verso, loosely
contained within contemporary box
with manuscript label
Views include Impression of St Marks,
Venice, Bridge of Sighs, Venice, Porto
Fino, Lake Geneva, Santa Margherita,
Italy, Misty Day in Porto Fino, and others.
(40)
£700-1000
Lot 306
83
Lot 308
307* Adams (Marcus, 1875-1959). A collection of forty original
pencil studies including North Africa, circa 1929-31, forty pencil
sketches on various papers, mostly lanscape and coastal views,
townscapes and architectural motifs, some studies of figures, etc.,
many captioned and dated to lower edge, sheet size, 30 x 23cm (12
x 9ins) and similar, each topped into original mount with artist’s label
to verso, loosely contained within contemporary box
Views include The Mosque, Algeria, Castillo Bellver, Palma, and others.
£700-1000
(40)
308* Adams (Marcus, 1875-1959). A collection of fifteen original
pencil studies, mostly of Italy and France, circa 1928-1930, fifteen
pencil sketches on various papers, mostly landscape and townscape
views, architectural motifs and figure studies, etc., many captioned
and dated to lower edge, sheet size 23 x 30cm (9 x 12ins) and similar,
each tipped into original mount with artist’s studio label to verso
Subjects include Lace Workers, Portofino, Venice, Arc de Triomphe, Near Arles,
and others.
£150-200
(15)
309* Adams (Marcus, 1875-1959). A collection of fifty original
pencil studies of Las Palmas, circa 1927-31, fifty pencil sketches on
various papers, mostly landscape and coastal views, townscapes,
etc., many captioned and dated to lower edge, sheet size 30 x 23cm
(12 x 9ins) and similar, each tipped into original mount with artist’s
printed sutdio label to verso, loosely contained within arist’s original
portfolio, together with a similar portfolio of twenty-five original
pencil sketches including views of Palma, North Africa and Italy
(2)
84
£500-800
312* Adams (Marcus, 1875-1959). A collection of forty-two original
pencil studies, mostly of the artist’s home, gardens and
surroundings, circa 1929-32, forty-two pencil sketches on various
papers, mostly landscapes or architectural motifs, etc., many
captioned and dated to lower edge, sheet size 23 x 30cm (9 x 12ins)
and similar, each tipped into original mount with artist’s printed
studio label to verso
310* Adams (Marcus, 1875-1959). A collection of fifty original
pencil studies, mostly of British topographical subjects, circa 1930,
fifty pencil sketches on various papers, mostly landscape views and
architectural motifs, many captioned and dated to lower edge, sheet
size 23 x 30cm (9 x 12ins) and similar, each tipped into original
mount with artist’s studio label to verso
Subjects include Paddington Station, An Old Cottage, Monmouth, Lansdown
House, Taverstock, Swallowfield Mill, and others.
(50)
£300-500
Subjects include Old House, St. Ives, Zennor, Cornwall, Swallowfield Mill and
others.
(42)
£300-500
pencil studies, mostly of Cornish scenes and other English towns,
circa 1929-31, forty pencil sketches on various papers, many
captioned and dated to lower edge, sheet size 23 x 30cm (9 x 12ins)
and similar, each tipped into original mount with artist’s studio label
to verso
Scenes include St Ives, Fall Bay, Gower, and others.
(40)
pencil studies of Switzerland, circa 1930, forty pencil sketches on
various papers, mostly landscape views, studies of rock formations,
townscapes and architectural motifs, etc., many captioned and
dated to lower edge, sheet size 23 x 30cm (9 x 12ins) and similar,
each topped into original mount with artist’s studio label to verso,
loosely contained within contemporary box
£300-500
Views include Saas-Fee, and others.
(40)
85
£500-800
314* Adams (Marcus, 1875-1959). The Uplifted Church, 21 Stories
High, Chicago, 1926, pencil on paper, captioned and dated to lower
edge, 30 x 23cm (12 x 9ins), tipped into original mount with artist’s
studio label to verso
Built in 1923 by the First Methodist Episcopal Church on the corner of
Washington and Clark streets, Chicago, the 21 story building in the Grench
Gothic style remains the tallest church building in the world, and was the
tallest building in Chicago until 1930.
(1)
£150-200
Lot 316
315* Adams (Marcus, 1875-1959). An archive of approximately
500 original pencil drawings and sketches, circa 1930s,
approximately five-hundred pencil sketches on various papers, few
captioned to lower edge, various sizes, loosely contained within five
folders, each with artist’s studio label to covers
Subjects include North Africa, the artist’s home, studies of trees, gardens
and others.
(5)
£500-800
316* Adams (Marcus, 1875-1959). A collection of forty-two original
watercolours, mostly of landscapes, forty-two watercolours on various
papers, some with pen and ink or pencil, few signed and captioned,
27 x 40cm (10.5 x 16ins) and similar, one or two tipped into original
mount with artist’s printed studio label to verso, loosely contained in
two original folders each with artist’s stamp to upper board
Subjects include Portofino, Autumn, Winter Jasmin, Over the Hills, and
others.
(42)
£500-800
317* Adams (Marcus, 1875-1959). Market Scene, oil on board,
30 x 42cm (12 x 16.5ins), framed
(1)
86
£100-150
319* Adams (Marcus, 1875-1959). A collection of thirty-two
original pencil and charcoal studies, circa 1933, pencil and charcoal
on various papers, mostly landscapes, architectural motifs, figure
studies, etc., some captioned and dated to lower edge, one or two
signed, sheet size 28 x 21cm (11 x 8.25ins), mostly unmounted,
loosely contained in card folder with artist’s gilt stamp to upper
cover, together with approximately sixty pencil sketches on various
papers, some captioned to lower edge, mostly tipped into original
mounts, loosely contained in contemporary box
(2)
£150-200
320* Adams (Marcus, 1875-1959). A collection of thirty original
pencil studies of Devonshire, Dorset and Cornwall, circa 1930, thirty
pencil sketches on various papers, mostly landscape and coastal
views, townscapes and architectural motifs, etc., many captioned
to lower edge, sheet size 23 x 30cm (9 x 12ins) and similar, each
tipped into original mount with artist’s printed studio label to verso,
loosely contained within contemporary portfolio with artist’s gilt
stamp to upper board, together with a similar portfolio containing
ten pencil sketches, mostly still lifes and flower studies
Teignmouth, Watergate Bay, Bridport, Old Steps, Lyme Regis, Newquay,
Porthscatho, Cornwall, and others.
(40)
£500-800
318* Adams (Marcus, 1875-1959). Summer Garden, 1957,
watercolour on paper, signed and dated lower right, 12 x 15cm (4.75
x 6ins), mounted, together with approximately sixty similar
watercolours on various papers, mostly landscapes, townscapes,
architectural motifs including the artist’s home and others, loosely
contained within contemporary folder with artist’s printed studio
label to upper cover
(approx 60)
£150-200
Lot 320
Lot 319
87
323* Adams (Marcus, 1875-1959). A collection approximately 100
watercolours, mostly of landscapes, watercolour on various papers,
some captioned, few signed or initialled, many tipped onto
contemporary album pages or card mounts, 8.5 x 14.5cm (3.25 x
5.75ins) and similar, loosely contained within contemporary
artist’s folder
(approx. 100)
£150-200
321* Adams (Marcus, 1875-1959). Spring, 1943, oil on board, signed
and dated lower left, Reading Guild of Artists exhibition label to verso,
46.5 x 36cm (18 x 14ins), together with seven similar oils on board by
Marcus Adams, one or two signed, generally dusty and worn
(8)
£80-120
322* Adams (Marcus, 1875-1959). Highmore, 1957, pastel on
paper, signed, dated and captioned in pencil to lower edge, 8 x 12cm
(3 x 4.75ins), framed and glazed, together with twelve similar
pastels and miniature watercolours, all framed and glazed
Views include Storm over Henley, Jersey and others.
(13)
324* Adams (Marcus, 1875-1959). Views in Devon, etc., circa
1928-30, a portfolio containing 27 pencil landscape studies, mostly
of landscape and coastal scenery in Devon, including Boscombe
from East Cliff, Poole, Rough Day at Meveggissey, Sunset,
Swallowfield, Brixham, Porlock Hill, Porlock Weir, Salcombe, The
New Inn, Porlock, Teignmouth, Bournemouth, and several unrelated,
including watercolour study of Iris, a pressed flower still life, and
several unidentified, most with caption and date, all unsigned, each
mounted, and loosely contained in original cloth-backed portfolio
boards with Marcus Adams’ printed label to inside cover, folio (430
x 310mm, 17 x 12.2ins)
£70-100
(1)
Lot 323
88
£200-300
326* Adams (Gilbert, 1906-1996). Seated Nude, oil on board,
initialled lower left, 22 x 28cm (8.5 x 11ins), framed, together with
two similar nude studies by Adams, one signed in full, the other with
artist’s typed label to verso, all framed
(3)
£200-300
327* Adams (Gilbert, 1906-1996). Nude, circa 1958, oil on board,
signed lower right, 44 x 55cm (17.25 x 21.5ins), framed, plus another
similar nude study, signed in full, framed, both with artist’s label
to verso
First work priced by the artist £5,500.
(2)
325* Adams (Marcus, 1875-1959). North Africa, circa 1928-29, a
collection of 54 pencil studies of landscapes and scenery in North
Africa, figure studies and portraits, all pencil on paper, including a
Woman of Biskia, Garden of Allah, Gibraltar, Algiers, The Outside
Cafe, Ban Saada by Night, Sedi Aissa, The Walled City, Slipper
Makers of Ban Saada, Gorges du Chabet El Akra, The African Boy of
the Desert, The Weary Arab of Algeria, etc., mostly captioned, many
dated and several signed, all mounted, and loosely contained in
original drop-over bookbox, folio (450 x 320mm, 17.7 x 12.5ins)
(1)
£200-300
£300-500
328* Adams (Gilbert, 1906-1996). Cows at Draycott, oil on board,
initialled lower right, 29 x 39cm (11.5 x 15.5ins), framed, plus two
similar landscapes also by Adams, both initialled and one with artist’s
label to verso, all framed
(3)
Lot 326
89
£150-200
330* Adams (Gilbert, 1906-1996). Near Stratford on Avon, 1956,
oil on board, signed lower right, artist's labels to verso, 25 x 36cm
(10 x 12ins), framed, together with three similar landscapes by
Adams, many signed or initialled, most with artist's label to verso,
all framed
(4)
£200-300
331* Adams (Gilbert, 1906-1996). Frigiliana, Spain, oil on board,
signed lower left, 24 x 30cm (9.5 x 12ins), framed, together with
three similar landscapes featuring buildings, one initialled, two with
artist’s label to verso, all framed
(4)
£150-200
332* Adams (Gilbert, 1906-1996). Near Little Bedwyn, 1980, oil
on canvas, 46 x 56cm (18 x 22ins), artist's label to verso, together
with eight similar oils on board, including The Kennet and Avon
Canal, Morgan's Hill, Near Oare, and others, all framed
(9)
£200-300
329* Adams (Gilbert, 1906-1996). Trees in Wind, oil on board, artist’s
label to verso, 28 x 35cm (11 x 13.75ins), framed, together with four
similar landscapes, most with artist’s label to verso, all signed
First work priced by artist £1, 400.
(5)
£200-300
333* Adams (Gilbert, 1906-1996). Constantine Bay, Cornwall,
1995, oil on board, initialled and dated lower left, signed and titled
to verso, Royal Academy Summer Exhibition label to verso, 51 x
61cm (20 x 24ins), framed, together with eight similar oils on board,
including Bridge over canal, 1979, Farm at Avebury, Romney
Marsh, A Field in May, Avebury, and others, all framed, most with
artist's printed label to verso
Lot 330
(9)
£200-300
334* Adams (Gilbert, 1906-1996). Great Bedwyn, 1974, oil on
board, 39 x 59cm (15.5 x 23.5ins), framed, together with eight
similar landscapes, including Pewsey Vale 1982, Farm Machinery,
1983, Church in Avon Valley, one or two signed, all framed
(9)
£200-300
335* Adams (Gilbert, 1906-1996). Trees by Water, 1969, oil on
board, signed lower left, artist's label to verso, 41 x 51cm (16 x
20ins), framed, together with eight similar landscapes including Pipe
Laying, Beckhampton, Oak Tree at Clench, Little Bedwyn, 1979, Track
to Downs, Pewsey Vale, Above Pewsey Vale, 1952, all framed, most
with artist's printed label to verso, one or two with Reading Guild
of Artists exhibition label to verso
The first work priced by the artist at £4,500.
(9)
Lot 331
90
£200-300
336* Adams (Gilbert, 1906-1996). Still life of rudbeckia, oil on
board, initialled lower right, 35.5 x 30cm (14 x 12ins), together with
5 other similar still lifes, most initialled
(6)
338* Adams (Gilbert, 1906-1996). Full length portrait of a girl in a
garden, oil on board, artist’s label to verso, 47 x 39cm (18.5 x
15.25ins), together with 44 similar portraits and figure studies, most
with artist’s labels to verso
£150-200
(45)
£200-300
337* Adams (Gilbert, 1906-1996). Sunbathers on the beach, oil
on board, artist’s label to verso, 40.5 x 51cm (16 x 20ins), together
with 24 landscapes, mostly British, including some studies of
buildings, some with initials
(25)
£200-300
339* Adams (Gilbert, 1906-1996). Garden under a tree, oil on
board, initialled lower right, artist’s label to verso, 30.5 x 30.5cm (12
x 12ins), together with a number of similar landscapes, some
initialled, most with artist’s labels to verso
(a small carton)
91
£200-300
340* Adams (Gilbert, 1906-1996). Bridge over a quiet stream, oil
on board, initialled lower right, 25 x 35.5cm (10 x 13.75ins), together
with a number of other similar landscapes, some initialled, most
with artist’s label to verso
(a small carton)
342* Adams (Gilbert, 1906-1996). The Boat Shed, oil on canvas
covered board, 51 x 61cm (20 x 24ins), together with 34 similar
landscapes, some initialled, most with artist’s label to verso
£200-300
(35)
£300-400
343* Adams (Gilbert, 1906-1996). Reclining Nude, oil on board,
artist’s label to verso, 46 x 76cm (18 x 30ins), together with 29
similar figure studies including nudes, some with initialled, most
with artist’s label to verso
(30)
344 No lot
341* Adams (Gilbert, 1906-1996). Figure in a black dress, oil on
board, artist’s label to verso, 30.5 x 25.5cm (12 x 10ins), together
with a number of other similar studies of figures, including some
nudes and portraits, some initialled, most with artist’s label to verso
(a small carton)
£150-200
92
£300-400
347* Adams (Gilbert, 1906-1996). Three Nudes, oil on board,
artist’s label to verso, 76 x 76cm (30 x 30ins), together with 14 similar
oils on board, including nudes, portraits, figure studies and others,
all with artist’s label to verso
345* Adams (Gilbert, 1906-1996). Rosalind, the artist’s wife, oil
on board, initialled lower left, Reading Guild of Arts label to verso,
75 x 71cm (29.5 x 28ins), framed
(1)
(15)
£200-400
£100-150
348* Adams (Gilbert, 1906-1996). Mother Earth, oil on board,
signed lower left, artist’s label to verso, 61 x 113cm (24 x 44.5ins),
framed, together with 7 similar oils on board, including nudes,
portraits, figure studies and others, some framed, all large format
(8)
346* Adams (Gilbert, 1906-1996). Slough Safety Town, oil on
board, signed lower left, inscribed by the artist to verso, 48 x 66cm
(19 x 26ins), framed, together with 19 similar oils on board, including
abstracts, some framed, various sizes
(20)
£150-200
93
£150-200
349* Adams (Gilbert, 1906-1996). Eleusinian Mysteries, oil on
board, 41 x 60cm (16 x 23.5ins), framed together with 9 other similar
oils on board, including nudes, figure studies, portraits and others,
one or two framed
351*
Adams (Gilbert, 1906-1996). A large collection of
approximately 300 original sketches, mostly pencil or charcoal on
various papers, some in coloured pencil or pastel, most life studies
including nudes, various sizes
(10)
(approx. 300)
£150-200
£200-300
350* Adams (Gilbert, 1906-1996). Blue Torso, oil on board,
Reading Guild of Artist’s exhibition label to verso, 40 x 40cm (15.75
x 15.75ins), framed, together with 11 similar oils, including nudes,
portraits and figure studies, one or two on canvas, mostly framed
(12)
£200-300
352*
Adams (Gilbert, 1906-1996). A large collection of
approximately 350 sketches and preparatory studies, mostly
coloured pastel on various papers, mainly life studies including
nudes, figure studies and portraits, various sizes
(approx. 350)
94
£200-300
353* Adams (Christopher, 1867-1960). Portrait miniature of a
young girl, watercolour on ivorine, three-quarter length profile facing
left, showing a girl with long wavy brown hair, wearing a white
muslin dress with frilled sleeves and a pink sash, seated with her
hands in her lap, signed upper right, 20 x 15.5cm (8 x 6ins)
(1)
£200-300
354* Adams (Christopher, 1867-1960). Portrait miniature of a girl,
watercolour on card, three-quarter length portrait of a girl with short
wavy brown hair, wearing a theatrical green tunic with long sleeves
and large collar, signed upper right, 14.5 x 10cm (5.75 x 4ins),
together with another three-quarter length portrait of the same
sitter, watercolour on ivory, showing her seated and wearing a pink
dress with edge-frills, vertical split to left-hand edge, and small piece
missing from lower right corner, signed uppr right, 13.5 x 10cm (5.25
x 3.75ins), plus two circular head and shoulder portraits of ladies,
watercolour on ivory/ivorine, diameter 7cm (2.75cm)/4cm (1.5ins)
respectively
(4)
£150-200
Lot 353
355* Adams (Christopher, 1867-1960). Portrait miniature of a
young girl, 1922, oval watercolour on ivory mounted on card, half
length portrait turned to the left, showing a young girl wearing a
bonnet, signed and dated to right edge, faintly inscribed and dated
on verso, 10 x 7.5cm (4 x 3ins), together with a circular portrait,
watercolour on ivory, head and shoulders portrait turned to the left,
of a small child with curly fair hair, signed lower right, diameter
6.5cm (2.5ins), plus an oval photographic portrait on ivory mounted
on card, with watercolour, of a small girl, signed and dated 1950
(3)
Lot 354
95
£100-150
357* Adams (Christopher, 1867-1960). Portrait of a young lady
with lilies, watercolour on ivorine, three-quarter length portrait of a
dark-haired young lady seated, wearing a loosely draped white gown
and holding a bunch of arum lilies, 21 x 15.5cm (8.25 x 6ins),
together with a circular head and shoulders portrait, watercolour on
ivorine, of a young lady wearing a fur stole, diameter 10.5cm
(4.25ins), plus a half-length portrait, watercolour on ivorine, of a lady
in evening gown, tiara, and jewels, signed upper right, 11.5 x 10cm
(4.5 x 4ins), plus three other portrait miniatures of ladies
(6)
356* Adams (Christopher, 1867-1960). Portrait miniature of two
sisters, circular watercolour on ivorine mounted on card, half-length
portrait of two dark-haired girls seated, wearing matching white
muslin dresses with pink sashes and frilled sleeves, diameter
10.5cm (4ins), together with two portrait miniatures of boys,
watercolour on ivory, one a three-quarter length of a young boy
seated, wearing a blue smocked white blouse and blue shorts, 7 x
5.5cm (2.75 x 2ins), the other a half-length portrait of a blonde boy
wearing a white shirt and green tartan tie, mounted on paper and
glazed, 7.5 x 6cm (3 x 2.5ins), plus a three-quarter length portrait,
watercolour on ivorine, of a fair-haired baby in a white dress, signed
upper right, 5.5 x 4.5cm (2.25 x 1.75ins), plus three other portrait
miniatures (one of a small boy holding a shell, one of a small girl
kissing her brother, and the other of a dog)
(7)
£150-250
358* Adams (Christopher, 1867-1960). Portrait of a girl in beaded
costume painting a vase, watercolour on ivorine, three-quarter
length profile facing left, showing a seated young lady painting a
vase, wearing a tall hat, large hoop earrings, arm bangles, a loose
yellow gown with red sash, and a short brown waistcoat edged with
hanging beads, signed lower right, 16.5 x 21cm (6.5 x 8.25ins),
mounted on board and glazed
£200-300
(1)
Lot 357
£200-300
Lot 359
96
359* Adams (Christopher, 1867-1960). Self-portrait, watercolour
on card, half length portrait miniature of the artist leaning on a
window sill, signed lower right, 9 x 9.5cm (3.5 x 3.75ins), mounted
on card, together with a three-quarter length portrait miniature of
an eccelsiatical gentleman in a purple cassock, seated on a carved
oak chair, signed upper right, 17 x 11.5cm (6.75 x 4.5ins), plus five
other small portraits/landscapes, including another self-portrait on
ivory, dated 1925, bowed and cracked
(7)
£150-200
Lot 361
360* Adams (Christopher, 1867-1960). Self-portrait, 1936, oil on
plywood, half-length portrait of the artist with white hair and
moustache, wearing a white smock, and with palette and brush in
hand, signed upper right ‘Self Portrait Chris Adams RMS 1936’, slight
loss to lower right-hand edge, 56 x 42cm (22 x 16.5ins), together
with another self-portrait similar (worn and wormed)
(2)
£200-300
361* Adams (Christopher, 1867-1960). An album of watercolours
and prints, eight watercolour drawings, most of them by Chris
Adams, some signed, including a peasant woman making bobbin
lace, the Vendome Column, a landscape of North Wales, a portrait
of a clergyman, and a loosely inserted watercolour of a peasant girl
with a water vessel on her head, and two drawings by Marcus
Adams, together with two albums of small pencil drawings by
Marcus Adams, of the gardens at Lavender Cottage, Wargrave-onThames, one album dated 1957, drawings approximately 14.5 x
9.5cm (5.75 x 3.75ins) and smaller, mostly mounted two to a page,
on rectos only, plus a box of pastel sketches by Marcus Adams,
mostly landscapes, including Majorca, Swallowfield, and several of
Cornwall (e.g. St. Ives), a few signed, and one dated 1957, each 9.5
x 13.5cm (3.75 x 5.25ins), most mounted and with tissue guards,
housed together in a cloth-covered cardboard box with lid
362* Adams (Jane, 20th century). Pebbles, grisaille watercolour
on paper, signed in pencil to lower right, sheet size 16 x 14cm (6.25
x 5.5ins), framed and glazed, together with six similar watercolours,
all framed and glazed
(4)
(7)
£150-200
97
£70-100
Lot 363
Lot 366
364* Gregory (Yvonne, 1889-1970). Whirlwind, pen & ink on
paper, showing a fantastical scene with a fairy pirouetting on the
surface of a fern-lined brook, titled lower left and signed lower right,
17.5 x 12cm (7 x 4.75ins), mounted on card
363* Anson (Minnie Walters, b.1875). Portrait of a young man in
theatrical costume, 1925, watercolour on ivorine, full length portrait
of a dark-haired young man, wearing a gold and white tunic, black
breeches and boots, and a red silk cloak, signed in ink and dated in
pencil lower left, 19.5 x 14.5cm (7.5 x 5.75ins), framed and glazed,
with manuscript label on backboard ‘Costume Designed by Gilbert’
in pencil and below in ink ‘Walters Anson R.M.S. 22 Kempshott
Road, Streatham. S.W.16’, together with another portrait of the
same young gentleman, by Chris Adams, watercolour on ivory,
showing him seated and holding a silver-tipped cane, signed upper
right, slight loss to left-hand edge, 19.5 x 14cm (7.5 x 5.5ins), framed
and glazed, inscribed on the backboard ‘“The Dandy” Chris Adams
R.M.S. 22 Kempshott Rd, Streatham. London. S.W.16. Paris Salon
1930’, and on reverse ‘With love, & best wishes for all of the best
from Uncle Chris, To Gilbert on his 21st birthday’
Yvonne Gregory is best-known as a British society photographer. She married
fellow-photographer Bertram Park in 1916, and together they set up business,
with the financial backing of the Egytologist Lord Carnarvon. Marcus Adams
trained with them, and he, Gregory and Park established themselves as the
‘Three Photographers’, basing their collective studio at 43 Dover Street in
Mayfair. The National Gallery holds photographic portraits of Yvonne Gregory
and her daughter, June, by Marcus Adams.
£70-100
(1)
365* Thuillier (Rosalind, 1939-2015). Garden Flowers, 2005,
watercolour and pastel on paper, initialled lower rightm 56 x 75cm (22
x 29.5ins) mount aperture, framed and glazed, together with another
similar watercolour and pastel, “Lillies”, also framed and glazed
Minnie Walters Anson was a painter of miniatures, portraits and flowers. She
studied at Lambeth School of Art and won seven medals for flower painting.
She exhibted widely, including at the Royal Academy and the Royal Society
of Miniature Painters. She married Christopher Adams, and Gilbert Adams
was their nephew, the son of Christopher’s brother, Marcus Adams.
£200-300
(2)
(2)
£100-150
366* Thuillier (Rosalind, 1939-2015). Study after Henry Moore,
charcoal on paper, initialled lower left, 30 x 38cm (12 x 15ins),
mounted, together with twelve similar charcoal studies
(13)
£100-150
Lot 367
Lot 364
98
367* Thuillier (Rosalind, 1939-2015). Manhatten Skyline, pastel
on board, initialled lower right, 35 x 27cm (13.75 x 10.5ins) mount
aperture, mounted, together with eight similar pastels, one or two
large format, all mounted
369* Thuillier (Rosalind, 1939-2015). Yellow Floers [Rudbeckia],
watercolour on hand-made paper, initialled in pencil lower right,
artist’s label to verso, sheet size 39 x 29cm (15.5 x 11.5ins), framed
and glazed, together with ten similar watercolours, all framed
Subjects include patterns, still lifes, skylines and semi-abstracted townscapes.
£100-150
(9)
(10)
370* Thuillier (Rosalind, 1939-2015). The Lake, Warnford,
watercolour on paper, initialled in pencil lower right, artist’s label and
Reading Guild of Artists’ exhibition label to verso, 27 x 37cm (10.5 x
14.5ins) mount aperture, framed and glazed, together with eight
similar watercolours, mostly of landscapes, all framed
368* Thuillier (Rosalind, 1939-2015). Flower Head, watercolour
on arches paper, initialled in pencil to lower right, artist’s label to
verso, sheet size 29 x 38cm (11 x 15ins), framed and glazed,
together with eight similar watercolours, all framed and glazed
(9)
£150-200
(9)
£150-200
£150-200
371* Thuillier (Rosalind, 1939-2015). Jug Mix, pastel on board,
initialled lower right, 36.5 x 53cm (14.5 x 21ins), framed and glazed,
together with two similar pastels, all framed
(3)
Lot 369
99
£150-200
372* Thuillier (Rosalind, 1939-2015). Imaginary Landscape, pastel
on paper, initialled lower right, 57 x 81cm (22.5 x 32ins), mounted,
together with fourteen similar pastels of landscapes, all large format,
all mounted
(15)
£300-500
374* Thuillier (Rosalind, 1939-2015). A collection of eleven large
format black and white landscapes, eleven charcoal sketches on
various papers, mostly depicting landscapes, townscapes and others
(11)
£200-300
375* Adams (Marcus & Gilbert). An archive of material from the
studio of Marcus and Gilbert Adams and Rosalind Thuillier, including
two scrap albums relating to the Adams family history with letters
and other ephemera, printed mounts, sketchbooks and photographs
of works and children’s art
(4 cartons)
373* Thuillier (Rosalind, 1939-2015). Sainte Croix, pastel on paper,
initialled lower right, 28 x 23cm (11 x 9ins), mounted, together with
fourteen similar pastels, mostly of landscapes, all mounted
(15)
£200-300
376* Adams (Gilbert and Marcus). A collection of oils on board,
mostly landscapes, oil on board, some slightly worn to edges, some
partly resolved, various sizes
£200-300
(40)
377 No lot
100
£100-150
MODERN PAINTINGS, DRAWINGS & WATERCOLOURS
378* Banner (Delmar Harmood, 1896-1983). The Solitary, The Wanderer, and The Poet, 1944, oil on canvas, signed and dated lower right,
915 x 1140 mm (36 x 45 ins), gilt frame
Provenance: Private collection, UK. By descent from the original owner.
Delmar Harmood Banner was born in Germany, but studied at Cheltenham, Oxford and the Regent Street Polytechnic School of Art between 1919 and 1927. He lived
at Little Langdale, Ambleside in the Lake District, and was married to the sculptor Josephina de Vasconcellos where they became close friends of Beatrix Potter.
The present work, a variation on a painting by the artist, which was on view at the Old Dungeon Ghyll Hotel in the Langdale Valley, was commissioned by the
present owner’s father directly from the artist, for which he paid 150 guineas. Based on Wordsworth’s poem The Excursion, the scene depicts Blea Tarn and the
Langdale Pikes and includes a portrait of the poet sitting on the rock to the right. Four handwritten letters and a handwritten postcard from the artist to the
original owner are included with this lot, dated September 10th 1943 to April 28 1944.
£700-1000
(1)
101
Lot 379
Lot 380
379* Bensusan-Butt (John, 1911-1997). An Eastanglian Sunset,
1965, oil on board, signed and dated lower right, artist’s label to
verso, 22 x 45cm (8.5 x 17.75ins), framed
Exhibited, Minories Art Gallery, Colchester. John was son of Dr Ruth
Bensusan-Butt, the earliest female doctor in Colchester who owned and lived
at the Minories and the newphew by marriage of Lucien Pissarro, the son of
the French Impressionist Camille Pissarro.
(1)
£150-200
380* Bilbo (Jack, 1907-1967). Fruit de Passion, 1950, watercolour
on paper, signed with initials top left, 25 x 18cm (9.8 x 7.1ins) mount
aperture, framed and glazed, inscribed by the artist to verso with
name, title and date Paris 1950, and additionally inscribed ‘To Celia
in memory of Sanary and in admiration, Jack Bilbo, 1952’
(1)
£150-200
382* Boreel (Wendela, 1895-1985). Paris Street Scene, oil on
panel, 33 x 24cm (13 x 9.5ins), framed
(1)
381* Bonada (Cinzia, 20th century). Richmond Bridge, oil on
board, signed lower left, inscribed to verso, Barnes Gallery label to
verso, 20 x 25cm (8 x 10ins), framed
(1)
£150-200
102
£300-500
Lot 383
383* Bosschart (Johfra, 1919-1998). Past, Present, Future,
1970, oil on canvas, interior scene with a bearded man wearing
a ragged toga, and cradling a wizened personification of his
infancy, which dangles a figurine formed of tree roots, with
the same figure life-size in the open doorway, with the moon
beyond, and an overturned chalice on a table, signed and dated
in red upper left, 50 x 60cm (19.75 x 23.5ins), framed
Franciscus Johannes Gijsbertus van den Berg was a Dutch artist who
settled in France in 1962 with his wife Ellen. He signed his works
‘Johfra’, sometimes adding his mother’s maiden name, ‘Bosschart’ to
his paintings as well (as is the case in the four works offered here).
The founder of the now defunct ‘Meta-Realist’ group, he described
his own works as “Surrealism based on studies of psychology,
religion, the Bible, astrology, antiquity, magic, witchcraft, mythology
and occultism.”
£300-500
(1)
384* Bosschart (Johfra, 1919-1998). The Green Man, 1968,
oil on wood panel, showing a visionary visage with vegetative
matter incorporating several male faces and an eye, with a
range of pyramids in the distance, signed and dated lower
left, 29 x 26cm (11.25 x 10.25ins), framed
(1)
£200-300
Lot 384
103
386* Bosschart (Johfra, 1919-1998). Animal Magnetism, oil on
board, showing the head and shoulders of a young girl with short
curly auburn hair, larger-than-life feline eyes, and leopard fur
shoulders, against a fantastical landscape of lakes and rock
formations, signed lower right, 26 x 22cm (10.25 x 8.5ins), framed
385* Bosschart (Johfra, 1919-1998). Allegory of Human Life, 1969,
oil on board, showing a small child with index finger to mouth sitting
cross-legged in a bubble, in a landscape with vegetative and
intestinal matter, and a large skull in the background, signed and
dated lower right, several small surface marks, 26.5 x 22cm (10.5 x
8.5ins), framed
(1)
(1)
£200-300
£200-300
387*AR Cliffe (Henry, 1919-1983).
Untitled (Reclining Nude), 1958,
black ink and grey watercolour
wash on Hayle Mill handmade
paper, signed and dated lower
left, sheet size 400 x 582mm
(15.75 x 23ins)
Henry Cliffe, painter, print maker and
teacher, was born in Scarborough,
Yorkshire. During the Second World
War he met the artist William Scott,
and in 1946 studied painting and
lithography at the Bath Academy of
Art, Corsham, where he later taught,
and was in charge of the lithography
studio from 1950 to his retirement in
1981. He was one of five artists
shown in the British Pavilion at the
1960 Venice Biennale. He held his
first solo exhibition at the Redfern
Gallery in 1956, and an exhibition of
his prints was held at the St. George’s
Gallery in 1959.
£200-300
(1)
Lot 387
104
390* Continental School. Chickens feeding, 20th century, oil on
canvas, laid onto board, indistinctly signed ‘E. Esposito’ to lower left,
38 x 47.5cm (15 x 18.5ins)
(1)
£100-150
388* Connard (Philip, 1875-1958). Study for Jane, Eveyln, James
and Helen, 1913, oil on canvas, laid down on card, signed with initials
lower right, 200 x 135mm (8 x 5.3ins), framed
A preparatory oil study for the right-hand figure in Connard’s oil painting of
the same title, now in the Tate Gallery, London.
£150-200
(1)
391* Cotton (Alan, 1936-). The Northern Wey - Lake at Waverley
Abbey near Farnham, oil on canvas, signed lower left, additionally
titled and with artist’s address to stretcher verso, 405 x 510mm (16
x 20ins), framed
(1)
389 Connard (Philip, R.W.S., 1875-1958). Album of sketches of
animals, birds, figures and landscapes, approximately 70 leaves,
mostly in pencil, but including a few with ink or monochrome wash,
some with annotations, signed and inscribed in blue ink to endpaper
Philip Connard Sketch Book, original cloth, rubbed and some soiling,
upper cover with sketch of a cow in pencil, 4to (280 x 215mm, 11 x
8.5ins)
(1)
£150-200
105
£200-400
Lot 394
393* Dinsdale (John Bentham, 1927-2008). A square-rigged
clipper, oil on plywood, showing a square-rigged clipper, with
another ship on the horizon, signed lower left, 20 x 26cm (8 x
10.25ins), framed, inscribed on backboard ‘For Sally Hankey
28.VII.95 from John’
(1)
£200-300
394* Dorrell (Simon James, 20th-c.). ‘On the terraces, Powis Castle’,
1989, finely executed original pen and ink drawing, signed, titled and
dated on the mount, 1989, image 10 x 10cm, together with another
small pen and ink drawing by the same artist ‘The pool at Coton’, signed
and dated 2001, approx. 7 x 9cm, both framed and glazed
(2)
£150-200
392* Manner of Edgar Degas (1834-1917). At the Ballet, black
charcoal on paper, bears signature Degas upper right, 22 x 13.3cm
(8.7 x 5.25ins), mounted
395* Dutch school. Study of a young woman in rustic garb and cloth
headdress, circa 1890-1910, pen and brown ink on paper, unsigned,
22.7 x 17.5cm (8.9 x 6.9ins) mount aperture, framed and glazed
(1)
(1)
£200-300
106
£70-100
396*AR Dyf (Marcel Dreyfus, 1899-1985). Mort du Torero dans les Arènes, oil on
board, showing a bullfighter lying on a make-shift bed, surrounded by figures, in a
stone arched interior, signed lower right, 46.5 x 38cm (18.25 x 15ins), framed,
together with a catalogue of the artist’s work by Michel Gay, with a loosely inserted
hand-written card from the artist’s widow ‘here is the Brochure showing your
painting Cordially Claudine Dyf 10.02.2014’
Marcel Dyf lived in Paris, but spent his childhood holidays in Normandy at Ault, Deauville and
Trouville. He moved to Arles in 1922 where he kept a studio until the early years of the Second
World War. He also took up residence from 1955 onwards in the old studio of the painter
Maximilien Luce on the Avenue du Maine, Paris. After the war, he divided his time between
Paris and Saint Paul-de-Vence. In 1955, the eminent London gallery Frost & Reed purchased
a selection of his works, marking the beginning of a long and fruitful relationship between
the gallery and artist. Following his marriage to Claudine Godat, 36 years his junior, in 1956
the artist and his young wife made many visits to Brittany, and particularly the Golfe du
Morbihan, where Dyf found inspiration for his landscape paintings.
£700-1000
(1)
107
397* East (Alfred, 1849-1913). Sketch book of views in Sicily,
February 1906, large folio sketchbook of 28 leaves, containing
numerous quickly sketched views, buildings, landscapes, and other
motifs in Sicily, many signed, and dated, and including Taormina,
Syracuse, Agrigenti, some signed with initials, original linen over
boards, rubbed and soiled, with artist’s monogram to upper cover
and titled by hand ‘Sicily’, 380 x 305mm (15 x 12ins)
The sketchbook contains at least one design of figures outside a church which
was later transferred by the artist to an etching entitled ‘The Old Church,
Taormina, Sicily’ (sold in these rooms in July 2012).
(1)
£200-400
398* Evans (Merlyn Oliver, 1910-1973). Composition, 1934,
watercolour and black ink on paper, signed and dated Nov 34 lower
right, 74.8 x 55cm (29.5 x 21.75ins), framed and glazed
399* Ferguson (John Kenneth, 1885-1967). “Xosa Girl” from
Mazeppa Bay, Transki, South Africa, 1950; “Inyanga” Native Doctor
“Zulu”, Natal, South Africa, together a pair of portraits, oil on canvas,
one a head and shoulders portrait of a young woman wearing a
yellow wrap dress, green cloth turban, beaded collar necklace, and
arm bangles, and carrying an earthenware pot, signed lower right,
verso with signature, title, and date in the artist’s hand, the other a
head and shoulders portrait of a man wearing a necklace of teeth,
with small area of surface loss, signed lower right, verso with
signature and title in the artist’s hand, each 56 x 46cm (22 x 18ins),
matching gilt moulded frames
(1)
(2)
£300-500
108
£200-300
400* Manner of Jean-Louis Forain
(1852-1931). Elegante, black and white
chalk on laid paper, bears signature Forain
lower right, sheet size 286 x 190mm (11.25
x 7.5ins), mounted, together with four other
similar chalk drawings, two signed, each
mounted (one laid-down), similar sizes
(5)
401* Fraser (John, 1858-1927). Market Boat - Penang, 1911, watercolour on thick paper,
mounted on board, showing a sailing boat with figures on the open sea, a few superficial
scratches, signed and dated lower left, titled in manuscript on reverse, 34 x 53cm (13.25 x
20.75ins), framed and glazed
(1)
£200-300
£300-500
402* Attributed to Emile Othon Friesz
(1879-1949). Still life of tulips and
gloves, 1937, oil on card, showing a
posy of pink tulips wrapped in white
tissue paper on a ledge, with a pair of
cream leather gloves beside, signed and
dated lower right, a few superficial
scratches, 23.5 x 29cm (9.25 x 11.5ins),
mounted on a thick board painted
cream, paper label on reverse inscribed
in pencil ‘No 583 “Still Life Study”
Tulips, Gloves, Etc. Oil Painting on
panel, 8 Gns, J.C. Hutchinson, 79
Hollow Road, Anstey’, overall size 30.5
x 38cm (12 x 15ins)
(1)
Lot 402
109
£700-1000
403*AR Frost (Terry, 1915-2003). Composition (Red Circle and Black), 1988, etching and
collage on handmade paper, signed and dated ‘84, and redated ‘88 in pencil, some mount
discolouration to sheet edges, sheet size 380 x 290mm (15 x 11.5ins), framed and glazed
An original collage by the artist, being a reworking of a monochrome etching of 1984, originally issued
in an edition of 20, with blindstamp YPDL to lower left corner of the sheet, with two red and one
black circles and one circular black surround and three curved lines in card.
£1200-1800
(1)
110
404* Gibb (Robert, 1845-1932). Cyrano de Bergerac, black chalk
and coloured crayon on brown paper, signed (lightly) lower right, 420
x 270mm (16.5 x 10.5ins) mount aperture, framed and glazed
The Scottish artist and illustrator Robert Gibb specialised in historical and
military subjects, and is best known for his painting The Thin Red Line, the
success of which earned him membership of the Royal Scottish Academy.
£150-200
(1)
405* Gibbs (Patrick, 20th century). Brancaster Staithe, 2009, oil
on board, showing an estuary landscape, with cottages and boat,
and the sun setting on the water, signed and dated lower right, 36
x 66cm (14 x 26ins), framed
London-based artist Patrick Gibbs paints mostly in oils, taking his inspiration
from his extensive travels, and particularly scenes of everyday life. He also
painted a smaller version of this scene.
£300-500
(1)
Lot 404
Lot 405
111
Lot 406
Lot 408
406*AR Hilton (Roger, 1911-1975). Dancing Man Playing Flute, pen
and black ink on ‘The Corner House, Northwood’ headed paper, light
scattered spotting, upper left-hand corner torn, Dan Klein exhibition
label to verso, 22.5 x 18cm (9 x 7ins), framed and glazed
(1)
£150-200
407*AR Hilton (Roger, 1911-1975). Pull along horse, pen and black
ink on ‘The Corner House, Northwood’ headed paper, Dan Klein
exhibition label to verso, 22.5 x 18cm (9 x 7ins), framed and glazed
(1)
£150-200
408*AR Hilton (Roger, 1911-1975). Concert Pianist, pen and black
ink on verso of ‘The Corner House, Northwood’ headed paper, some
scattered spotting, Dan Klein exhibition label to verso, 22.5 x 18cm
(9 x 7ins), framed and glazed
(1)
Lot 407
112
£200-300
409* Hobbs (Anne Giles, 20th/21st century).
Minstrel, collage and mixed media on paper, signed,
605 x 370mm (23.75 x 14.5ins) mount aperture, framed
and glazed, together with Maddon (Rosemary,
20th/21st century), Elgin Warrior Small V, 2004,
charcoal on paper, signed and dated lower right, 40.5 x
29cm (16 x 11.5ins) mount aperture, framed and glazed
Cardiff-based artist and printmaker Annie Giles Hobbs has
exhibited widely, including more recently at Tenby Museum
and Wet Paint Gallery, Cirencester in 2013.
£100-150
(2)
Lot 410
410* Italian School. St Mark’s Square, Venice, 20th
century, oil on canvas, indistinctly signed lower right,
71 x 50cm (28 x 20ins), framed
(1)
£200-300
411* Jennings (Anne, 20th century). Dublin Bay,
watercolour on paper, signed lower left, 16 x 27cm (6.25
x 10.5ins), framed and glazed
(1)
£100-150
Lot 411
113
Lot 412
Lot 413
412*AR John (Augustus, 1878-1961). Gypsy Family, pen and
brown ink on paper, depicting a family group, 20 x 12cm (8 x
414*AR John (Augustus Edwin, 1878-1961). Studies of a Child,
pencil on two sheets of paper, each sheet 20 x 12cm (8 x 4.75ins),
framed together and glazed
Provenance: Edgar Albert Slade collection.
(1)
(1)
£200-300
£200-300
415* Kerr (Anthony, 1924-). Weymouth Bay, 1966, pen & brown
ink, watercolour and gouache on paper, signed lower left, 14.5 x
47.5cm (5.75 x 18.75ins), framed and glazed
Born in Gloucester, Anthony Kerr studied at the Slade School of Fine Art under
Randolph Schwabe, and later taught alongside Kyffin Williams at Highgate
School and at St. George’s College, Weybridge.
£80-120
(1)
413*AR John (Augustus, 1878-1961). Study of Dorelia, pencil on
paper, 8.5 x 11cm (3.25 x 4.5ins) mount aperture, framed and glazed
(1)
£200-300
114
418* Lord (Elyse Ashe, 1900-1971). Bindon Abbey, entrance to
monk’s parlour and stairway to dormitory - from Cloister South, pen,
brown ink and watercolour, signed lower right, additionally inscribed
with title to lower margin, some marginal marks, sheet size 33.4 x
23.8cm (13.2 x 9.4ins)
(1)
£150-200
416* Manner of Matthew Lanyon (1951-). St Ives Abstract, colour
screenprint, 38 x 88cm (15 x 34.5ins), framed and glazed
(1)
£100-150
417* Leake (Stafford, 1881-). Parc Monceau, Paris, watercolour
with black ink on paper, signed lower right, 275 x 284 mm (10.8 x
11.2 ins), laid down on card
(1)
419* Lord (Elyse Ashe, 1900-1971). Oriental figure group, gouache
and pencil on pale brown paper, unsigned, 34 x 32cm (13.25 x
12.5ins) mount aperture, framed and glazed
£100-150
(1)
115
£200-300
424* Newberry (John, 1934-). ‘Four Horsemen’, 1967, oil on board,
showing four cavorting horses, each with a naked rider, verso
inscribed in the artist’s hand with his name, address, title, and date,
35 x 40cm (14 x 15.75ins), framed
John Newberry is a member of the Royal Watercolour Society and has
exhibited widely, including at the Royal Academy. He taught at the Ruskin
School of Drawing in Oxford from 1963 to 1989, and was acting head for the
last two years. John Newberry paints on the spot, usually sitting on the
ground, giving his works an unusual perspective. His work is highly regarded
and included in many leading collections.
£150-200
(1)
420* Marino (Beppo, 20th century). Venice Canal Scene, oil on
canvas, signed B. Marino lower right, inscribed to verso, 49 x 70cm
(19.25 x 27.5ins), framed
(1)
£200-300
425* Nuttall (Peter, 1943-). Jester, 1991, mixed media on paper,
signed and dated lower right, 39 x 44cm (15.5 x 17.25ins), framed
and glazed
(1)
421* Meo (Gaetano, 1850-1925). Original design for a frieze
decoration, circa 1880-1890, black and white chalk on paper laid down
on canvas, some marks and soiling to edges, with artist’s name
inscribed (in a later hand) to verso, 400 x 900 mm (15.75 x 35.5 ins),
together with another circular cartoon design for an angel musician,
possibly by Gaetano Meo, black chalk with black and brown crayon on
paper, diameter 365 mm (14.25 ins), laid down on card, plus a group of
13 watercolour, pencil and pen & ink sketches and studies believed to
be by Innes Meo, mostly Italian landscapes and scenes, various sizes
(15)
£70-100
£150-200
422* Morgan (Baxter, active 1905-1932). Early morning landscape
with sheep, pastel on board, showing a sunlit landscape with trees and
a stream, and a flock of sheep with a traveller seated nearby, signed
lower left, 32 x 41.5cm (12.75 x 16.25ins), gilt mount and frame, glazed
(1)
£100-150
423*AR Nazarenko (Tatyana, 1944-). Vremya (Time), 1992, oil on
canvas, initialled lower right, signed, titled and additionally inscribed
to verso,120 x 100cm (47 x 39.5ins), framed
Tatyana Grigorievna Nazarenko was born in Moscow in 1944 and studied
at the Surikov State Institute of Fine Arts. She has exhibited widely in Russia
and throughout Europe and has been honoured with multiple awards from
the Russian government. Her more recent work has explored new mediums
and installation art to express the changing world. See Olga Thomson, Tatyana
Nazarenko, St. Petersburg (2004).
(1)
£3000-5000
426* O’Casey (Breon, 1928-2011). ‘Waterfall’ III (after Hokusai),
1992, mixed media on board, 32 x 25cm (12.75 x 9.75ins), framed
and glazed, signed, titled, and dated on backboard
(1)
116
£300-500
Lot 423
117
427* Orpen (Sir William, 1878-1931). Le Jour de le Née de William,
27 Novembre 1970, pencil sketch on card, self-portrait of the artist
and a lady seated at a table for dinner drinking wine, William Orpen
saying ‘Rhum cinq francs Benedictine tres pars Auguste Paris tres
cher! - thank you’, browned, sheet size 24 x 31.5cm (9.5 x 12.5ins)
(1)
£200-300
429* After Liubov Sergeevna Popova (1889-1924). The Violin,
1914, later 20th century gouache on paper copy after the Russian
Cubist original painting by Popova, image size 305 x 235 mm (12 x
9.25 ins), sheet size 420 x 298 mm (16.5 x 11.7 ins), together with
5 other similar 20th century copies after Russian avant-garde
artworks, in coloured crayons or gouache, each signed with initials
lower right, similar size
(6)
428* Poole (Vera Ellen, 1890-1965). A Portfolio of original sketches
and prints, circa 1910, comprising 2 watercolour studies and 7
drawings in pencil, mostly of figures, animals, landscapes, etc.,
including studies from the model, plus 7 colour lithographs or
woodcuts (one view of the Thames, and another study of a nude
model on a bed), all unsigned, one with handwritten label attached
to verso ‘Art School Drawings under Sickert’, various sizes (largest
sheet size 560 x 385mm (22 x 15ins), one or two folded), loosely
contained in original cloth portfolio with embroidered design to
upper cover including the artist’s maiden name Vera Dendy, rubbed
and some soiling, folio
(1)
£100-200
430* Ratcliffe (William Whitehead, 1870-1955). Cottage in the
snow, gouache on paper, showing a cottage in a wintery landscape,
possibly Swedish, signed lower right, slightly worn to edges and
small hole with slight loss, 23 x 32cm (9 x 12.5ins) mount aperture,
framed and glazed
£100-200
(1)
118
£200-300
433* Robb (Lena, 1891-1980). White Japanese Anemones, oil on
board, signed lower right, one or two tiny chips to paint surface, 41
x 51cm (16 x 20ins), framed
431* Richmond (Leonard, 1889-1965). Winsford, Exmoor, a pair
of pastels on paper, each signed lower left, both pasted onto
contemporary board, captioned in pencil to mounts, 37 x 41cm (14.5
x 16ins) and similar
(1)
£200-300
Provenance: From the collection of the artist Gilbert Adams (1906-1996).
£200-300
(2)
432 Richmond (Leonard, 1889-1965). Willows of Southall,
Middlesex, colour pastel on brown paper, signed in ink lower left,
sheet size 37 x 46cm (14.5 x 18ins), pasted onto contemporary card
mount, together with five similar, some signed
Provenance: From the collection of the artist Gilbert Adams (1906-1996).
£200-300
(6)
434 Rothenstein (William, 1872-1945). Street scene, oil on artist’s
board, 56 x 38cm (22 x 15ins)
Provenance: Purchased by the current vendor from the Frank Constantine
collection.
(1)
£200-400
119
435* Rushbury (Henry George, 1889-1968). Stirling Castle, 1946,
watercolour with pen and brown ink, laid down on card, signed,
titled and dated, 310 x 490 mm (12.2 x 19.25 ins)
(1)
£200-300
437* French School. View of a rocky coastline in summer, France,
1906, oil on canvas, inscribed lower left Auberge de Cassias
(indistinct) and dated, with small faded hand-written label to
stretcher verso Le Cap Bearn, 55 x 60cm (21.5 x 24ins), framed
(1)
£300-500
436* Attributed to Ethel Sands (1873-1962). The Entrance to
Newington House, Oxfordshire, circa 1900-1910, coloured pastel,
heightened with pencil, on pale buff paper, unsigned, 39 x 39cm
(15.5 x 15.5ins) mount aperture, framed and glazed, with old
framer’s label of J. Murcott, Longacre, London to verso
Provenance: From the collection of Lady Ottoline Morrell. American by birth,
Ethel Sands began painting on the advice of John Singer Sargent, and studied
under Eugene Carriere in Paris from 1894. She took up residence at
Newington House between 1898 and 1920, where she became one of the
most important society hostesses for artists, writers and other cultural dealers
of the day. Philip and Ottoline Morrell lived at nearby Garsington Manor.
£300-500
(1)
438* Scudder (Janet, 1896-1940). Still life of anemones, daffodils
and cornflowers in a jug, oil on canvas, signed lower right, 46 x 39cm
(18 x 15.5ins), framed
(1)
120
£200-300
439* Seaby (Allen William, 1867-1953). Manx sheerwaters, oil
on canvas, signed, lower right, 41 x 67cm (16 x 26.5ins), framed
and glazed
(1)
£400-600
Lot 441
440* Short (Ian James Bruce, 1928-1998). Harbour, oil on board,
signed and titled to Edinburgh College of Art Label to verso, IBM
estate label to verso, 73 x 94cm (29 x 37ins), framed
(1)
£150-200
441* Silas (Ellis, 1885-1972). A pair of Venice canal scenes, 1930,
colour pastel on paper, both signed, captioned and dated to lower
edge, 50 x 33cm (19.5 x 13ins) and similar, both framed and glazed
(2)
£300-500
442* Singh (Sushila, 1909-1994). Illuminations, San Giorgio, oil on
canvas, signed lower edge, gallery label to verso, 56 x 76cm (22 x
30ins), framed
Provenance: Exhibited John Wibley Gallery, London, June 1962, see label to
verso. Sushila Singh was married to the artist Arthur Henry Andrews (19061966), having been fellow students at Hornsey School of Art and the Royal
College of Art under William Rothenstein, graduating in 1929.
£200-300
(1)
Lot 442
121
443* Sorrell (Alan, 1904-1974). The Lost Centuries - Barbarians
Enter Rome, pen, ink, & watercolour, showing warriors on foot and
horseback sacking the city, with buildings on fire, pencil inscription
lower right ‘Barbarians enter Rome Prog 1 or 2’, 37 x 51cm (14.5 x
20ins), mounted, framed and glazed
Painted for use in an eight-part television series made in 1968 by Anglia
Television. It focused on British history between the departure of the Romans
and the arrival of the Renaissance and was broadcast in 1971. Alan Sorrell, a
Royal College of Art student who made a name for himself as a
reconstruction artist and painter of imaginative narratives, was the
contemporary of Edward Bawden, John Piper and Eric Ravilious. He married
the artist Elizabeth Tanner, and their children, Richard and Julia, both became
artists. Examples of his work are held at the Imperial War Museum, Tate
Gallery, Ashmolean Museum in Oxford, London Museum and National
Museum of Wales in Cardiff.
£150-200
(1)
444 No lot
Lot 445
445* Ubud School. Balinese village scenes, 20th century, together
three gouaches on bark-paper, inscribed lower left, 63 x 46cm (24.75
x 18ins) and similar, framed
(3)
£300-500
446* Wainwright (Alfred, 1907-1991). The Coniston Fells, from
Gummershow, pen and ink, landscape with mountains and a large
cairn, lightly toned, mounted, framed and glazed, signed and titled
in green ink to mount
(1)
£200-300
Lot 446
122
448* Woodlock (David, 1842-1929). “The Colleoni Monument”,
Venice, oil on board, showing an equestrian monument and part of
the Ospedale Santi Giovanni e Paolo, with a young woman in the
foreground, faintly signed in red lower right, 24 x 16.5cm (9.5 x
6.5ins), titled gilt mount, framed and glazed, with artist’s printed
label on backboard titled in manuscript
David Woodlock was born in Ireland, but is better known as a Liverpool artist.
He studied at the Liverpool School of Art and exhibited many works at the
Walker Gallery. He was a member of the Liverpool Academy of Arts and a
founder member of the Liverpool Sketching Club.
£200-300
(1)
447* Mexican Amate School. Birds in branches, 20th century,
gouache on fig tree bark, 600 x 390 mm (23.6 x 15.3ins)
(1)
£100-150
449* Manner of Anders Zorn (1860-1920). Portrait of a young
woman in traditional costume, early 20th century oil on canvas,
unsigned, some flaking and paint loss, old handwritten label to verso
inscribed ‘Property of C.A. Wright’, 595 x 440 mm (23.5 x 17.25 ins)
(1)
450 No lot
Lot 448
123
£300-500
JEWISH & ÉMIGRÉ ART
Lot 451
124
451* Madrassi (Ludovic Lucien, 1881-1956). A collection of
sixteen original studies in the Pale of Settlement, circa 1924, sixteen
pencil sketches on various papers, some with coloured pencil, each
signed, most tipped into contemporary card mount, sheet size 21 x
16cm (8.25 x 6.25ins) and similar
Lucien Madrassi was born in Paris and became a member of the Salon des
Artistes Français in 1906. A skilled draughtsman and printmaker, he went to
Krakow to begin work on a suite of etchings depicting the lives of Polish,
Ukrainian and Russian Jews in the Pale of Settlement in 1924. The etchings
Madrassi made from these studies were made into a small edition of 435,
illustrating “Un Royaume de Dieu”. They illustrate of the lives of the Jews of
Eastern Europe prior to their impending persecution and oppression. In 1928
Madrassi was awarded the Prix Puvis de Chavannes.
£500-800
(16)
453*AR Winsten (Clare, 1894-1989). Self-portrait after Rosenberg,
oil on canvas, inscribed ‘Mrs Winsten’ to verso, 61 x 56cm (24 x 22ins)
Isaac Rosenberg (1890-1918), most famous for his First World War poetry,
studied at the Slade and managed to exhibit at the Whitechapel gallery before
the war broke out. During September 1916 he spent ten days leave in
London, it is presumably at this time he painted his portrait of Clare Winsten
now held by Universty College London Art Museum. Rosenberg returned to
the front and was killed in action on the night of April 1 1918.
£500-800
(1)
452* Segal (Arthur, 1875-1944). The Finding of Moses, 1914, pen
and ink over pencil on paper, signed and dated in pencil to lower
right, 50 x 40cm (19.75 x 15.75ins), framed and glazed
Born in Romania to Jewish parents, Arthur Segal moved to Germany, studying
in Berlin and Munich. At the outbreak of the First World War he fled to
Switzerland. The expressionism which had dominated his work in Germany is
replaced at this time with more moral, religious and anti-war sentiments, evident
in the present work. His Jewish background prevented him from exhibiting in
Germany so he moved to London and established a school of painting.
£300-500
(1)
454*AR Winsten (Clare, 1894-1989). A collection of six original
studies of figures, six charcoal or pencil sketches on various papers,
most initialled or signed to lower edge, all but one tipped into later
card mounts, sheet size 20 x 16cm (8 x 6.25ins) and similar
(6)
125
£200-300
Lot 455
Lot 457
455*AR Winsten (Clare, 1894-1989). Family Group, 1970, oil on
canvas, signed and dated upper right, 112 x 87cm (44 x 34ins)
(1)
£300-500
456*AR Winsten (Clare, 1894-1989). Self Portrait, charcoal on paper,
initialled and captioned lower left, 28 x 20cm (11 x 8ins), mounted
Born Clara Birnberg, Winsten studied at the Slade alongside Isaac Rosenberg
and David Bomberg and eventually became the only female member of the
Whitechapel Boys.
£150-200
(1)
457*AR Winsten (Clare, 1894-1989). Abstract, oil on canvas, signed
to verso and inscribed ‘5’, 92 x 61cm (36 x 24ins)
(1)
Lot 456
126
£200-300
Lot 458
458*AR Winsten (Clare, 1894-1989). Portrait of a man, oil on
canvas, head and shoulders portrait of a young man with a book and a
side lamp, inscribed to verso ‘Lawton’, small hole to lower left corner,
51 x 36cm (20 x 14ins), together with another portrait of the same sitter
in profile, possibly slightly later, inscribed “C.B. Winsten to verso”,framed
(2)
£300-400
459*AR Winsten (Clare, 1894-1989). Still life, oil on canvas, 61 x
51cm (24 x 20ins), together with two other oils on canvas by
Winsten, including a portrait of a young boy
(3)
£200-300
Lot 459
127
460*AR Winsten (Clare, 1894-1989). John Masefield at Buscot,
pencil on paper, artist’s monogram and captioned to lower edge, 33
x 23cm (13 x 9ins) mount aperture, framed, together with a small
study of George Bernard Shaw, framed and glazed
(2)
£300-500
461*AR Winsten (Clare, 1894-1989). A collection of forty original
drawings, mostly portraits, forty sketches, mostly pencil, few in
charcoal or ink, on various papers, some with artist’s monogram,
some captioned, sheet size 25 x 20cm (10 x 8ins) and similar,
together with four etchings by Winsten
Subjects include David Bomberg?, Gregory Peck as Atticus Finch, William
Empson, Stephen Harris, and others.
£300-500
(approx. 40)
Lot 460
462*AR Winsten (Clare, 1894-1989). John Cowper Powys, charcoal
on paper, artist’s monogram lower right, captioned lower left, sheet
size 38 x 28cm (15 x 11ins)
(1)
Lot 461
128
£300-500
Lot 463
Lot 464
463*AR Winsten (Clare, 1894-1989). The Ballard of Reading Gaol,
sixteen pencil sketches illustrating Oscar Wilde’s Ballard of Reading
Gaol, most with artist’s monogram to lower corner, sheet size 35.5
x 28cm (14 x 11ins) and similar
The Ballard of Reading Gaol must have had a painful resonance for the
Winsten family. Clare’s husband Stephen Winsten (born Samuel Weinstein,
1893-1991) was a conscientious objector in the First World War and was
imprisoned in Reading Gaol.
£150-200
(16)
464*AR Wolmark (Alfred Aaron, 1877-1961). Still life with apples
and pears, oil on canvas, 51 x 42cm (20 x 16.5ins), framed
Provenance: Purchased from the sale of the artist’s studio, 1983.
£200-300
(1)
465*AR Wolmark (Alfred Aaron, 1877-1961). Gustav Holst, 1928,
pen and ink on paper, signed and dated lower right, captioned upper
left, paper creased and slightly frayed to extremities (not affecting
image), sheet size 38 x 25cm (15 x 10ins)
Provenance: From the collection of the artist Clare Winsten.
(1)
£150-200
Lot 465
129
MODERN PRINTS & ARTIST’S BOOKS
468* Cragg (Tony, born 1949). Five Untitled Prints, 1995, fourcolour offset with silkscreen, wove paper, with full margins, each
signed and dated in pencil, numbered 5/80, each sheet 66.5 x
87.5cm
(5)
£500-800
466* Beaver (Tessa, 1932-). Begonia, colour etching, signed, titled
and numbered 67/75 in pencil, plate size 395 x 395mm (15.5 x 15.5ins),
sheet size 580 x 570mm (22.75 x 22.5ins), framed and glazed
(1)
£70-100
467 Clarke (Graham, 1941-). Balyn & Balan, Ebenezer Press, [1971],
sixteen folded sheets, including title, with 23 colour woodcuts and
linocuts by Graham Clarke, each signed in pencil with initials, loosely
contained in original English yew boards, with leather backstrip lettered
in gold, and original purple felt slipcover, large folio (532 x 368mm, 21
x 14.5 ins), limited edition of 100 copies, this copy numbered 78 and
signed in full in pencil to title page, together with Annigoni (Pietro,
1910-1988), Europe, The Quest for Unity, compiled by Leith McGrandle
with an etching by Pietro Annigoni, Ranelagh Editions, 1975, original
etching as frontispiece, signed and numbered 214/475, original quarter
brown morocco, with cloth slipcase, folio (465 x 320mm), plus Andrew
Vicari, Vie et Oeuvres par Daniel Curzi, 1986, with numerous colour
and monochrome illustrations, with an original lithograph by the artist,
signed and numbered 87/185, original cloth gilt, with presentation
inscription from the artist to Bill Drummond to front blank, dated
Monaco 1989, with slipcase, folio (350 x 265mm)
(3)
£200-400 130
469* Cragg (Tony, born 1949). Landscape I, 1985, four-colour
offset print, wove paper, full margins, titled, signed and dated in
pencil to lower margin, numbered 174/250, sheet size 66.5 x 87.5cm
(26 x 34.5ins)
(1)
£150-200
470 AR Dali (Salvador, 1904-1989). Biblia sacra vulgatae editionis ...
Imaginibus Salvatoris Dalí exornata, 5 volumes, Milan: Rizzoli, 1967, 105 offset
colour lithograph plates, after watercolour drawings by Salvador Dali, each
with a Japanese paper tissue guard bearing a printed biblical quotation, uncut
in publisher’s dark green crushed morocco, top edges gilt, gilt-panelled spines
with raised bands enclosing floral designs of inlaid morocco in various colours,
gilt inner dentelles, moiré silk endpapers, green morocco and moiré silk
slipcases, folio (485 x 358mm)
Number 163 of 169 copies of the ‘Magni Luxus’ edition from a total edition of 1, 797
copies. An immaculate set, this set still retains the publisher’s signed vellum limitation
leaflet, the stamped and numbered gold cast book centrepiece clasp of the artist’s hand
(65 x 46mm) with cloth support and soft leather pouch. Michler and Löpsinger 1600.
(5)
£8000-12000
131
471* Dufy (Raoul, 1877-1953). La Moisson, colour lithograph on
wove paper, numbered 119 from the edition of 200, some pale
toning, sheet size 630 x 520mm (24.75 x 20.5ins), with printed
Redfern Gallery label to verso of backing board
(1)
£100-150
472* Emin (Tracey, 1963-). BBC Four, Every Body Needs a Place
to Think, 2002, white cotton handkerchief screenprinted in blue, 54
x 54cm, minor creasing, contained with original printed BBC Four
opening invitation card in plain card book box, 14 x 14cm
(1)
£150-200
473* Erni (Hans, 1909-2015). Hans Erni, Berne, Editions Le Moulin,
1971, 4 pages of text and 6 fine photolithographic colour
reproductions, loosely contained in original black cloth-backed
boards, with design to upper cover by the artist in black white and
gold, large folio (755 x 555mm)
(1)
£150-200
Lot 471
474* Galerie L’Effort Moderne. Seven private view printed
invitation cards, 1918-1921, consisting of colour pochoir invitation
cards to the exhibitions of Auguste Herbin, 1-22 March 1918, Gino
Severini, 5-31 May 1919 (2 copies), Leopold Survage, 2nd-25th
November 1920, Georges Valmier, 3rd-25th January 1921, and
Auguste Herbin, 5th-31st March 1921, together with a monochrome
printed invitation card for Georges Braque, 5th-31st March 1919,
plus 7 other printed private view exhibition invitations, including
Boutet de Monvel Colour Etchings, at the Leicester Galleries, 22nd
November 1913, Steinlen drawings at the Leicester Galleries, 26
May 1914, Tableaux modernes, Paul Vallotton, Lausanne, Robert
Bonfils, Au Nouvel Essor, Paris, 4th-18th December 1925, Vertes,
Les Aventures du Roi Pausole de Pierre Louys, Galerie CharlesAuguste Girard, 19-20 December [1930], and two others
(15)
Lot 472
132
£100-150
475* Greenwood (Philip, 1960-). Snownight, 1974, colour etching and
aquatint on thick handmade paper, signed, dated, titled and numbered
21/150 in pencil, with label of the Bull’s Eye Gallery, Lichfield, and signed
certificate from Christie’s Contemporary Art, plate size 445 x 555mm
(17.5 x 21.75ins), sheet size 590 x 685mm (23.25 x 27ins)
(1)
477* Hirst (Damien, 1965-). And then there were four, the famous
musketeer, 2002, comprising a dart and a real onion (recently
supplied) in a cardboard display box signed by the artist to inside of
upper lid, a few minor creases and marks, box 26 x 10 x 10cm
One of 2000. The work was commissioned by the BBC for the launch of the
new channel BBC Four in March 2002. Onion not included.
£150-200
(1)
£50-80
476*AR Hayter (Stanley William, 1901-1988). Paysage Anthropophage, 1937, engraving and soft-ground etching on watermarked laid paper,
one of 5 artist’s proofs, aside from the published edition of 30, signed, dated, and numbered 5/5 in pencil, some pale scattered spotting,
plate size 185 x 355mm (7.25 x 14ins), sheet size 270 x 442mm (10.6 x 17.4ins)
(1)
£700-1000
133
478 AR Hockney (David, 1937-). Peace on Earth, 1986, colour print,
as issued in Andy Warhol’s Interview magazine, volume XVI, number
12, December 1986, bound in as a centrespread, the full sheet 410
x 560mm (16.25 x 22ins)
(1)
£250-350
479* Jackson (John, 1938-). Fish Wharf Detail /2, 1973, colour
linocut, signed, dated and titled in pencil to lower margin, 53.5 x
40.5cm (21 x 16ins), framed and glazed
Numbered 10 from an edition of 75.
(1)
£80-120
Lot 478
480* Kandinsky (Wassily, 1866-1944). Periode Parisienne, 19341944, Galerie Maeght, [1969], colour lithograph poster, excellent
condition, sheet size 720 x 455mm (28.3 x 17.9ins)
(1)
Lot 479
134
£70-100
481* Lichtenstein (Roy, 1923-1997). As I Opened Fire, 1964 [but later], triptych colour reproduction print on three sheets, with printed
captions to lower edge verso, each sheet 637 x 522 mm (25.1 x 20.5 ins), published by the Stedelijk Museum, Amsterdam, circa 1990s
(3)
£1500-2000
483* Lowry (Laurence Stephen, 1887-1976). Punch and Judy,
[1947], offset colour lithograph on wove paper, from the edition of
6000 printed by the Baynard Press for School Prints Ltd., number
21 from the second series, sheet size 490 x 760mm (19.25 x
29.9ins)
482* Livingstone (Patrick, 1956-). Still life of roses and lilies in a
glass vase, colour screen print, signed, titled and marked A/P in
pencil, 540 x 745mm (21.25 x 29.3ins) mount aperture, framed and
glazed, with printed labels to verso
(1)
(1)
£70-100
135
£500-700
484*AR Lowry (Laurence Stephen, 1887-1976). Street Scene Near a Factory, offset lithograph in
colours on wove paper, blindstamp of Fine Art Trade Guild to lower margin, additionally signed in pencil
to lower margin, 253 x 202mm (10 x 8ins), framed and glazed
(1)
£1000-1500
136
Lot 485
485*AR Lowry (Laurence Stephen, 1887-1976). Market Scene in
a Northern Town, offset lithograph in colours, additionally signed in
pencil to lower margin, 458 x 606mm (18 x 24ins), framed and
glazed
Numbered 469 from an edition of 750..
(1)
£1000-1500
486* Lowry (Laurence Stephen, 1887-1976). A Village Square,
photolithograph in colour, 446 x 601mm (17.5 x 23.5ins), framed and
glazed
(1)
£150-200
Lot 486
137
487*AR Lowry (Laurence Stephen, 1887-1976). The Notice Board, photolithograph in colour, blindstamp to lower margin,
signed in pencil to lower margin, 400 x 500mm (15.75 x 19.75ins), framed and glazed
(1)
£700-1000
138
488*AR Lowry (Laurence Stephen, 1887-1976). The Level Crossing, offset lithograph in colour, signed in pencil to
lower margin, 435 x 552mm (17 x 21.75ins), framed and glazed
(1)
£700-1000
139
489*AR Lowry (Laurence Stephen, 1887-1976). Our Town, offset lithograph in colour, additionally signed in pencil to
lower margin, 432 x 613mm (17 x 24ins), framed and glazed
Numbered 180 from an edition of 850.
(1)
£2000-3000
140
490*AR Lowry (Laurence Stephen, 1887-1976). The Fever Van, offset lithograph in colour, Fine Art
Trade Guild blindstamp to lower margin, signed in blue pen to lower right, 416 x 515mm (16.5 x
(1)
£2000-3000
141
491*AR Matisse (Henri, 1869-1954). Scene d’interieur, 1933,
monochrome collotype on handmade wove paper watermarked JB,
after the original charcoal drawing by Matisse, published by Edition
de la Galerie Jeanne Bucher as part of the portfolio Dix
Reproductions, 1933, in a limited edition of 1000 copies, publisher’s
printed label to lower right corner verso, sheet size 400 x 520mm
(15.75 x 20.5ins)
(1)
£200-300
492 Minotaure. Revue Artistique et Litteraire, issues 1-13 bound
in 11, a complete set, Albert Skira, Paris, 1933-39, numerous colour
and black and white illustrations, number 3-4 front two leaves
detached, number 7 front leaf detached with abrasions and loss at
lower corner, a few issues with front wrappers detached from text
blocks, original pictorial wrappers, a few spines with small chips and
splits, some minor soiling, 4to
Important Surrealist publication with original cover designs by Picasso,
Matisse, Dali, Miro, Masson, Eluard, Man Ray, Derain, Brassai and Duchamp.
£1500-2000
(11)
Lot 491
Lot 492
142
Lot 496
Lot 493
493* Miro (Joan, 1893-1983). XXe Siecle, number 31 (Panorama
68), Paris, 1968, colour lithograph, folded as issued, 311 x 695mm
(12.25 x 27.4ins), together with 45 original lithographs by various
artists, all taken from XXe Siecle, 1958-80, including Poliakoff,
Masson, Esteve, Zao Wou-ki, Guiramand (13), Spitzer (10), Ernst (3),
Tanning (2), Agam (2), Ubac, Music, Consagra, Capogrossi, Gentilini,
Magnelli (2), Laurens (2) and Bergman (2), all loose (without text), all
in excellent condition, 320 x 250mm (12.5 x 9.75ins) or very similar
Cramer 122 for the lithograph by Miro.
(46)
496* Picasso (Pablo, 1881-1973). Jacqueline en espagnole de la
flute double, 1967, heliogravure facsimile print on thick wove paper,
green stamped signature lower right, numbered in green ink 108/500,
sheet size 530 x 420mm (20.75 x 16.5ins), framed and glazed
(1)
£100-150
£300-500
494* Ovenden (Annie, 1945-). Lanhydrock Church, giclee colour
print, signed in pencil lower right, image size 370 x 490mm (14.5 x
(1)
£70-100
495* Phillips (Tom, 1937-). Matching colours struck by heatwave
(from A Walk to the Studio), 1976-77, colour screenprint, published
by Waddington Galleries, 1977, signed and numbered 40/50 in pencil,
sheet size 101 x 71.5cm (39.75 x 28ins), framed and glazed
(1)
£100-150
Lot 495
143
Lot 497
497*AR Picasso (Pablo, 1881-1973). Colombe de l'Avenir ou Les
Armes à la Ferraille, 1962, colour lithograph on Rives wove paper,
printed by Mourlot in blue, black, yellow and green, signed in pencil
by Picasso, and numbered 21/200, verso with sellotape
discolouration to extreme margins, 585 x 755 mm (23 x 29.75 ins),
framed and glazed
(1)
£2000-3000
498* Richardson (Ilana, 1946-). Villa Marguerita, 1985, colour
screenprint, signed, titled, dated and numbered 22/70 in pencil, 340
x 505mm (13.5 x 20ins) mount aperture, framed and glazed,
together with Wright (Joanna, 20th/21st century), Botanic
Gardens, 1978, colour screenprint, signed, titled, dated and
numbered 5/15 in pencil, 475 x 370mm (18.7 x 14.5ins) mount
(2)
£70-100
Lot 498
144
499* Thorpe (Mackenzie, 1936-). In the Summertime, 1998, colour
photolithograph, printed by Washington Green Fine Art in an edition
of 850, signed and numbered 468/850 in pencil, image size 355 x
423mm (14 x 16.7ins), framed and glazed, with certificate of
authenticity to verso
(1)
501 Verve, revue artistique et litteraire directeur, teriade, Vol. VIII,
Nos 29 et 30, original boards with design by Picasso
(1)
£300-500
£100-150
502 Verve, an artistic and literary quarterly, numbers 1, & 5-6, Paris,
December 1937 & July-October 1939, colour lithographs by Leger,
Miro, Rattner and Bores to the first issue, 9 colour lithographs by
Braque, Rouault, Derain (2), Leger, Bonnard (2), Matisse (2) and Klee
to the second issue, both with numerous colour and monochrome
illustrations, both in original printed wrappers, the first issue with
colour lithograph by Matisse, the second with colour lithograph by
Maillol, a few marks and scuffs, 2 or 3 small indentations to front
cover of the first issue, (generally in good condition), folio
(2)
503 XXe siecle. La Matiere et le Temps dans les Arts Plastiques
No. 5, 1955; Nouvelles Situations de l’Art Contemporain No. 14,
1960, colour and black and white illustrations, six original colour
lithographs by Marc Chagall, Alechinsky, Fiedler, Tobey, Marini &
Singier, original wrappers, slight edgewear, 4to, together with Arts
et Metiers Graphiques, Nos. 27-32, Paris, 1932, numerous
illustrations, light marginal toning, original wrappers bound-in
contemporary half vellum, a little discoloured, 4to, plus Cahiers D’Art
1940-1944 and 1945-1946
500* Toulouse-Lautrec (Henri de, 1864-1901). Jane Avril, 1893,
colour lithograph poster, margins trimmed, and corners rounded off,
various creases and some discolouration, some fraying to margins
with several short tears and a little loss, 790 x 580mm (31 x 22.75ins)
Sold with all faults, not subject to return.
(1)
£300-500
£400-600
(5)
145
£400-600
PRINTED BOOKS & MAPS
NATURAL HISTORY, FISHING,
SPORTING & WILDLIFE ART AND BOOKS
Wednesday 6 April
From a collection of original watercolour studies of butterflies and insects by Edward Donovan (1768-1837).
For further information and consignment advice please contact:
John Trevers | [email protected]
Nathan Winter | [email protected]
PHOTOGRAPHY, 1850-2000
Thursday 7 April
Julia Margaret Cameron (1815-1879). Queen Esther fainting before King Ahasuerus, 1865. Estimate £3,000-5,000
For further information and consignment advice please contact:
Chris Albury | [email protected]
INFORMATION FOR BUYERS
AFTER THE AUCTION
Online results
If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after
the sale has ended.
Payment
The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a
percentage of the final hammer price) and vat where applicable. You will be issued with an invoice made out to the
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.
148
Dominic Winter
SPECIALIST AUCTIONEERS & VALUERS
Libraries & Archives
Nathan Winter & Chris Albury
Paintings & Prints
Nathan Winter
Antiques & Furniture
Henry Meadows
Medals & Militaria
Henry Meadows
Aviation & Transport Collections
Chris Albury & Henry Meadows
Atlases, Maps & Prints
John Trevers
Antiquarian Books
Colin Meays
Modern First Editions
Paul Rasti
Children's Books, Toys & Games
Susanna Winters
Oriental & Islamic Art
Matthew Farren
Sports Books & Memorabilia
Paul Rasti
Taxidermy, Fossils & Field Sports
John Trevers
Vintage Photography & Cinema
Chris Albury
Manuscripts, Autographs & Ephemera
Chris Albury
For free valuations without obligation,
please contact any of the above
specialists for further advice.
Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ
01285 860006 / firstname or [email protected]
www.dominicwinter.co.uk
149
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 3 March 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]

Catalogue PDF - Dominic Winter Auctioneers

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